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-2-

2. The Song in Rhythm (unrhymed).

IV.  [[underlined]]Epilogue[[/underlined]]

1. The Special Providence -- in Tahirussawichi's preservation.

2. Reasons that prevailed with Tahirussawichi for revelation and record of the Ceremony.

3. Blessing and adoption of the white man.

[[line]]

This scheme will give a [[underlined]]Reader[[/underlined]] the feeling of the whole ceremony, without interruption, and obliter dicta and after-thoughts.  All will seem organically one.

When I read your version in the "Path of the Rain-bow" I confess to mystification.  The depth and vitality of the Sacrament escapes the reader.  He needs the comments.  On the other hand, they should be absorbed into the substance of the work, as they would be if a white man with Hellenic sense of form had composed the work for a reader.  In other words, all the symbolism, implicit and obvious to the Indian mind must be made explicit and verbally specific for us.  Both the symbolism of objects and of incidents.  This is my plan and I hope to execute it and subject it to your criticism and amendment.  Can you [[underlined]]visualize[[/underlined]] from the above outline and criticize that ere I commence to fill in?  I want some time this season to render the Hako as we finally shape it at some Sunday afternoon -- and I trust you will be the guest of honor and you will invite whomsoever you please.  We should make it an early  Spring Event, leaving the Ritual we carried through the year to be done on the Sunday nearest the 11th of May, Indian Day.  Then, Mr. La Flesche should be our guest of honor and talk on the Osage and arrange a programme with me.  That will make the occasion attractive and memorable.

Now, just a few particulars:

1. The feather in the Kurahu's head-dress means the same as that on top of Mother Corn?

2. 10 for [[underlined]]wing[[/underlined]], and 7 for [[underlined]]tail[[/underlined]] are significant?
10 for the Mexican ten-sign zodiac?
Or the two hands giving all in blessing?

7 for the four points of the compas -- zenith, nadir, and centre or the Zuni schemes?

3. The long crevices, or trails, between lines of grain on the ear of (Mother Earth) Mother Corn -- are painted red like the plum stick -- to suggest paths for spiritual intercourse like the grooves of the feather stems?

4.  The sticks in the rattles -- the top -- to the zenith -- equals the nipple of the breast?

5.  The buck skin wrapping of the stick handles -- suggest the priority of the hunter to the cultivator, that the gift of the breasts of Mother Corn was made to the hunter -- who was capable?