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Following closely in the footsteps of her accomplished and well recognized mother, Angelina Holiday has begun weaving contemporary basketry using the single-rod technique and her mother's innovative designs. Although Angelina is only getting started in her weaving career, she shows the promise of a good student nurtured by a patient but exacting instructor. We think she has a great future.
Angelina is the daughter of Elsie Stone Holiday
There
also was a man made of stone who lay stretched out on a hill beside the river
just west of the Aztec Ruins. When anyone walked past he would kick them into
the San Juan River, and when they were drowned, he would feed them to his two
children. He was called Tseh-ed-ah-eh-delkithly, which means Kicking Rock. His
children lived in the river and ate the drowned people. Pgs. 70,71
Next day after breakfast, having found out from his mother where he should go,
he started off to Tseh-ed-ah-eh-delkithly (the Rock-that-Kicks-People-into-the-River).
He saw a man lying on his back with his head on a bluff and his feet near the
river, and he was pulling the whiskers out of his chin. When Nayenezgani tried
to pass, he kicked at him, and Nayenezgani said: "What is the matter, Sechai
(Grandfather) ?" The Rock Man said : "My leg was cramped, and I had
to kick to straighten it out." Four times he was questioned and he answered
four times. After that Nayenezgani took his stone knife and hit the Rock Man
on the head, and cut through his breast, hips and legs, chopping him into four
pieces and then scalping him.
The Rock Man's children lived in the river and Nayenezgani threw the pieces
of the Rock Man down to them, and heard them quarreling for the pieces of meat,
saying: "That is my piece," not knowing that they were eating their
own father. Then Nayenezgani went down into the river and killed all the children
except two. One was called Kahtsen (Alligator) and Nayenezgani said to him:
"You must never hurt anyone again, will you promise this?" And the alligator
answered "I am not sure." Nayenezgani asked this four times but the Alligator
would not promise. The other child who was spared was called Siss-'Tyel (Turtle),
and was told to be good in the future, as he would be used for medicine by men,
and his shell would be used to drink out of and also to make medicine in, and
the turtle agreed to this and said that he would always be good. So Nayenezgani
went home on the rainbow and they danced and celebrated his return as before.
Pgs. 92,93
A turtle valued for beads made from its shell. The shells of turtles are used as medicine cups. Pg. 157
As for
the gods, they repeated their visit four days in a row. But on the fourth day,
Bits' iis lizhin the Black Body remained after the other three departed. And
when he was alone with the onlookers, he spoke to them in their own language.
This is what he said:
"You do not seem to understand the Holy People," he said.
"So I will explain what they want you to know."
"They want more people to be created in this world. But they want intelligent
people, created in their likeness, not in yours." "You have bodies
like theirs, true enough." "But you have the teeth of beasts! You
have the mouths of beasts! You have the feet of beasts! You have the claws of
beasts!"
"The new creatures are to have hands like ours. They are to have feet like
ours. They are to have mouths like ours and teeth like ours. They must learn
to think ahead, as we do." "What is more, you are unclean!" "You
smell bad." "So you are instructed to cleanse yourselves before we
return twelve days from now."
That is what Bits' iis lizhin the Black Body said to the insect people who had
emerged from the first world to the second, from the second world to the third,
and from the third world to the fourth world where they now lived. Accordingly,
on the morning of the twelfth day the people bathed carefully. The women dried
themselves with yellow corn meal. The men dried themselves with white corn meal.
Soon after they had bathed, they again heard the distant voice coming from the
east. They listened and waited as before, listened and waited. Until soon they
heard the voice as before, nearer and louder this time. They continued to listen
and wait, listen and wait, until they heard the voice a third time as before,
all the nearer and all the louder. Continuing to listen as before, they heard
the voice again, even louder than the last time, and so close now that it seemed
directly upon them, exactly as it had seemed before. And as before they found
themselves standing among the same four Haashch eeh dine'e, or Holy People as
Bilagaana the White Man might wish to call them. Bits' iis dootl izh the Blue
Body and Bits iis lizhin the Black Body each carried a sacred buckskin. Bits
iis ligaii the White Body carried two ears of corn. One ear of corn was yellow.
The other ear was white. Each ear was completely covered at the end with grains,
just as sacred ears of corn are covered in our own world now. Proceeding silently,
the gods laid one buckskin on the ground, careful that its head faced the west.
Upon this skin they placed the two ears of corn, being just as careful that
the tips of each pointed east. Over the corn they spread the other buckskin,
making sure that its head faced east. Under the white ear they put the feather
of a white eagle. And under the yellow ear they put the feather of a yellow
eagle. Then they told the onlooking people to stand at a distance. So that the
wind could enter. Then from the east Nilch' i ligai the White Wind blew between
the buckskins. And while the wind thus blew, each of the Holy People came and
walked four times around the objects they had placed so carefully on the ground.
As they walked, the eagle feathers, whose tips protruded slightly from between
the two buckskins, moved slightly. Just slightly. So that only those who watched
carefully were able to notice. And when the Holy People had finished walking,
they lifted the topmost buckskin. And lo! The ears of corn had disappeared.
In their place there lay man and there lay a woman. The white ear of corn had
been transformed into our most ancient male ancestor. And the yellow ear of
corn had been transformed into our most ancient female ancestor. It was the
wind that had given them life: the very wind that gives us our breath as we
go about our daily affairs here in the world we ourselves live in! When this
wind ceases to blow inside of us, we become speechless. Then we die. In the
skin at the tips of our fingers we can see the trail of that life - giving wind.
Look carefully at your own fingertips. There you will see where the wind blew
when it created your most ancient ancestors out of two ears of corn, it is said.
Pg. 49, 50, 51
The nature
of man was explained by A as follows. The plant kingdom (representing the soil)
plus wind equals life and the three together equals man. At death man (the symbol
but not the body) returns to the three elements mentioned, in human form, to
the underworld. DS elaborated this as follows. First he told how Changing Woman
scraped cuticle from various parts of her body and wetting it with saliva and
an infusion of four plants fashioned the image of a man, with prayer and song.
Then she put Wind People into him to make him move, telling each Wind how it
should work in the body. In the spirals on the ends of the thumb and fingers
are located the Winds which move the legs and feet, black Wind on the thumb,
blue on the forefinger, yellow on the middle finger, white on the third, spotted
on the little finger. These Winds stay in the body directing its movements until
death and then emerge through the spirals. Then there is one big Wind which
goes through the body and comes out through the hair whorl on the back of the
head (or goes in through the hair whorl and comes out of the mouth). This one
governs speech. This is the good part of a person, it is part of the sun or
dawn and looks like light, and goes back to the sun, etc. (v.s.) at death. It
has two names be' i' na' ni (by means of which there is life) and be' nahidi'
dzhi (by means of which one breaths). This life principle plus the breath factor
makes man. Pg. 14-15
Breath is the manisfestation of life, "life and breath are one and the
same." When good people die their breath goes to a good place where our
holy people go. Pg. 14
Every person (at least from childhood until old age, v.i.) releases a ghost
at death, no matter how good he has been throughout life, for some evil must
have become attached to him through thoughts or unintentional or unknown breach
of restriction, if not through deeds. Navajos, therefore, abhor the grave of
a benevolent and beloved relative as much as that of an admitted scoundrel.
Aged people, however, who have been respected throughout life and who die a
natural death may not be feared when deceased. Four informants suggested that
the ghost of a good person might be less dangerous than that of a bad one, and
DS said that a good man's ghost might not return to earth. "Good people's
thoughts turn into whirlwinds (na' oldisi) and have a separate place to live
up north, northeast of the bad people's place." Numerous denials of this,
however, are in our field notes and DS admitted the the Navajos are "all
mixed up" about it. Pgs. 12-13
It is the breath or "wind" which leaves the body and goes to the afterworld.
Breath is a manifestation of life. Pg. 14
The dimensions of a basket often exceed twelve to fourteen inches in diameter, and are usually a fraction more than three inches in depth. As a material, the twigs of sumac (ki, or chilchin) are used. A triple incision is made into the butt end of the twig, one part of which is held between the teeth while the other two are torn off with the fingers. Each part is then scraped clean of its bark with a knife of piece of tin, and the twigs to be dyed are laid aside in a heap, while the natural color of the twig furnishes the lighter shades of the designs. The dyes used are identical with those used for coloring wool, though, obviously, the mordant of boiled sumac leaves (ki) becomes superfluous. Cedar ashes supposedly add luster to the color and contribute to its adhesive quality. Black was obtained from surface coal (lejin), added to boiling sumac leaves (ki), or from a sulfurous rock (tsekho), slightly roasted (ilt'es) with pine gum or rosin (je'). When ready this was added to the boiling twigs giving them a lustrous black color similar to charcoal (t'esh nahalin). The root of juniper (gad behetl'ol) and mountain mahogany (tseesdasi behetlol) are boiled together, after which the ground bark of alder (kish yikago) is added to obtain a pale red, into which the twigs are immersed. At times the joint fir (tlo' azehi, Ephedra trifurcata) is substituted for alder bark, while cedar ashes add luster to the color.
Blue was frequently obtained with indigo, though a native blue is also prepared from a bluish clay or ocher called adishtl'ish, which is pulverized and mixed with water. Various shades of yellow are obtained with plants like Bigelovia (kiltsoi), the sneeze weed (naeeshja ilkhei, Helenium hoopesii), or the sorrel (jat'ini), the flowers of which are crumpled and boiled, with cedar ashes thrown in.
The dyeing done, the twigs, both colored and uncolored, are placed in water to render them moist and pliable. The butt ends of the first twigs are wound around a small stick known as the bottom of the basket, and secured there with yucca. An awl, made of deer-bone (bi' bikhetsin), is now used in sewing the basket for which an iron awl is found impractible. The sewing is always done sunrise, or from left to right, giving the basket the shape of a helical coil when finished. Much deftness and constant application are required to obtain a close weave which will hold water after a few minutes moistening, while baskets of inferior quality require moistening much longer. The designs are, of course, woven with the colored twigs. Yellow and blue, however, are now rarely used, and the usual pattern is a band three to six inches wide, woven with zigzag edges in black with a line of red running through the center, and set, as it were, on a light background made of the natural color of the twig. Or, this band is sometimes displaced by a set of four or more square figures woven at intervals, with a colored circle entwining the lower part of each square. The colors in this and the first pattern might be increased to two or more according to taste. Both patterns are designated as tsa', basket, without reference to their designs. Of the two extinct patterns, the tsa' netse', or coiled basket, presented a design of vari-colored coils following each other, while the tsa' hokhani, or basket of enclosures, presented a set of four triangles whose apices rested on the center or bottom of the basket. From the base of each of these triangles three squares, increasing in width, extended to the rim of the basket, giving the whole design a shape similar to the Maltese Cross. While no special rules were laid down with regard to the blending of colors, or the number of figures and circles in a design, it was essential that every design be broken or intersected by a line of uncolored twigs. In baskets with circular designs this was comparatively easy, but in the tsa' hokhani, or basket of enclosures, it was found necessary to intersect one set of squares in order to make this line quite apparent. It was therefore called qaatqin (qatqin), the way out, or chohot'i, the line leading out, and was prescribed lest the sewer, in bending all her energies and applications upon her work, enclose herself and thus lose her sight and mind. A parallel is found in overdoing weaving, singing, in amassing fortune, or in the opening left in the figure of the queue and bow. This intersection always runs in a radial line with the close of the seam on the imbricated rim of each basket, which in turn serves as a guide in the directional assignment, as the close always faces eastward. Hence the singer always looks or feels for the closed rim, designated as bida' astl'o, where the rim is woven (instead of sewed). The details involved in mending this rim, as well as the taboo placed upon the wearing of a basket as a headgear, the legends of the origin of the basket, and relative subjects, are beyond the scope of the present work. Suffice to say, that the basket is made exclusively for ceremonial use, and is an integral part of every rite, as none is holy (diyin) without it.
The strength and elasticity of the Navaho basket renders it serviceable as a drum, in other words, it is turned down and beaten with the drumstick. Should it be turned up again before the close of the ceremony, it indicates that the singer has suspended the continuation of the ceremony. The basket is also used as a receptacle for the rattles, prayersticks, stones, herbs, medicines, and like ceremonial paraphernalia. The ceremonial bath is administered in the basket. The mask of the Fringed Mouth (zahodolzhai) is supported on a basket from which the bottom has been cut out. At the marriage ceremony a new basket is required in which to serve the porridge. As it is frequently impossible for the couple to consume its contents, the basket is passed around to the visiting guests. Whosoever consumes the final portion of the porridge also takes possession of the basket, wherefore baskets thus obtained are designated as tsa' na'obani, or the basket which was won. It is otherwise referred to as danakhan bi'odani, the basket from which they eat the porridge. The so-called wedding basket is therefore unknown. In the early days baskets were woven of yucca braid. The pith of the yucca leaf was extracted and dyed in the same manner as sumac twigs today. It was also permissible to use the designs of the basket in the decoration of the uppers for moccasins made of yucca. The remnants of twigs used for baskets are employed in constructing the so called owls (naeshja). Pgs. 291-296
Even such everyday tasks as weaving must be done only in moderation. Many women will not weave more than about two hours at a stretch; in the old days unmarried girls were not allowed to weave for fear they would overdo, and there is a folk rite for curing the results of excess in this activity. Closely related is the fear of completely finishing anything: as a "spirit outlet," the basket maker leaves an opening in the design. Pgs. 225-226
According to Washington Matthews the Navahoes have many legends with which baskets are connected. Here is a description of the first baby baskets ever made. Surely none but a poetic and imaginative people could ever have conceived so wonderful a basket. Their gods of war were born of two women, one fathered by the sun, the other by a waterfall, and when they were born they were placed in baby baskets both alike as follows: The foot-rests and the back battens were made of sunbeam, the hoods of rainbow, the side-strings of sheet lightning, and the lacing strings of zigzag lightning. One child they covered with the black cloud, and the other with the female rain.
Another form of this story says that the boy born first was wrapped in black cloud. A rainbow was used for the hood of his basket and studded with stars. The back of the frame was perihelion, with the bright spot at its bottom shining at the lowest point. Zigzag lightning was laid in each side and straight lightning down the middle in front. Niltsatlol (sunbeams shining on a distant rainstorm) formed the fringe in front where Indians now put strips of buckskin. The carry-straps were sunbeams. Pg. 23
In many Indian ceremonies baskets play a most important part. For nine days these ceremonies last, the first day being devoted to the building and dedication of a medicine hogan and a sweat house. Around this sweat house wands of turkey feathers were placed, which were brought hither in one of these sacred baskets; and when the sweating process was over the wands were collected, placed in the basket and removed to the medicine hogan. On the fourth day two of these baskets figured prominently in the ceremonies. A medicine basket containing amole root and water was placed in front of a circle made of sand and covered with pine boughs. A second basket contained water and a quantity of pine needles sufficiently thick to form a dry surface, and on the top of these needles a number of valuable necklaces of coral, turquoise and silver were placed. A square was formed on the edge of the basket with four of the turkey wands before mentioned. The song priest with rattle led several priests in singing. The invalid sat to the northeast of the circle, a breech cloth his only apparel. During the chanting an attendant made suds by macerating the amole and beating it up and down in the water. The basket remained in position; the man stooped over it, facing north; his position allowed the sunbeams which came through the fire opening to fall upon the suds. When the basket was a mass of white froth the attendant washed the suds from his hands by pouring water from a Paiuti basket water-bottle (Fig. 20) over them, after which the song priest came forward and with corn pollen drew a cross over the suds, which stood firm like the beaten whites of eggs, the arms of the cross pointing to the cardinal points. A circle of the pollen was then made around the edge of the suds." This crossing and circling of the basket of suds with the pollen is supposed to give them additional power in restoring the invalid to health. The invalid now knelt upon the pinion boughs in the center of the same circle. "A handful of the suds was placed on his bead. The basket was now placed near to him, and he bathed his head thoroughly ; the maker of the suds afterwards assisted him in bathing the entire body with the suds, and pieces of yucca were rubbed upon the body. The chant continued through the ceremony and closed just as the remainder of the suds was emptied by the attendant over the invalid's head. The song priest collected the four wands from the second basket, and an attendant gathered the necklaces; a second attendant placed the basket before the invalid, who was now sitting in the center of the circle, and the first attendant assisted him in bathing the entire body with this mixture; the body was quite covered with the pine needles, which had become very soft from soaking. The invalid then returned to his former position at the left of the song priest, and the pine needles of the yucca,or amole, together with the sands, were carried out and deposited at the foot of a pinion tree. The body of the invalid was dried by rubbing with meal." This taking out of the sands, pine needles, etc., used in the ceremony was supposed to take away so much of the disease that had been washed from the invalid.
Later in the day at another most elaborate ceremony baskets filled with food are placed in a circle around a fire in the medicine lodge. One of the priests takes a pinch of food from each basket, and places it in another basket. This is then prayed over, smoked over and thus made a powerful medicine by the song-priest. After the priest has gone through several performances with it, the invalid dips his three first fingers into the mixture, puts them in his mouth, and loudly sucks in the air. This is repeated four times. Then all the attendants do likewise, with a prayer for rain, good crops, health and riches. This food is afterwards dried by the chief medicine man, made into a powder, and is one of his most potent medicines. On the sixth day a great sand painting is made in the medicine lodge, and the invalid, as he enters, is required to take the sacred medicine basket, which is now filled with sacred meal, and sprinkle the painting with it. The chief figures of the painting were the goddesses of the rainbow, whose favor it was desired he should gain. Again and again in the ceremonies these sacred baskets are used, and on the ninth day in the concluding dance the invalid takes it full of sacred meal and sprinkles all the dancers. The full description of this wonderful series of ceremonies is found in the Eighth Annual Report of the U. S. Bureau of Ethnology.
If the margin is worn through or torn, the basket is unfit for sacred use. The basket is one of the perquisites of the shaman when the rites are done; but he, in turn, must give it away, and must he careful never to eat out of it. Notwithstanding its sacred uses, food may be served in it by any other person than the shaman who has used it ceremonially. Fig. 29 shows the other form of Navaho sacred basket. It is also made of aromatic sumac, and is used in the rites to hold sacred meal. The crosses are said to represent clouds, heavy with rain, and would indicate that this basketry design may have had its origin in its use during ceremonies intended to bring the rain. Another important ceremony of the Navahoes in which this basket figures is that of marriage. Another interesting thing about this Navaho wedding basket it is well to notice, and that is that the finishing off of the last coil of the basketry always comes directly opposite to the Shipapu opening. This is for the purpose of enabling those who use the basket at night to determine where the Shipapu opening is, so that they may hold the basket in the proper ceremonial way, which requires that the Shipapu opening shall always be turned towards the East. This finishing off place on the rim of the basket is called by the Navahoes the a-tha-at-lo. According to Matthews, the sacred basket used in all these ceremonials has another important function to perform. It is used as a drum. He says: "In none of the ancient Navaho rites is a regular drum or tomtom employed. The inverted basket serves the purpose of one, and the way in which it is used for this simple object is rendered devious and difficult by ceremonious observances." Then over a page of description is required to tell how the shamans proceed when they "turn down the basket" to make a drum of it at the beginning of the songs, and "turn up the basket" at the close. Everything is done with elaborate ceremony. "There are songs for turning up and turning down the basket, and there are certain words in these songs at which the shaman prepares to turn up the basket by putting his hand under its eastern rim, and other words at which he does the turning. For four nights, when the basket is turned down, the eastern part is laid on the outstretched blanket first, and it is inverted toward the west. On the fifth night it is inverted in the opposite direction. When it is turned up, it is always lifted first at the eastern edge. As it is raised an imaginary something is blown toward the east, in the direction of the smoke-hole of the lodge, and when it is completely turned up hands are waved in the same direction, to drive out the evil influences which the sacred songs have collected and imprisoned under the basket."
Even in the making of this sacred basket many ceremonial requirements must be heeded. In forming the helical coil, the fabricator must always put the butt end of the twig toward the center of the basket and the tip end toward the periphery, in accordance with the ceremonial laws governing the disposition of butts and tips. Pgs. 33-37
By 1973 there were over 100 basket weavers on and off the reservation, and 125 potters in Chinle Agency alone. At least in part, commercialization stimulated the revival of these crafts. . . . . In the Oljeto area, basketweavers began producing baskets with yei figures woven into their designs. While such baskets could not be used in religious ceremonies, they found a ready market with non-Indians. Pg. 252
The Navajo wedding basket also reflects many values of traditional life and so often contains all six sacred mountains, including Huerfano and Gobernador Knob, though the size of the basket may determine the number of mountains in the design. The center spot in the basket represents the beginning of this world, where the Navajo people emerged from a reed. This is where the spirit of the basket lives. The white part around the center is the earth, the black symbolizing the sacred mountains upon which are found water bowls. Above them are clouds of different colors. The white and black ones represent the making of rain. A red section next to the mountains stands for the sun's rays that make things grow. Pg. 19
The basket for the emetic in the first War Ceremony was of crystal.
An indispensable requirement of a chant is the basket; at least one is believed
to represent whiteshell. All the precious stones are mythical basket materials.
Frequently the basket is of one stone with a contrasting rim - whiteshell rimmed
with turquoise or the reverse; abalone rimmed with redstone or the reverse,
jet with an abalone rim or the reverse.
__
The fibers of baskets used to be of yucca. Baskets are not used much secularly but have a prescribed place in ceremonies.
They are often called "wedding" baskets because one holds the ceremonial
mush which the bride and groom eat alternatingly. The function of the basket
in curing ceremonies is perhaps greater, but not as well known. When preparations
for a ceremony are made, one of the questions asked is, "How many baskets
must be provided?" They become consequently an important item of trade.
Their manufacture is surrounded with such a number of taboos difficult to keep
that Navajo rarely make them, preferring to trade them from their neighbors,
the Ute and Paiute, who have not the prescribed taboos.
Another form of purification is the yucca bath. The "one-sung-over"
bathes from head to foot in the yucca suds which fill a ceremonial basket. He
is careful to stand within the limits of a platform made of sand from the cornfield
which has been carefully spread. On it special places are designated for the
basket and for the patient's knees and hands, for he kneels to get his hair
in the basket. The water which drains off of him must fall on the sand. When
all is over, this may be gathered up like a blotter and the evils may be carried
out and dissipated.
An indispensable requirement of a chant is the basket; at least one is believed to represent whiteshell. All the precious stones are mythical basket materials. Frequently the basket is of one stone with a contrasting rim - whiteshell rimmed with turquoise or the reverse; abalone rimmed with redstone or the reverse, jet with an abalone rim or the reverse.
The basket for the emetic in the first War Ceremony was of crystal.
Basket (tsa') has already been extensively treated. There are, however, certain points that have not been stressed; one concerns the number of baskets necessary to a ceremony-the discussions often imply that there is only one (Ch. 14). A part of the agreement between chanter and sponsor is the provision of the baskets, as important as the payment to the singer. When the chant is over, some baskets are presented to the chanter or some other participant in the ceremony; borrowed baskets are returned to the owner, who may be the chanter or almost anyone who can provide them. Certain taboos, some very strict, attach to the basket. Nowadays it has become an article of trade, procurable at a trading post. Baskets so bought may be considered neutral, having no restrictions and no evil attached to them; the ceremony gives them blessing value.
Because of the 'drawing power' of the earth, sacred objects should not touch the ground; consequently, ceremonial properties-War Ceremony rattlestick, prayersticks, hoops, bundle equipment-must be placed on or in something; it is often a basket, especially for assembled bundle equipment.
I had to provide five baskets for the Shooting Chant Prayerstick branch. I paid for four and borrowed one from RP, the chanter. One was used for the layout of branch symbol prayersticks during their preparation and for the subsequent bundle equipment layout, one for the emetic, one for the drum, one for the bath, and one for the ceremonial mush. After the bath the chanter put his bundle layout in the basket that had been used for the bath. Every ceremony undoubtedly has similar requirements; some have more, some fewer.
The basket represents jewels and therefore the potentiality of wealth, with its provision for proper offerings. Baskets are often thought of as consisting of one of the precious stones, rimmed with a contrasting jewel (Ch. 12); such baskets are prescribed for the Hail Chant. In addition, one of Heat and one of Mirage (aragonite) are required. The War Ceremony emetic was prepared and the unseasoned mush was served in a rock-crystal basket. Since the mush was inexhaustible, there is a relation between the rock-crystal basket and the yellow bowl.
The Flint Chant baskets represent jewels; the plants put into them ceremonially became meat which, with other plants eaten by rare game, became gruel (Kluckhohn-Wyman, pp. 44, 60; Matthews 1894b, pp. 202-8; 1897, p. 211, 5n; Haile 1938b, pp. 33, 105, 207, 243; 1943a, pp.15, 184, 190; Goddard, pp. 142, 164; Reichard 1944d, p.49; Shooting Chant ms.; Tschopik, pp. 257-62).
Basket drum was described by Matthews and Kluckhohn-Wyman (Matthews 1894b; 1902, pp.59-63, 163, 165; Kluckhohn-Wyman, p.44; Haile 1938b, pp.33, 243).
