Koasati Traditional Narratives

1. Rabbit Stories

3 1 Rabbit Stories Rabbit is the trickster-hero of Koasati literature, as he is in all of the literatures of the Indians of the Southeast. He is a self-centered, overweeningly proud troublemaker, always playing tricks, and acting against the common good. However, his character is so identified with traditional narrative, that all speakers call traditional narratives “Rabbit stories” (cokfa:øihilká < cokfí ‘rabbit’ + a:øihilká ‘story’). Rabbit stories are extremely popular, and there is even an interjection, hé cokfí ‘go on, Rabbit!’ that is used by listeners when he has played a particularly good trick. It is interesting how an essentially antisocial character gained such popularity; it seems that Rabbit Stories serve as a sort of social safety valve, allowing the expression and tacit approval of various sorts of socially disapproved behavior, such as lies, trickery, and unconcern for others. By allowing these behaviors to be acted out in fantasy, it defuses them from being acted out in society. Furthermore, since most Rabbit stories end with Rabbit suffering some severe punishment as a result of his behavior, the listener can also enjoy the triumph of virtue over vice. The actual character Rabbit varies, primarily according to the date that a tale was recorded. In the earliest recordings, it is clear that Rabbit is both human and animal, with the ability to change back and forth at will. This is illustrated most clearly in Rabbit Steals Fire. In the later tales, it is clear that he is no longer considered capable of shape-shifting, but is confined to his animal form, albeit with certain anthropomorphized characteristics. Rabbit as a trickster can have anyone as a foil, although his primary bête noire is GreatOne -Who-Eats-Human-Beings (a:ti:pacobá). In the company of Rabbit, GreatOne -Who-Eats-Human-Beings is very different from the monster that is described in The Obstacle Flight in chapter 3. In that tale, he is a powerful and fearful man-eater, completely beyond the control of any human. When he appears in Rabbit stories, however, Great-One-Who-Eats-Human-Beings, while usually maintaining certain of his cannibalistic characteristics, as in Rabbit Switches Dung with Great-One-Who-Eats-Human-Beings, is big, slow, and painfully easy to deceive. In a few Rabbit stories, Great-One-Who-Eats-HumanBeings displays no cannibalistic characteristics at all. This seems to be the result of a tendency to bleach his character of its more horrific aspects, and the identification of Great-One-WhoEats -Human-Beings as Elephant seems to have furthered this process. Although Rabbit sometimes comes out on top–usually when he is paired with GreatOne -Who-Eats-Human-Beings–more often than not he suffers some humiliation before the close of the narrative, whether it is as minor as getting beaten up by his wives in Rabbit Steals 4 Koasati Traditional Narratives Fire, or as major as getting eaten alive in The Bungling Host. This is due to his overweening pride or hubris (ilakasamotilká), and to the Koasati, pride was as great a sin as it was to the ancient Greeks. Just as hubris was punished by the gods in Greek drama, so Rabbit’s ilakasamotilká is punished, not by any particular deity, but by the natural order of the world. However, Rabbit, like other trickster characters throughout North America, never learns from his mistakes, and is always ready to make some more. RABBIT STEALS FIRE narrated by Sacowáyhki This narrative was dictated to John R. Swanton in 1910. The Koasati language text was not published, but a translation based on its interlinear glosses was published by Swanton (1929:203—4). Sacowáyhki, whose English name was Jackson Langley, was, with his mother Selin Williams Langley, the principal consultant for both John R. Swanton and Mary R. Haas. He was of good family; his mother’s sister was married to the Koasati mikkó, John Abbey, and not long after Swanton worked with him, Sacowayhki himself became mikkó after the death of John Abbey. However, some time in the 1920s, he was replaced as mikkó by the son of John Abbey, Sacikílli, also known as Jefferson Abbey. The reasons for this are no longer clear; some say that it was the result of a failed attempt to go to Washington, D.C. to obtain help for the Indians. Others say it happened after the death of his wife Sihó:ki while giving birth to their eleventh child, when he became enamored of a young Tunica woman and left the community to pursue her. This relationship did not last, and Sacowáyhki returned home and contracted a normal levirate marriage with his late wife’s sister’s daughter (as his wife had no unmarried or widowed sisters). He remained in the community for the rest of his life, although the loss of the position of mikkó rankled until the end of his days. This particular tale seems to have had a deep psychological resonance with Sacowáyhki, as it focuses on the hypersexuality of Rabbit. Sacowáyhki is remembered as having an extraordinarily high sex drive; in addition to his eleven children with his first wife, he had six with his third wife, the youngest being born when he was 72 years of age. The act of running off after the young Tunica woman, abandoning all his responsibilities, could be seen as Rabbit-like behavior. In any case, the sexual content of this tale is much more elaborate than in the recording of the tale as narrated by Bel Abbey. In 1936, Sacowáyhki gave Mary R. Haas a truncated version of this narrative, one that ruthlessly edited out every reference to sex. Because sexual matters are freely discussed only among Indians themselves, or in sexually segregatedgroupsofnon-Indians,Sacowáyhkifelt free to include the sexual element only with an adult male non-Indian audience (Swanton), and produced an edited version for an adult female non-Indian audience (Haas). Rabbit Stories 5 Scene 1: The World without Fire Yá:li tikbák íksotoho:limpatš. It is said that fire did not exist here. Mó:tohon, Later, okicobá taøón má:lon ná:hoto:š tikbák. [people found out that] fire existed only on the other side of the ocean. Máhmin, Right away, 5 yá:lik tikbÆ ohimb`annatik, the people here wanted fire from them, inká:hï bánkoto:š. but the others did not want to give it to them. Má:min, Then, í:sato:š tikbá-íkson. they lived without fire. Scene 2: The Quest for Fire Is Proposed Mó:tohon, Later on, 10 cokfík ónkak, Rabbit spoke, “Anók ómmi:k, tikbá astiwwalí:kalik” “As for me, I can run with those people’s ká:hato:š. fire,” he said. Má:mo:sin, Thereupon, á:ti ocotaykihák hasaykáhcok a person whose daughters were many cokkó:tohok ónkak, spoke: 15 “Naksók tikbá ostí:lan “To whomever goes and brings back fire tayyihá caffá:kan I shall give one of the women,” he said. ínkala:š” káhhan. Cokfí:kok ónkak, Rabbit spoke: “Mántik tayyihá caffá:ka:sip “But just one of the women is not stamalpísko:š,” ká:hato:š. enough for me,” he said. Scene 3: The First Quester Fails Má:min, Then, “Anók,” ká:hatoho:limpats a:ti:pacobák. “I,” said Great-One-Who-Eats-HumanBeings , so it is reported. 20 “Sti:lalíhc,” káhhan. “I can bring it,” he said. A:ti:kok ónkak, “The person spoke: “Mó:li:p, isnók áøøok ohwíhlit stí:l!” “Well, as for you, go off, go and look káhhan. for it and bring it!” he said. A:ti:pacobá:kok tayyihá b`annak, Great-One-Who-Eats-Human-Beings wanted women, bikkón aøí:yatoho:limpatš. and he went first, so it is said. 25 Má:mik okicobá ohto:cofóttoho:limpatš. And at that he went and dived into the sea, so it is said. O:nakáøto:š. He disappeared into the water. 6 Koasati Traditional Narratives Má:mik, Then, íklot nakáøøan. he did not come back and was gone. Scene 4: Rabbit Is Sent on the Quest Cokfí:kok ónkak, Rabbit spoke: 30 “A:ti ná:sok øóykat íklot,” “No one has come back,” he said, ká:toho:limpatš. so it is reported. “Aná:øok ómmo:š. “I alone am the one. Øóykat í:lahalpí:sak,” káhhan. I can come back,” he said, so it is reported. A:ti:kok mán mattóhnoto:š. The person also sent for him. Má:min, Then, 35 cokfí:kok ónkak, Rabbit spoke: “Mó:li:p, tikbá stí:lali:p, “Well, if I bring fire, tayyí imaníhtaha óhyan I shall have sexual intercourse with all of apoøó:kallaho:š,” ká:toho:limpatš. the young women individually,” he said, so it is reported. Má:min, Then, á:tik ónkak, the person spoke: 40 “Mámmitikš!” kahhan. “Let it be so!” he said. Scene 5: Rabbit Crosses the Ocean and Steals Fire Má:mo:sin, Thereupon, cokfí:kok yawophilkón Rabbit went quickly, so it is said. aøíytoho:limpatš. Aøí:yak, He went off, okifón ó:øat, and arrived over there to the ocean; 45 holikfá síhlit apíslok, he took off his shirt and threw it off, ittó tospón pa:cokkóhlok, and sitting on a rotting log, sto:waøíytoho:limpatš. it is said that he went off sailing. Má:mik, Then, o:øopóttoho:limpatš. he forded the ocean, so it is said. 50 A:yatoho:limpatš. He went about there, so it is said. Mó:tohon, And later, tikbán a:timb`annan, he wanted fire from people, ohïhíkkon, and they did not give it to him, astimíhsok, and taking it from them, 55 astiwwalí:katoho:limpatš. he ran with it from them, so it is said. Má:min, At that, hoøóhtoho:limpatš. it is said that they chased after him. Má:min, Then, stá:yat he carried it; 60 óhya ittohayó swalí:kat, through the whole forest he ran with it Rabbit Stories 7 stá:ya:sin, and he really carried it, okicobafón óhøok, and, having arrived over at the ocean, oshaccá:lik. he went and stood with it. Scene 6: Rabbit Swims the Ocean with Fire Mó:tohon, Then afterwards, 65 coyyí nihán isbakkí obá:li, pine resin on the back of his head, coyyí mashamóhlit anóhlok, having rubbed it full of pine, haccá:tohon, he stood there, á:tik øóhli:k ilá:ci:fó:kon, and when the people who were chasing him arrived, sto:cofóttoho:limpatš. he dived into the water with the fire. 70 Ilbí abón swáylit, He held it up in his hand; tikbá stó:waøí:yato:š. he went in the water with the fire. Má:máhpok, Nevertheless, lóhkat anó:kak, when he became tired, isbakkí obá:lin tikbá masbatáplit it is said that he struck the back of his head with the fire, 75 hiøi:lí:cit sto:waøíytoho:limpatš. set it on fire, and went in the water with it. Kámmit sto:wá:yat o:øopóttoho:limpatš. In such a way, it is said, did he carry it in the water and go in the water with it. Scene 7: Rabbit Receives His Reward Má:mok, Then, á:tifa:kon stí:lato:š. he brought it to that person. Máhmin, Right then, 80 tayyihá imaníhta ínkak ónkak, he gave him the young women and spoke: “Hiná:p yók cintayyí mó:š,” “Now indeed these are your women,” ká:toho:limpatš. he said, so it is reported. Má:mo:sin, Thereupon, cokfí:kok ayókpat ayókpat Rabbit was in a state of extreme á:tatoho:limpatš. happiness. Mó:tohok, And then afterwards, 85 tamóhkan, night having fallen, bálká:hi:fó:kon, when they were about to lie down, cokfík ónkak, Rabbit spoke: “Hotahón támmillaho:š anók,” “In the middle is where I shall be ká:toho:limpatš. lying!” he said. 8 Koasati Traditional Narratives Má:min, Then, 90 tayyihák ittimmánkak anóskok the young women having finished cokfí ohimpátlin, speaking to one another, made the bed for Rabbit. “Híc!” hoká:n, ballá:kato:š. “Now!” they said, and he lay down. Scene 8: Rabbit Receives His Comeuppance Ma:fó:kon, When that had taken place, tayyihák ittimmánkak, the young women spoke to one another. 95 “Cokfík balláhkan, “Rabbit having lain down, inna:øí:kat afá:kat stistílkan, we are to continue to laugh and to speak to him, cokfík ayókpahalpí:sat t`ammi:fó:kon, and when Rabbit is lying down shompá:nit ittïhalátkok and sufficiently happy, ittaskáhhílkok, we are to play with him, acón stonøá, and grab him together, and go out 100 holikfá ïsíhhílok, and arriving outside, øómmit apí:hílá:š,” we shall strip off his shirt, hoká:toho:limpatš. beat him, and dispose of him,” they said, so it is reported. Mó:tohok, Then afterwards, bálka:fó:kon, when they lay down, cokfí:kon shompántoho:limpatš. they played with Rabbit, so it is said. 105 Má:mo:sin, Thereupon, cokfí:kok hotahán t`ammit it is said that Rabbit was lying in the ayókpahalpí:stoho:limpatš. middle sufficiently happy. Akkámmit t`ammo:sin, He was just lying so, ittïhalátkok shompá:nit, and they grabbed him together playing with him, 110 acón staøøá:cok, having taken him outside, himá:k sbakóhlá:hih b`annok now they were in the process of stí:sa:sin, trying to throw him, cokfí:kok yawópkat yawópkok and when Rabbit, excessively frightened, cofótli:k, jumped, hohalátkahónka:sin, they were holding on to him so tightly atabifá afakcón socáffok, that he slipped out of the skin of his back, 115 walí:kak nakáøtoho:limpatš. ran off, and disappeared, so it is said. Rabbit Stories 9 Epilogue Mó:tohok, Then afterwards, á:yatoho:š. he went about. Mó:tohon, Then afterwards, a:ti:pacobók afánkan, he met Great-One-Who-Eats-HumanBeings , 120 ittinna:øí:katoho:š. and they spoke to one another. Mahmin, Right then, a:ti:pacobák ónkak, Great-One-Who-Eats-Human-Beings spoke, “Naksámmin cïholikfák cipa:íksó?” “Why do you have no shirt on your back?” ka:toho:limpatš. he said, so it is reported. Ká:han, He said it, 125 Cokfík ónkak, and Rabbit spoke: “Iltóhnolik ó:š,” ká:toho:limpatš. “It is the case that I am working,” he said, so it is reported. Tayyihák âhasaykáhcok ómmo:š. It is the case that my women are many. Acayókpat acayókpš,” ká:toho:limpatš. I am very happy,” he said, so it is reported. Mántik a:ti:pacobák iyyínkotoho:limpatš. But it is said that Great-One-Who-Eats Human-Beings did not believe him. Textual emendations: Line 6 iñgahabƒa ñgotos ínká:hï bánkoto:š Line 14 ¯oitaigiha ocotaykihák Line 20 istilal¯e ts sti:laiihc Line 34 mat¯ohonat¯os mattóhnoto:š Line 66 nas hƒamholit mashamóhlit Line 72 mamaxpo mamáhpok Line 86 bƒalgaif¯ogun bálkáhi:fó:kon Line 88 ta minlah¯os t`ammillaho:š Line 111 isbƒaka le bƒanok sbakóhlá:hih b`annok Line 112 yaw¯opgo yawópkok Textual commentary: Line 16 This line provokes laughter among listeners, for it reflects the role of Rabbit as one who openly violates the norms of society. Although the exchange of women for fire is part of the plot skeleton of this narrative, Langley’s version emphasizes Rabbit’s sexual voracity, in contrast to a version recorded by Bel Abbey (Kimball 1993a), which subordinates it to other elements. Line 36 Rabbit’s statement is considered quite shocking, and the language is blunt. The use of the verb apoøó:kan ‘to have sexual intercourse with someone (singular object)’ with a plural 10 Koasati Traditional Narratives object (tayyí imaníhtaha óhyan ‘all the young women’) implies that he will have sexual intercourse in sequence with the women, leaving one and going on to the next. Lines 42—46 The length of this sentence, consisting of five lines, is an indication that this is an important point in the narrative. Rabbit sailed over the ocean on a rotten log; however, he returned by swimming. His swimming over the ocean is one of the climactic points. The statement that Rabbit threw off his shirt implies that he transformed himself from his human form into his animal form; in this version, the same transformation occurs at the second climax. The use of a rotten log as Rabbit’s vessel is a good descriptive element. It is based on the observation that rabbits in nature, when hunted by dogs during the spring floods, will leap onto a rotten log floating by (rotten logs being hollow, and thus better floating) and thus escape the hunters. Lines 51—63 The increasing lengths of the lines as this scene draws to a close indicates the importance of what is told here to the plot of the story. The land across the ocean is sketched by the mention of the forest that reaches down to the ocean. Dramatic tension is heightened by Rabbit reaching the ocean carrying the fire and stopping, even though others are in pursuit of him. Lines 55—63 These lines contain a very finely wrought parallel structure: ‘he carried it’ of line 58 is paralleled by ‘he ran with it’ in line 54, repeated again as ‘he really carried it’ in line 60, and paralleled by ‘he went and stood with it’ in line 62. The ‘Forest’ in line 59 is balanced by ‘ocean’ in line 61. Lines 64—76 This scene also is marked as important by the lengths of the lines. The most important part of the scene is that in which Rabbit rubs the back of his head with pine resin, although at the time why he does so is not stated. The reason for his action becomes clear in the second half of the scene, in which Rabbit, having grown tired holding the fire up above the water with his hand, strikes it to the back of his head, where the ignited pine resin will keep it burning until he returns to the other side of the ocean. Line 88 Rabbit’s statement here is another expression of his hypersexuality. Again, Langley seems to dwell on this feature of Rabbit’s personality with interest, although the following scene will prove that Langley’s interest is not unaffected by traditional mores. Lines 93—115 The very long lengths of these sentences indicate that, to Langley, this was the main climax of the tale. As far as it can be determined, it is entirely of his creation; not even a hint of this scene can be found in the version of this tale told by Bel Abbey, which maintains all the other plot elements. Within this scene, Rabbit receives his comeuppance for his hubris In this instance, his hubris is of a sexual nature, manifested in his ready acceptance of the suggestion that all of the women would want him just as much as he wanted them. Hubris, as mentioned above, is considered by the Koasati to be a vice, and the comeuppance of a character with hubris is the main topic of those traditional narratives told with frequency at the present time. Also, the punishment for hubris is typically in character with the nature of the Rabbit Stories 11 offence. The revolt of the women, who heretofore have been reified as goods to be given to Rabbit for his services, is much more typical of Koasati culture than Langley’s patriarchal fantasies. The older Indians report that, in the 1930s, a woman whose husband took a secondary wife was so incensed that she beat the living daylights out of him. In this scene, Langley almost revels in the tables being turned on Rabbit–a violent reassertion of the norms of his culture in contrast to the patriarchal situation depicted in the previous scenes of the tale. The scene is quite descriptive; however, the sexual goings on are hinted at, rather than made explicit. The part at the end in which Rabbit slips out of his skin, transforming himself from human to animal, is very well handled. Listeners find this scene very funny, with the humor lying in the deflation of Rabbit’s sexual hubris. Lines 116—29 This epilogue is the weakest part of the narrative; in my experience, listeners preferred to have the tale end with the last line of the eighth scene. The epilogue violates the semantic standard for a well-formed tale by reintroducing Great-One-Who-Eats-HumanBeings , who dived into the ocean and disappeared (or drowned) in lines 17—19. The only connection with the rest of the tale is the lack of a shirt (or skin) on Rabbit’s back, it having been stripped from him by the women. The only possible reason that Langley added this epilogue to the narrative was to show that Rabbit never learns from experience–that he is still full of hubris. Like the typical braggart and liar, as soon as he leaves the scene of his humiliation, Rabbit returns to his old self. RABBIT TRICKS GREAT-ONE-WHO-EATS-HUMAN-BEINGS narrated by Selin Williams The narrative Rabbit Tricks Great-One-Who-Eats-Human-Beings was taken by dictation in Koasati by John R. Swanton in 1910. He assigned it number seventeen in his manuscript “Koasati Texts, Second Series” (Swanton 1910) and later published a translation based on the interlinear glosses in this manuscript (Swanton 1929:207—8). It is notable that in the published version he deleted the lines in scene 3 in which Rabbit tells that his testicles will pop. Such deletions, and the translation in other narratives of salacious matter into Latin, were a concession to standards of decency set by the Post Office based on the Hicklin Rule and required of scientific publications of the period. A new translation of this narrative, presented without the Koasati text, has also been published (Kimball 1995). Selin Williams, whose Koasati name is not remembered, was the mother of Sacowáyhki (Jackson Langley) by Joe Langley of the Kowí ayiksá. Her family was among the first of the Koasati to settle in southwest Louisiana in the 1860s and 1870s. Her sister was married to the Koasati mikkó, John Abbey, and her sister-in-law Sokí was a well-known traditional doctor. Selin Williams had a wide knowledge of traditional tales; in fact the vast majority of the Origin Tales found in chapter 2 were told by her. 12 Koasati Traditional Narratives Scene 1: Rabbit Encounters Great-One-Who-Eats-Human-Beings A:ti:pacobá:kok iltohnóhcok cafhayó Great-One-Who-Eats-Human-Beings á:tatohon, was continuing to work in the field, cokfók imóhøok intóhnofon. when Rabbit arrived over there to where he was working. Cokfík ónkak, Rabbit spoke: “Na:son iltocíhnó?” ká:toho:limpatš. “What are you working at?” he said, so they say. 5 Máhmin, Then, a:ti:pacobák ónkak, Great-One-Who-Eats-Human-Beings spoke. “Palancobón acíhlila:š,” “I intend to plant string beans,” he said, ká:toho:limpatš. so it is reported. Scene 2: Rabbit Tricks the Wife of Great-One-Who-Eats-Human Beings Máhmin, Then, cokfík aøí:yak. Rabbit went off, 10 a:ti:pacobá halkifá óhøok, and arriving at the house of the wife of ónkak, Great-One-Who-Eats-Human-Beings, he spoke. “Palancobán âhólcimpa:š,” káhhan, “Your husband said that you should cook string beans for me by boiling,” he said, a:ti:pacobá halkík ónkak, and the wife of Great-One-WhoEats -Human-Beings spoke. “Yáp palancobá acíhhílilahok “But it is the case that we will be ómmitš,” káhhan, planting these string beans,” she said. 15 “Mántik, “But, ‘Cïhó:øilaho:š,” ká:ha:š,” ‘She will cook them for you by káhhan, boiling,’ he said,” he said, halkík iyyínkotoho:limpatš. and they say that the wife did not believe him. Máhmin, Then, Cokfik ónkak, Rabbit spoke. 20 “Mó:li:p, “Well, matimasilhá:cilin,” káhhan, I shall call and ask him,” he said, ónkak, and she spoke. “Eh´ê,” káhhan, “Yes,” she said, cokfik oshaccáhlok, and Rabbit going and standing called, 25 “Iská:son?” kahhan, “Did you say so?” and Great-Onea :ti:pacobák ónkak, Who-Eats-Human-Beings spoke. “Eh´ê,” ká:toho:limpatš. “Indeed,” he said, so it is reported. Rabbit Stories 13 Scene 3: Rabbit Pretends to Permit Great-One-Who-Eats-Human-Beings to Kill Him Mó:tohon, Afterwards, a:ti:pacobá:kok íhlok ónkak, Great-One-Who-Eats-Human-Beings arrived and spoke. 30 “Palaná amanóshacô,” káhhan, “You have devoured my beans!” he said, Cokfik ónkak, and Rabbit spoke. “Ahcihô:pá¿si?” ká:toho:limpatš. “Are you really angry with me?” he said, so it is reported. “Taybí cobá pa:balláhkalin, “I shall lie down on a large box, cakáøkat cattakoyófš!” and you chop and cut me in two!” ká:toho:limpatš. he said, so it is reported. 35 Máhmok, Right then, pa:balláhkan, he lay down, cakáøkatohok, and the other chopped at him, cokfík cofótlin, and he jumped away, taybí pilahón cakáøkat and the other chopped against the box, alwáhtoho:limpatš. and destroyed it, so it is said. 40 Má:mo:sin, Thereupon, mán cokfík ónkak, again Rabbit spoke. “Mó:li:p, talí cobafón cokkó:lifa “Well, I shall lie over on a large stone, pa:balláhkalin, over where it sits, cakáøkat cattakoyófš!” káhhan. and you chop and cut me in two!” he said. Má:mo:sin, Thereupon, 45 cokfí:kok talifón ohpa:balláhkan, Rabbit went over to a large stone and lay on it, cakáøkatohok, and the other chopped at him, cokfík incofótlin, and he jumped away, talí pilahón cakáøkat and the other chopped against the stone, cafí onalwáhtoho:limpatš. and destroyed the axe on it, so it is said. 50 “Á:tok caikbóhc,” káhhok, “No one can kill me,” he said, “Má:mik, í:san aconokbáhlok, “unless, closing me in the house, aconóstin, and burning me, cattaíllilaho:š,” ká:toho:limpatš. I shall die in the fire,” he said, so it is reported. “Cálli:p ónkalaho:š. “It will make a noise as I die. 55 Ná:sok tokóhka mók, Something also will pop, cállin ónkalaho:š. it will make a noise as I die Cahiøihcík ónkalaho:š,” My testicles will make a noise,” ká:toho:limpatš. he said, so it is reported. 14 Koasati Traditional Narratives Máhmok, Then, ishayó ayahí nó:ta hóhcat, in the house, he dug underneath the bedstead, 60 hopáhkin ohtachalíhkok he went and got out far away, á:tatoho:limpatš. and stayed there, so it is said. Akkammíhcok á:tatohon, The other went on doing it, onokbáhlok, having shut it up, onó:titoho:limpatš. it is said he set it on fire. Ma:fó:kap, Right then, 65 walí:kat toppón ohtachalí:kat íhlok, he ran and from far away he went and came out and arriving, “Hó:!” ká:toho:limpatš. “Ho!” he said, so it is reported. “Ná:sok caíkbo:š. “Nothing can kill me. Pí:la ittimóklatílkaskš!” káhhan. Let us become friends with each other!” he said, A:ti:pacobá:kok imóklatoho:limpatš. And it is said that Great-One-Who-Eats Human-Beings became friends with him. Scene 4: Rabbit and Great-One-Who-Eats-Human-Beings Go Wandering 70 Má:mo:sin, Thereupon, a:yá:citoho:limpatš. the two of them were going about, so it is said. Máhmin, Then, aøøá:citohon, as the two of them were going, “Ittó pa:kawáøkok na:hóhc. “There is a tree split by lightning. 75 Má:fon ohtinnó:cilaho:š,” ká:hato:š. We will sleep there,” Rabbit said. Mó:tohok, Then afterwards, oøá:ci:fó:kon, when they arrived there, ónkak, he spoke. “Ittón hasáyhkon wíhhílok, “Having looked for a lot of wood, 80 innó:cilaho:š,” ká:hato:š. we will sleep,” he said. Má:mok, Then, ittó hápka tammá:hoscok haccá:lin, an almost fallen dead tree stood there, nikóhkat haccá:tohok, it stood there shaking, má ayakhá óhtin, and he thought that near to that, 85 balláskato:š á:lok, having kindled a fire, the two of them óhtin. would lie down, and he kindled a fire. Mó:tohon, Then afterwards, nó:ci:fó:k, while the other slept, toøkaybí íkba kayápkat á:lok, he thought to pick up some hot coals, 90 pa:tihípkok, and pouring them out on him, ibisnók sámmoscin póyhascon he himself poured out for himself Rabbit Stories 15 ilatihípkok, a little bit on some cold ones, falánkok á:tatoho:limpatš. and having risen from sleep, it is said that he stayed on. Mó:tohon, Then afterwards, mán nihtán aøøá:citohok. the next day the two of them went on. 95 “Hahci tontáfkok t`ammo:š,” ká:hato:š “There is a river for jumping back and cokfik. forth across there,” Rabbit said. “Món ónøalaho:š,” ká:haton. “Also, we will arrive there,” he said. O:øáhcin, On arriving there, hahcosí iskónnascok t`ammitohon. there was a narrow little creek. O:øáhcin, On their arriving there, 100 cokfí:kok cofótlit tontafátlit ohhaccáhlok, Rabbit went and jumped across it. “Isná:øi man,” káhhan, “You also!” he said, a:ti:pacobá:kok matcofótlit and Great-One-Who-Eats-Human-Beings ithaccá:lin, came jumping and stood there, cokfí:kok øóykat matcofó:tlit and when Rabbit came jumping back, ithaccá:li:p, the river was cut in half, 105 hahcí stittakoyófkok, and Great-One-Who-Eats-Humana :ti:pacobák taøá má:lon Beings stood only haccá:lin, on the other side, stoktá:yat and it floated off with him and snakáøtoho:limpatš. disappeared with him. Má:mo:sin, Afterwards, okicobá taøá pilahón aøí:yato:š. it took him to the other side of the ocean. Textual emendations: Line 32 ƒantcih¯onpaasi ancihô:pá¿sí Line 39 ƒaliwatoh¯olimpats alwáhtoho:limpatš Line 52 ƒatconast¯e aconóstin Line 67 tcaikobo caíkbo:š Line 68 p¯elot itimokƒalƒatkilks pí:la ittimóklatílkaskš Line 74 na hats na:hóhc Line 79 wehe lo wíhhílok Line 95 gaxga hat¯os ká:hato:š Line 98 isku nastcu iskónnascok Textual commentary: Lines 1—27 The motif of a trickster tricking a being’s wife (and thus the being itself) is widespread in the Southeast. Swanton (1929:254) gives a Natchez example where the Trickster is Turkey and the foil is Wildcat. Note that in this tale Great-One-Who-Eats-HumanBeings has no discernable cannibalistic characteristics and acts merely as a foil for Rabbit. This shows the transition from the cannibal monster to the bumbling Elephant. 16 Koasati Traditional Narratives Lines 18—27 Here, Great-One-Who-Eats-Human-Beings thinks that Rabbit has told his wife that he was planting string beans and that she did not know it, so he calls back to confirm it, not realizing that Rabbit has said that he said that she should cook them for Rabbit to eat. Lines 54—57 “Cálli:p ónkalaho:š. / Ná:sok tokóhka mók, / cállin ónkalaho:š. / Cahiøihcík ónkalaho:š,” ká:toho:limpatš. “‘It will make a noise as I die. / Something also will pop, / it will make a noise as I die. / My testicles will make a noise,” he said, so it is reported’. These lines, which listeners perceive as among the most amusing in the narrative, were deleted from Swanton (1929:207—8). Because of then-current Post Office standards, references to sex in the Southeastern narratives were either edited out completely, as in this instance, or, if they comprised too much of the narrative, translated into Latin. Koasati listeners perceive these lines not as sexual, but as droll. Lines 87—92 This part of the scene, which is not completely clear, can be understood by comparison with similar scenes in other Southeastern narratives. Here, Rabbit and Great-OneWho -Eats-Human-Beings are camping in a place where Rabbit says something comes and pours hot coals on sleeping travelers. When Great-One-Who-Eats-Human-Beings goes to sleep, Rabbit pours some cold ashes on himself and hot ashes on Great-One-Who-EatsHuman -Beings, so that when he wakes up, he will think the same thing happened to Rabbit. Lines 93—107 This part of the scene, the tricking ofGreat-One-Who-Eats-Human-Beings over the ocean, appears in other Southeastern stories and in later Koasati recordings as the final element of the narrativeRabbitSwitchesDungwithGreat-One-Who-Eats-Human-Beings. The various episodes of Rabbit as trickster seem to have some degree of independent existence, and can be crafted together by the narrator in any way that she or he thinks feasible. RABBIT SWITCHES DUNG WITH GREAT-ONE-WHO-EATS-HUMAN-BEINGS narrated by Sacowáyhki This narrative, recorded in Koasati by John R. Swanton (1930), has never before been published. The dung-switching motif is found across the Southeast. Often, it occurs as part of a tale at the end of which Great-One-Who-Eats-Human-Beings is tricked over the ocean. Thistaleexplainswhyatpresent-dayElephant(Great-One-Who-Eats-Human-Beings)isfound only on the other side of the ocean and, metaphorically, why it no longer eats people, since by switching its dung from bones to grass, Rabbit made it into a plant eater. Scene 1: Rabbit Encounters Great-One-Who-Eats-Human-Beings Cokfín a:ti:pacobá ittafánkatoho:limpatš. It is said that Rabbit and Great-One-Who Eats-Human-Beings met each other. Máhmin, Right then, cokfík ónkak, Rabbit spoke. Rabbit Stories 17 “Ná:son ispáhcotohon?” “What do you usually eat?” ká:toho:limpatš, he said, so it is reported, 5 a:ti:pacobá imasilhá:cit. asking Great-One-Who-Eats-HumanBeings . Máhmin, And then, a:ti:pacobák ónkak, Great-One-Who-Eats-Human-Beings spoke. “Á:tï í:palíhco:š,” ká:toho:limpatš. “I usually eat people,” he said, so it is reported. Máhmin, Then, 10 cokfík yínkotoho:limpatš. Rabbit didn’t believe it. Máhmik, Then, “Howó! Cikpóhc,” ká:toho:limpatš. “No way! You can’t eat them,” he said, so they say. Máhmin, Then, “Anók ómmi mók á:tï í:palíhco:š,” “I also am one who usually eats people,” káhhan, he said, 15 a:ti:pacobák iyyínkotoho:limpatš. and Great-One-Who-Eats-HumanBeings did not believe him. Scene 2: Rabbit and Great-One-Who-Eats-Human-Beings Have a Defecation Contest Máhmin, Then, ittinna:øí:kat stáswan, the two of them stayed talking together, má:mik, and then, “Hoppó:lat ilhicáskš!” “Let us try defecating!” ká:toho:limpatš Rabbit said, cokfík. so it is reported. 20 Máhmin, Then, cokfík ónkak, Rabbit spoke, “Anáp hoppó:lali:p, “As for me, when I defecate, atcofkoninannáhco:š,” káhhan, it is nothing but human bones,” he said, stáswan, and the two stayed together, 25 “Mó:li:p, hoppó:lat ilhicáskš!” and the other said, “Well, let us káhhan. try defecating!” Hoppá:lá:hi:fó:kon, When they were about to defecate, cokfík ónkak, Rabbit spoke. “Haytanátkat misí:lïh!” “Turn around and keep your eyes closed!” Máhmo:sin, Thereupon, 30 ittá:sat hoppó:lat cikkí:katoho:limpatš. together the two of them sat defecating, so it is said. 18 Koasati Traditional Narratives Scene 3: Rabbit Switches Dung Mahmok, Then, fáyhlin, as they quit, “Híc! Ilhicáskš!” ká:toho:limpatš “Now! Let us see!” said Rabbit, cokfík. so it is reported. Illaykí matittacikkí:litoho:limpatš; His dung lay in a heap on the ground, it is said; 35 pahinannáscok. it was nothing but grass. O:tamátlit ibisnók, He himself switched it, a:ti:pacobá illayk´ß matpíhlok and taking up Great-One-Who-EatsHuman -Beings’s dung, cikkí:toho:limpatš. laid it down, so it is said. Má:mo:sin, Thereupon, 40 hohí:catoho:limpatš. the two of them looked, so they say. Mó:tohon, Then, hí:catohon, they looked, cokfí hoppó:litohofa, and in the place where Rabbit had defecated, nascofkoník cikkí:kan, a heap of bones lay, 45 máhmin, then, a:ti:pacobá hoppó:litohofa, in the place where Great-One-Who Eats-Human-Beings defecated, pahí laykík cikkí:katoho:limpatš. itissaidthataheapof grass-dung lay. Scene 4: Rabbit Angers Great-One-Who-Eats-Human-Beings Má:min, Then, cokfík ílbin stittibóklok, Rabbit clapped his hands, 50 afa:lí:cit noksipá:citoho:limpatš. laughed at him, and angered him, so they say. Afa:lí:cit fáykon, He did not quit laughing at him, a:ti:pacobák noksíhpok, and Great-One-Who-Eats-Human-Beings having become angry, cokfí í:bih b`annatoho:limpatš. he tried to kill him, so it is said. Scene 5: Rabbit Tricks Great-One-Who-Eats-Human-Beings Má:min, Then, 55 cokfík immaøátlok, Rabbit, being afraid of him, ïholástoho:limpatš. lied to him, so they say. “Ná:sik scincó:bak hocí:bá:š,” “Something larger than you wants to kill ká:toho:limpatš. you,” he said, so it is reported. Má:min, Then, “Acihiccá:cilá:š,” káhhan. “I will keep watch over you,” he said. Rabbit Stories 19 60 Má:min, Then, “Cinó:ci:p, “When you fall asleep, okí láhpon ohcipa:tihípkalahô,” it will come and pour hot water ká:toho:limpatš cokfík. on you,” said Rabbit, so it is reported. Mó:tohok, Then, 65 ibisná:lok okí ikbáhcon stí:latok, he himself brought hot water, nó:ci:fo:k, and when he fell asleep, matpa:tihípkok, poured it on him, walí:katoho:limpatš. and ran away, so it is said. Scene 6: Rabbit Tricks Great-One-Who-Eats-Human-Beings Again Má:mok, Then, 70 “Cokfík hiná:p acón snó:ci:má:š, “Rabbit must now sleep outside,” ká:toho:limpatš. he said, so it is reported. “Taybón naholí; “I shall make a box, hókfit nó:ci:š,” ká:toho:limpatš. get in it and sleep,” he said, so they say. Mó:tohok, Then, taybón náhhok, having made the box, 75 okí pá:na ohpíøkan, he went and put it at the water’s edge tamó:ka:fó:k, and when it was night, a:ti:pacobák hókfon, Great-One-Who-Eats-Human-Beings was inside, stonacástoho:limpatš. and he [Rabbit] sealed it up, so it is said. Mó:tohok, Then, 80 nó:ci:fó:kon, when he was sleeping, okifón masto:wapíhlok, he threw it and him into the water, walí:kat nakáøtoho:limpatš. and ran off and disappeared, so it is said. Epilogue Ittohayó má:øon cokkó:lit, He dwelt only in the forest, maøátlit, he was afraid, ittiøík misípkot, he did not close his eyes, 85 Ittiøí ïhó:patoho:limpatš. and it is said that his eyes hurt. Textual commentary: Lines 6—15 In this narrative, Great-One-Who-Eats-Human-Beings is still a cannibal, but his wits are not a match for Rabbit’s. Line 28 “Haytántkat misí:iïh!” ‘“Turn around and keep your eyes closed!”’ By foolishly trusting Rabbit and doing what he says, Great-One-Who-Eats-Human-Beings makes it easy for Rabbit to trick him. 20 Koasati Traditional Narratives Lines 48—53 From this point on, this particular narrative varies from the other Koasati versions recorded and from those of other Southeastern groups. Martin Abbey mentioned that Great-One-Who-Eats-Human-Beings said, when he saw the switched dung, “I never shat like that before,” and such a reaction is recorded in other Southeastern versions of this tale. In otherversions, the episodeofthe translation of Great-One-Who-Eats-Human-Beings overseas follows; here, there are a couple of final tricks and the fear of Rabbit for Great-One-Who-EatsHuman -Beings is given as the reason why rabbits are so wild and almost never close their eyes. RABBIT AND GREAT-ONE-WHO-EATS-HUMAN-BEINGS HAVE A DUNG CONTEST narrated by Bel Abbey I recorded this narrative on tape in 1981. It is clearly related to the tale “Rabbit Switches Dung with Great One Who Eats Human Beings,” but its focus is not on Rabbit tricking Great One Who Eats Human Beings, but rather on Rabbit’s hubris. Rabbit suggests the dung contest because he doesn’t really believe that Great-One-Who-Eats-Human-Beings is really the monster that he says he is, only to find out that he indeed is. Bel Abbey was one of the premier storytellers of the last half of the twentieth century, who not only told stories well, but also encouraged their learning and preservation. On his father’s side he was the grandson of Sacikílli, who was the Koasati mikkó for most of his young adult years. On his mother’s side he was the grandson of the last of the traditional weatherworkers. He had an encyclopedic knowledge of traditional Koasati culture (athómma imolpinó), and was the last organizer of the O:lanwí festival (o:lanwí stßhiná:ta), which used to be celebrated between Christmas and New Year’s. This tale is told for its humor. Mr. Abbey’s daughter and grandchildren were listening while the tale was being recorded, and they laughed in several places. The blunt language used by the characters in the narrative is considered to be quite funny; the introduction of generally taboo subjects such as sex, death, or excretion into a traditional narrative makes a narrative humorous. Introduction Mó:lip, Well, hacimmánkalá. I will tell you all, ná:hon, well, a:ti:pacobák cokfík stóklok Rabbit and Great-One-Who-EatsHuman -Beings 5 ittafánkat ittima:øí:katoho:limp I will tell you all how they met and hacimmánkalá spoke together Rabbit Stories 21 Prologue: Why Rabbit Hates Great-One-Who-Eats-Human-Beings Kántik cokfík cokë:boscómmok, But Rabbit seems to have been small, yomáhlit palámmot a:tipacobá. going about with Great-One-Who-EatsHuman -Beings; immaøátlik aøí:yatoho:p, he continued to be afraid of him; immaøátlik aøí:yat ómmátton, after he was afraid of him, 10 A:ti:pacobák óntit á:yatoho:p, Great-One-Who-Eats-Human-Beings kántikap afánka immaøatlá:hos- came, going about, but he was frightened toho:limpáhcok. to meet him, so they say. Cokfík cokí:bosco:lik immaøátlik. Because Rabbit was small he was afraid of him. Kántik bánkotoho:limpáhcok. Therefore he hated him, so they say. Cokfík a:ti:pacobá oholimpá imanó:lá:hi Rabbit does not want to eat the food of Greatb ánk. One-Who-Eats-Human-Beings Scene 1: Rabbit Encounters Great-One-Who-Eats-Human-Beings 15 Má:mo:sin, Thereupon, cokfók aøí:yatohok af´âhkok a:ti:pacobá. Rabbit, going somewhere, met Great-OneWho -Eats-Human-Beings. Má:mo:sin, Thereupon, “Naksofón aøcí¿yá?” ká:hatoho:limpáhcok “Where are you going?” he said, asking a:ti:pacobá imasilhá:ci:k. Great-One-Who-Eats-Human-Beings. A:ti:pacobák ónkak, Great-One-Who-Eats-Human-Beings spoke. 20 “Aøí:yali:s yá:fon pilahón “I am going towards that place, aøí:yali:s yá:fon,” káhhan, I am going there,” he said. Má:mo:sin cokfík, Thereupon, “Anómmâ. Anók aøí:yali:s má:fon,” Rabbit said, káhhan. “Me, too. I am going over there.” Kántik ónkak cokfík immánkat ïholá:sit, But Rabbit spoke, telling him a lie, 25 “Anó óntilitohofáp nâ:si íksóhc. “As for me, where I come from nothing exists. O  :hya anó:lit í:palíhcok óm,” I have eaten it all up,” Rabbit said, ká:hatoho:limpáhcok cokfík. so they say. Má:mo:sin, Thereupon, a:ti:pacobákónkak, Great-One-Who-Eats-Human-Beings spoke. “Ó:! Anók óntilitohofap ná:sok iksóhc “Oh! Where I come from nothing exists malmám. likewise. 30 Óhya anó:lilik í:lalíhcok óm,” káhhan. I have come eating it all up,” he said. 22 Koasati Traditional Narratives Scene 2: Rabbit and Great-One-Who-Eats-Human-Beings Have a Dung Contest Má:mo:sin, Thereupon, mó:li:p, well, “Ittáshílik, “Together, yá:fon oscokkóhcin, you go and sit over there, 35 anók yá:fa scokkó:lilin, and I shall sit there, holippo:lásk máp!” ká:hatoho:li and let’s shit!” he said, mpáhcok. so they say. Má:mo:sin, Thereupon, “Hoppó:latískan hí:calâ,” ká:hatoho:li- “I intend to see you shit,” he said, mpáhcok. so they say. Má:mo:sin, Thereupon, 40 “Éh´ê! Isnók hocippó:lan ilhicásk máp! “Yes! Let’s see you shit! Hoppó:lalin ilhicásk! Let’s see me shit! Isnók yá:fa hocippó:lan, You shit there, yá:fon hoppó:lalin ilhicásk má:min,” and I shall shit over there, and let us káhhan. see, then!” he said. A:ti:pacobák yá:fa aøí:yatohok, Great-One-Who-Eats-Human-Beings went 45 there; ohcokkóhlok hoppóhlan, he went and sat and shat. cokfík yá:fa staøí:yatohok, Rabbit went there, tabakcospók cokkó:tohon, where a stump stood, pá:na pa:cokkóhlok, and sat on top of it, pa:hoppó:lan. and shat on top of it. Scene 3: The Results of the Dung Contest 50 Má:mo:sin, Thereupon, hoppó:lat fayáhlin, they finished shitting. “Hiná:p mó ilhicásk!” káhhan. “Let’s see then!” he said. “Hiná:p mó ilhicásk! Anáp fáylil” káhhan. “Let’s see, then! I am finished.” “Anók fáylil. Mó:li:p ilhicásk!” káhhan. “As for me, I am finished. Well, let’s see!” he said. 55 A:ti:pacobák aøí:yatoho:limpáhcok, Great-One-Who-Eats-Human-Beings went, so they say, cokfik hoppó:lato ohhí:cá:hi, to see how Rabbit had shat, ohhí:catohon, he went to see it, tonohtó:kost okhocakko  :scon and small green round things, pa:cikkí:katoho:limpáhcok it is said were laid on top of it, 60 talibó:lit cassí má:mik tabakcospí he made something like corn on top pá:na. of the stump. Rabbit Stories 23 Má:mo:sin, Thereupon, cokfík aøí:yatohok, Rabbit went; a:ti:pacobák hoppó:lato ohhí:catohon, he went to see how Great-One-Whon á:si í:patohok Eats-Human-Beings had shat; 65 ná:si maøátka má:mit what he had eaten was somehow frightening; ná:si pahí má:mit it was something like grass [in appearance]; cofkoní má:mit but it was something like bones ná:si:pato má:min which was that which he had eaten, hoppó:latohon híhcok and having seen what he had shat, 70 immaøáttoho:limpáhcok cokfík. Rabbit was afraid of him, so they say. Scene 4: Rabbit is Caught in a Lie Má:mo:sin, Thereupon, “Anóyok óntilifap ná:sok íksóhc, “But as for me, where I come from, nothing exists; ná:síksóhc katík óm,” ká:hatoho:li- it is the case that nothing exists,” mpáhcok cokfík maøátlik, frightened Rabbit said, so they say, Akkántik, But this being so, 75 “Áøøalá:híhcon óm. “I intend to go there. Øopótlilok,” káhhok a:ti:pacobák. I will pass through,” said Great-One-WhoEats -Human-Beings. Alí:yatoho:limpáhcok øopótlok, It is said that he went passing through, kántik, but this being so, immaøátlik, he [Rabbit] was afraid, 80 ó:øá:hi bánko ónkayon and even though he did not want him to go there í:latoho:limpáhcok. he arrived, so it is said. Immaøátlá:hostoho:limpáhcok cokfík Rabbit was really frightened of Great-Onea :ti:pacobá. Who-Eats-Human-Beings. Kántik But this being so, hoppó:latohofap where he had defecated, 85 pahí okcákkonánnan hoppó:lat cikkí:tohon, shitting he had laid down nothing but green grass. Má:mok, Thus, a:ti:pacobák iyyínkotoho:limpáhcok. Great-One-Who-Eats-Human-Beings did not believe him, so it is said. M´ô! Kámmo:sin sobáylil. Enough! Just so much is what I know. Tafhiyám! Finis! 24 Koasati Traditional Narratives Textual commentary: Lines 25—26 No motivation is given for Rabbit’s outrageous lie here. The prologue states that Rabbit hates Great-One-Who-Eats-Human-Beings because he is afraid of him; perhaps Rabbit is trying here to frighten Great-One-Who-Eats-Human-Beings. Line 36 holippo:lásk máp! ‘Let’s shit!’ The Koasati verb hoppó:lan is equivalent in social sensibility to the English verb ‘shit’. It is both graphic and not used normally in polite everyday speech. Thus, its sudden introduction, in a form that never, ever would be used in public (c.f. “let’s shit!” in English) creates a sudden shift in tone and contrast which strikes the Koasati ear as being very humorous. Scatological humor in the oral literature of the Southeast has rarely been discussed, although it seems to have been widespread. Natchez oral literature as recorded by Haas (1936—38) is particularly rich in humorous incidents involving feces, diarrhea, and defecation. Lines 58—60 This is an accurate description of what natural rabbit dung looks like. The plural forms of the adjectives tonóhkin (tonohtó:k-) ‘be round’ and okhocákkon (okhocákko-) ‘be green’ are linguistically interesting because of the infixed reduplication (see Kimball 1988:431—42) Line 59 pa:cikkí:katoho:limpáhcok ‘it is said were laid on top of it’. Positional verbs in Koasati are marked for the shape of the object. Thus the verb pair cokkó:lin/cikkí:kan, which usually mean ‘to sit (singular/dual) of animate objects’ here means ‘to lie (singular/plural) of globular objects’. Lines 64—69 Rabbit tries to see the dung of Great-One-Who-Eats-Human-Beings as grass, but it is really slivers of human bone. Great-One-Who-Eats-Human-Beings really is the monster who he says he is, which suggests that this story is from the earlier tradition, before GreatOne -Who-Eats-Human-Beings became a more comic figure. Line 72 The form anóyok is quite interesting. It is composed of the pronoun anó ‘I’, verbalized with -o- ‘to be,’ followed by -y- ‘contrary to expectation’ and -ok ‘same subject plus focus’. The line in which it occurs literally means: ‘But on the contrary (despite what you observe) it is in the place where I come from that nothing exists’. Rabbit here is truly living up to his name Cokfí Holá:si ‘Rabbit, the Liar’. Like many another liar, having been caught in a lie, he continues to lie, until the one to whom he lies goes to verify the liar’s claims for himself. Rabbit never learns. Line 89 Tafhiyám! ‘Finis!’ This interjection is the stereotypical ending of a traditional narrative, after which the teller of the tale is obliged to spit. If this was not done, the teller was supposed to grow a hump on his or her back. This interjection, which has no other meaning in Koasati, may be connected with the Creek word tofkayankis ‘I have spit’. Rabbit Stories 25 RABBIT TRICKS GREAT-ONE-WHO-EATS-HUMAN-BEINGS OVERSEAS narrated by Bel Abbey I recorded this narrative on tape in 1981, immediately after recording Rabbit and Great-OneWho -Eats-Human-Beings Have a Dung Contest. Unusually, Mr. Abbey started with no prologueorintroduction.Rather,thetalebeginsimmediatelyaftertheintroductoryconjunction má:mo:sin ‘thereupon; and then’. This seems to be a feature of narrative performance. When the tales come one right after the other, especially if they are linked by character or theme, the storyteller can dispense with introductory matter, and start directly in on the tale. This tale is similar to the final scene of Selin William’s Rabbit Tricks Great-One-WhoEats -Human-Beings above. Also, as mentioned above, the various scenes that make up traditional narratives (and tales of Rabbit in particular) can have an independent existence, as here, or can be combined into larger narratives. The Koasati storyteller is allowed considerable freedom to express her or his creativity, and to “take” from the communal repertoire those tales that she or he likes the best. As a result, there is no canonical version of any particular tale, although there are commonly known occurrences that listeners will expect to hear in any specific tale. Scene 1: Rabbit Lures Great-One-Who-Eats-Human-Beings to the River Má:mo:sin, Thereupon, a:ti:pacobák ohøopótlá:hi:fó:kon as Great-One-Who-Eats-Human-Beings was about to pass by, ïholástoho:limpáhcok cokfík. Rabbit lied to him, so it is said. Ïholá:sit fáykotoho:limpáhcok, He never quit lying to him; 5 bánkóhcómmok he hated him; yá:li á:tá:hi bánkóhcóm. he did not want him to live here. Má:mo:sok, Thereupon, “Anøí:yásk má:min, “Let’s go, then, yá:fon acacákhískan,” káhhan. You come with me over there,” he said. 10 “Yá:fon ná:hok oholimpá ká:nok,” káhhan. “Over there is some good food,” he said. Ittacákkit aøøá:citoho:limpáhcok. The two of them went off together, so it is said. Má:mo:sin, Thereupon, hahcifá oøáhcin, having arrived at a river, hahcí cobafá oøáhcin, having arrived at a big river, 15 má:mo:sin, thereupon, apatahá áswatohon. the two of them were there alongside it. 26 Koasati Traditional Narratives Scene 2: Rabbit Suggests a Jumping Contest Pahí okhocákko:si í:pan, He [Rabbit] ate the fresh green grass, a:ti:pacobák imanó:lá:hi bánko:fó:kon, but when Great-One-Who-Eats-HumanBeings did not want to eat it, hahcifá oøáhcin, they went over to the river. 20 “Cofótlit talabanápka:p ihá:nifok, “One can jump across to the land [on the other side], øóykat øopótli:fó:k . . . ,” and when one jumps back . . .” “Yáncíkkóhc,” káhat imilakasá:motoho:li- “You can’t do it,” he said, as he [Great-Onemp áhcok. Who-Eats-Human-Beings]felthubristowards him, so they say. Cofótlit talabanápka:fó:k, When he [Rabbit] jumped across, “Cofótlit yáncíkkóhc,” ká:hat “You can’t do it,” he said, 25 øóykat talabanápkan. and came back across. Má:mo:sin Thereupon, a:ti:pacobák ónka:k, Great-One-Who-Eats-Human-Beings spoke. “Anáp akkántákkóhc. “As for me, I cannot do it. Casánkô. I am unable. 30 caco:báhcok cofotlilá:hik,” ká:hayon, I am too big to jump,” he said, but on the contrary, “Ittima:yá:cílkásk!” ká:hat áswáhpin. “Let’s have a contest!” he [Rabbit] said, since they were there. Scene 3: Rabbit Tricks Great-One-Who-Eats-Human-Beings Má:mo:sin, Thereupon, a:ti:pacobá bánkok ónkat cokfík. it was the case that Rabbit hated GreatOne -Who-Eats-Human-Beings. Má:mosin, Thereupon, 35 cokfík cofótlitohok, Rabbit jumped over, “Táhmok yám! “Land like this! Isnók yám matcofótl!” káhhan You jump like this!” he said. A:ti:pacobák ónka:k Great-One-Who-Eats-Human-Beings spoke. “Casánkóhc,” ka:háhpok “I can’t,” he just said, 40 a:ti:pacobá mók cofóttoho:limpáhcok. but then Great-One-Who-Eats-HumanBeings also jumped, so it is said. Cofótlit, He jumped, cofótli:fó:kon, and when he jumped, ohto:támmá:hi:fó:kon, when he came and almost landed in the water, cokfík okí taøán ohtámmíhcónkatohok. and it is the case that Rabbit landed back on the other side of the river. Rabbit Stories 27 Scene 4: Rabbit Sends Great-One-Who-Eats-Human-Beings Overseas 45 Kámmin, On doing so, “O:páth! O:path!” ká:hatoho:limpáhcok “Water, be wide! Water, be wide!” Rabbit cokfík said, so they say. Okík immáyt páthak óhya, The water all became wider, a:ti:pacobák o:øopótlit øóykat øopótko- it is said that Great-One-Who-Eats-Humann ánnampak. Beings could not ford back. Má:mo:sin, Thereupon, 50 cofótlit ohtáhmok a:ti:pacobák, Great-One-Who-Eats-Human-Beings, cofótli:fó:k taøán ohtámmit ommá:ton, having jumped, and gone and landed, cofótli:fo:kap, when he jumped, and after he landed ihá:nik stimakoláfkan, on the other side, sto:paká:lok when he jumped, 55 staøí:yatohok the land calved off with him, staøï:yat it carried him. it really took him. okí taøán ohtatipáskatohok ómmok, it seems he was separated on the yá:li iksóhcómmimpáhcok other side of the ocean, a:ti:pacobák. and Great-Ones-Who-EatHuman -Beings/Elephants do not exist here, so it is said. Okí taøán ostonafáytoho:limpáhcok On the other side of the ocean he stayed and never came back, so they say. 60 Cokfík ómmok It seems to have been Rabbit, o:øopotlíhcin, having made him cross the water, stonafáytoho:limpáhcok. made him not to come back again. Má:min, Thus, cokfík ima:yá:citoho:limpáhcok Rabbit defeated Great-One-Who-Eatsa :ti:pacobá. Human-Beings 65 Kámmo:sin sobáylil. Just so much is what I know. Tafhiyám! Finis! Textual comments: Lines 1—6 Rabbit’s motivation for trying to get rid of Great-One-Who-Eats-Human-Beings is here set out. Great-One-Who-Eats-Human-Beings is still a monster, and Rabbit would like to get him out of the way. Line 22 “Yáncíkkóhc,” káhat imilakasá:motoho:limpáhcok. ‘“You can’t do it,” he said, as he [Great-One-Who-Eats-Human-Beings] felt hubris towards him, so they say’. Once a narrator tags a character with the characteristic of hubris, the listener can be sure that something bad will happen to that character as a result. 28 Koasati Traditional Narratives Line 46 O:páth! ‘Water, be wide!’ This is a very interesting linguistic form. Usually the verb o:páthan ‘to be wide water’ is impersonal. Here it is given a second person singular imperative form, as Rabbit uses his supernatural powers to change the river into a sea. Lines 49—58 These lines form the climax of the story, based on the number of phrases linked together without a phrase-terminal marker. Line 58 yá:li iksóhcómmimpáhcok a:ti:pacobák ‘and Great-Ones-Who-Eats-Human Beings/ Elephants do not exist here, so it is said’. To Mr. Abbey and to most modern Koasati, GreatOne -Who-Eats-Human-Beings is visualized as an elephant, rather than as a bipedal being with a nose in the form of an elephant’s trunk. As a result, this narrative has the features of an origin tale, in that it explains why elephants are only found on the other side of the Atlantic Ocean. RABBIT AND BOX TURTLE RUN A RACE narrated by Martin Abbey I recorded this narrative on tape in November, 1981. Martin Abbey (1897—1991) was the last mikkó of the Koasati, having been elected to that position after the death of the previous mikkó, his father, Jefferson Abbey in 1952. In the mid-1970s, he gave up whatever political power he may have had so that the tribe could organize according to Bureau of Indian Affairs rules and be officially recognized as an Indian tribe by the federal government, which it finally was in 1975. By the time that this tale was recorded, Abbey was quite deaf, and the tale was elicited from him by asking him in writing to tell it. In addition he told a version of Great Blue Heron and Hummingbird Race and mentioned that he knew Rabbit Switches Dung with Great-OneWho -Eats-Human-Beings, but was unwilling to tell it to an outsider because of its scatological content. A notable feature of Abbey’s storytelling style is the use of expressive gestures and interjections; their presence is noted in the commentary that follows. In addition, he adapted English words as Koasati verbs in this narrative, for reasons that are not entirely clear. This narrative belongs to the innovative tradition, in which the character Rabbit replaces that of Wolf in the conservative tradition (see Wolf and Box Turtle Run a Race in chapter 4). The replacement of Wolf by Rabbit is partly due to Rabbit’s widespread appearance in other Koasati traditional narratives and partly due to influence from the European fable The Tortoise and the Hare. Nonetheless, as far as content is concerned, the Koasati narrative that is closest to The Tortoise and the Hare is not this one, but rather Great Blue Heron and Hummingbird Race. Scene 1: The Race Is Set Cokfík sattapolón It is said that Rabbit and Box Turtle ittimmá:yatoho:limpáhcok. ran a race. “Copoksí ostá:ka ittimmá:yatilkásk!” “Let us race over four mountains!” ká:hatoho:limpáhcok cokfík. Rabbit said, so they say. Rabbit Stories 29 Má:mo:sin, Thereupon, sattapolók, “Mó:tik!” ká:toh. Box Turtle said, “Okay.” 5 Sattapolók palhíkkopalamó:líhco:lisk, Because Box Turtle was extremely slow, iliyímmitoh immá:yá:hih, Rabbit was overconfident that he would beat him; pí:la yámmo:sin aøí:yaskan. as he could go only just so. “Copoksí ostá:kan, ostá:ka:fó:k, “Over four mountains; when it is the fourth one, immá:yan akkáhcotok,” ká:toh. so one wins,” he said. Scene 2: The Race Begins 10 Mó:tohon, Then afterwards, má:mo:sin, thereupon, imittahó:ban, they got ready, aøøá:citohot tóøkoh. and the two went off running. Cokfík cofótlitohmá:øok bikkón, Rabbit just jumped away first, 15 bikkón áøøatohoyok, even though he went first, copoksí staøí:ya:fó:kap, when he reached the mountain, sattapolók yá:fon Box Turtle over there was so going osto:tanáttoho:limpáhcok yámmit. down the other side, so they say. Scene 3: Box Turtle Wins at the Second Mountain Má:mo:sin, Thereupon, 20 cokfík mán walí:kat walí:kat, Rabbit again ran and ran, øopóttohot o:tanátli:p, and when he passed him going down øopótlok aøí:ya:fó:k, the slope, staøi:yak, when he went and passed him, sattapolók osto:tanáttoho:limpak and reached it [the next mountain], mán himá:ya mán. it is said that Box Turtle again, going down the other side. Scene 4: Box Turtle Wins at the Third Mountain 25 Má:mo:sin, Thereupon, hí:cat øopótlok, seeing him he passed him, mán walí:ka:k, and again when he ran, walí:ka:k, when he ran, himá:ya mán copoksí once again when he was passing over 30 ohtaøabanápka:fó:kap, the top of the mountain, sattapolók mán yá:fon Box Turtle again had arrived ó:øatoho:limpahcok. there, so it is said. 30 Koasati Traditional Narratives Scene 5: Box Turtle Wins the Race Má:mo:sin, Thereupon, mán hí:cat øopótlok, again he saw him and passed him, aøí:yat copoksí stóhyafon, and he went to the last mountain, 35 mó:tohon, then afterwards, ohtaøabanpkafa, at the place of going and crossing over, sattapolók bikkón ó:øat Box Turtle had arrived first and ohcokkó:toho:limpáhcok yá:fa, gone and sat there, so it is said, cokfík obá:lon ó:øatoh. and Rabbit arrived behind. 40 Sattapolók immá:yatoh. Box Turtle won. Scene 6: Box Turtle Is Broken and Repaired Má:mo:sin, Thereupon, sattapolók immá:yatohon, Box Turtle had won; immá:yatohon, he had won, impalátkak, and Rabbit grew cross, 45 bástkat apí:toho:limpáhcok. and he busted him up and threw him away, it is said. Má:mo:sok, Thereupon, bástkat apí:lin, he busted him up and threw him away, itcokkó:tohok and he sat there: itcokkó:tohok, and he sat there, 50 má:fon itcokko:lí. there he was sitting. Cokbaník oøá:ci:fó:kon, When some ants arrived, immánkatoh. he told them something. Imalíkcilahon immánkatoh. He told them to doctor him. Imalíkcilahon immÆhkok, Having told them to doctor him, 55 “Nihasí amí:pat acapackatók!” “Eat some of my fat and patch me up!” ká:toho:limpáhcok. he said, so they say. Má:mo:sin, Thereupon, cokbaní:kok akkammí:cit, the ants did so, apáckat anóstohon, they completely patched him up, pá:nak yámmifak, and his top side is like so; 60 sattapoló afakcó yámmi:k, Box Turtle’s shell is like so; yámmit na:hóhcónkon, so is how they made it: stinkánkat akkámmik, they canned him like so, cokbaník acó:tohon It is the case that the ants sewed ómmimpáhcok. him, so it is said. Móh! Stanó:k. Enough! It is finished. Rabbit Stories 31 Textual commentary: Lines 5—6 Sattapolók palhíkkopalamó:líhco:lisk, / iliyímmitoh immá:yá:hih ‘because Box Turtle was extremely slow, / Rabbit was overconfident that he would beat him’. Rabbit is here being set up for a fall; because of his hubris, Rabbit is going to suffer again. Lines 16—17 copoksí staøí:ya:fó:kap, / sattapolók yá:fon osto:tanáttoho:limpáhcok yámmit ‘when he reached the mountain / Box Turtle over there was so going down the other side, so they say’. The exact visual image is this: as soon as Rabbit reaches the top of the mountain, he sees Box Turtle already on the way down the other side. This narrative contains several uses of the rare verb sto:tanátlin ‘to descend a slope’. This verb has gone out of use due to the extremely flat nature of the terrain in which the Koasati have lived for over the past century. A notable feature of this narrative is that the way in which Box Turtle moves faster than Rabbit is not explained, it is just a given. In Wolf and Box Turtle Run a Race, Box Turtle wins by trickery, and Mr. Abbey may be simply assuming that his audience knows that trickery is being used here. Line 36 ohtaøabanápkafa ‘at the place of going and crossing over’. This is a circumlocution for ‘finish line’. Line 45 bástkat apí:toho:limpáhcok ‘and he busted him up and threw him away, it is said’. Here, an English word, bust, has been adapted as a Koasati verb, bástkan, with the meaning of ‘to bust something up’. The standard Koasati verb would be bosótlin, which is the word used in other recorded versions of this narrative. The reason for Mr. Abbey’s use of English in this scene is unclear. However, in other nonliterary narratives, he used many English loan words, and apparently the reason was that his purpose in telling all his narratives was to communicate his ideas and I had, at that time, only an imperfect command of Koasati. Therefore, in order to make himself clear, Mr. Abbey would use English. For the Koasati, the primary purpose of language is communication, and anything that facilitates communication is proper. At this point, Mr. Abbey picked up a stick and struck it repeatedly against the floor to indicate how Rabbit smashed Box Turtle up. Lines 48—50 itcokkó:tohok / itcokkó:tohok / má:fon itcokko:lí ‘and he sat there, / and he sat there, / there he was sitting’. Here, standard English would require a translation something like ‘and he lay there, / and he lay there, / there he was lying’. However, in Koasati, the verb ‘to lie,’ ballákan, requires that its subject be of a roughly cylindrical shape. Since turtles (even broken ones) are roughly globular in shape, the verb cokkó:lin ‘to sit’ is used, as it covers the concept of ‘to lie’ for globular objects. The final verb, itcokko:lí, is an aorist form; by its use the narrator indicates that Box Turtle lay in an injured state for an indeterminately long time before the ants came to his rescue. 32 Koasati Traditional Narratives Line 55 “Nihasí amí:pat acapackatók!” “‘Eat some of my fat and patch me up!”’ Another English verb has been adapted here, patch, in place of the Koasati verb apáckan ‘to patch something up’. The English verb is naturalized in Koasati in the specialized verb ittapáckan ‘to make a patchwork quilt’ and its derivative tapácka ‘quilt’. Line 60 sattapoló afakcó yámmi:k ‘Box Turtle’s shell is like so’. Here, Mr. Abbey made gestures with this fingers to indicate the roughly hexagonal patches that are found on the backs of box turtles. Line 62 stinkánkat akkámmik ‘they canned him like so’. This is the English word can, adapted as stinkánkan ‘to can something for someone with something’. As can be seen from this example, and the others above, it is rather difficult to extract the English root from the matrix of Koasati morphology. If Mr. Abbey believed that by using English he was making his narrative more comprehensible, he was mistaken. HOW RABBIT MADE THE WATER RUN CROOKED narrated by Sacowáyhki This narrative was recorded by Mary R. Haas in 1939. John R. Swanton had collected a version of this tale in 1910 and published a translation based on his interlinear glosses under the title Rabbit and the River (1929:204—5). However, unlike Haas’s version, Swanton’s is conflated with some scenes from other Rabbit stories and is not a coherent whole,. For that reason, and for its transcriptional accuracy, Haas’s version has been chosen here. The setting for this narrative is the mythological time of the animal-humans (see discussion in chapter 2), and the other participant in the narrative is the unnamed and nebulous Water Carrier, clearly one of the ancient and almost forgotten powers that created the world. This tale shows Rabbit in the character of a creative trickster, making the world the way he wants it, rather than the way it has been ordained. Scene 1: Rabbit Begs Water from the Water Carrier Cokf´ß á:ton stóklot a:yá:cin, Rabbit and someone were going about, á:tik okón stí:sin, and the being was carrying water, cokfík acákkit á:yak ónka:k, and Rabbit, following him about, spoke. “Anók sti:silá:š ok´ß,” “I want to carry the water,” he said, ká:hatoho:limpatš. so they say. 5 Má:miyon, But then, á:tik ónka:k, the being spoke. “Mánko:š!” ká:hatoho:limpatš. “By no means!” he said, so it is reported. Cokfík ónkak, Rabbit spoke. “Anók scimí:silá:š,” ká:hatoho:limpa:š. “I want to carry it for you,” he said, so they say. Rabbit Stories 33 10 Ma:min, Then, cokfík cilítkat cilítkatoho:limpa:š. Rabbit pleaded and pleaded with him, so it is said. Má:miyon, But then, á:tik stïhíkkotoho:limpatš. it is said the being would not give it to him. Scene 2: Rabbit Steals the Water and Spills It Mó:tohon, Thereupon, 15 cokfík ok´ß stimíhsok, Rabbit took the water from him, stiwwalí:katoho:limpatš. and ran from him with it, so it is said. Máhmok, At that, ok´ß óhyâ tihí:kat swalí:kat, he spilled all the water as he ran with it, óhyâ tintibí:citoho:limpatš. and he made it all crooked, so it is said. 20 Má:miskan, Because he did so, hahcík lamathíkkóhcómmimpatš. rivers are not straight, so they say. Cokfík alwáhtohon ómmimpatš. It is said that it is the case that Rabbit ruined them. Cokfínkoøá. Rabbit is wicked! Mó:š. Enough. Textual commentary: Line 1 Cokf´ß á:ton stóklot a:yá:cin ‘Rabbit and someone were going about’. Although the word á:ti usually means ‘human being’, the one who carries the water is clearly not human. Note also in the tale The Contest of Heat and Cold (in chapter 5) that both nonhuman protagonists are called á:ti. Lines 14—23 This scene incorporates the elements of an origin tale in that it explains why rivers twist and do not flow straight. The only major difference between this and a typical origin tale is that Rabbit is responsible for how this feature of the world came to be. The theme of the Trickster making rivers run crooked is found throughout North America. Line 23 Cokfínkoøá ‘Rabbit is wicked!’ This interjection, which can also be translated ‘Wicked Rabbit!’ seems to be a comment upon Rabbit’s actions by the narrator. Because of the ambivalent attitude of the Koasati toward Rabbit, half-shocked and half-admiring, this interjection may actually be interpreted as praise, as in the phrase cokfík cokfí ‘Rabbit is Rabbit,’ i.e., ‘Rabbit is really behaving like he usually does’. 34 Koasati Traditional Narratives RABBIT AND DEER SWAP FEET narrated by Sacowáyhki This narrative was recorded by Mary R. Haas in 1939. Swanton did not record any version of it, nor is a similar narrative recorded for any other Southeastern groups. This particular tale has the theme of “the trickster tricked,” which seems to have been a favorite of Sacowáyhki’s mother, Selin Williams. At times, the audience seems to appreciate tales in which Rabbit does not just receive a comeuppance for his hubris, but ones in which he, the consummate trickster, is himself the victim of a trick, as in this narrative. Scene 1: Rabbit and Deer Compare Feet Cokfón icón ittinna:øí:katoho:limpatš. It is said that Rabbit and Deer were speaking to each other. Máhmin, Then, icók ónka:k, Deer spoke. “Cayyík stalí:ya ká:not ka:nóhco:š,” “My feet are really good to carry,” káhhan. he said. 5 Cokfík ónka:k, Rabbit spoke. “Anók cayyík malmá:š,” “My feet are just the same,” he said, ká:hatoho:limpatš. so they say. Mahmin, Then, mantik, but, icók cokfí iyyí imbànnat it is said that Deer really wanted imbànnatoho:limpatš. Rabbit’s feet from him. Scene 2: Deer Wants to Trade Feet 10 Máhmin, Then, cokfík ónka:k, Rabbit spoke. “Anók malmá:š; cayyík stalí:ya “I am just the same; it is good to carry ká:nok,” káhhan. my feet,” he said. Icók ónka:k, Deer spoke. “Ittimo:tamáthíláskš!” “Let us trade them!” he said, ká:hatoho:limpatš. so it is reported. 15 Má:miyon, But then, cokfík ónka:k, Rabbit spoke. “Cayy´ß cayyíhš,” ká:hatoho:limpatš. “I treasure my feet,” he said, so they say. Máhmin, Then, icók ónka:k, Deer spoke. Rabbit Stories 35 20 “Cayyí nó:tak lopósti:son óhmin, “The soles of my feet are just so soft, ká:not kanóhco:š,” and they are really good,” he said, ká:hatoho:limpatš. so it is reported. “Kasátkatik l´ôkbasco:š,” káhhan. “Be the weather cold, or very warm,” he said. Scene 3: Rabbit and Deer Trade Feet Stáswan, The two of them stayed together, ittimo:tamatlí:cit híhcan, and they tested trading them, 25 cokfík bánkotoho:limpatš. and it is said that Rabbit did not like doing so. Máhmin, Then, icók ónka:k, Deer spoke, ittïháøøit ilhí:cáskš!” káhhan, “Let us try putting on each other’s shoes!” he said, cokfík háøøit hí:catoho:limpats and Rabbit tried putting on icó iwwil´ô. Deer’s shoes. Scene 4: Deer Steals Rabbit’s Feet 30 Icók ónka:k, Deer spoke. “Scimalí:lo:š,” ká:hatoho:limpatš. “They are appropriate for you,” he said, so they say. Máhmin, Then, icók cokfí iwwiló ïháhøok, having put on Rabbit’s shoes against his wishes, stiwwalí:kat snakáøtoho:limpatš. he ran away with them and disappeared with them. 35 Ká:mo:š. The end. Textual commentary: Lines 1—9 The first scene sets up the premise of the narrative, that Rabbit has feet that Deer would prefer to have. The premise is almost identical to that in Turkey and Owl Swap Calls and very similar to that in How Opossum Got a Bare Tail, both in chapter 2. Line 17 “Cayy´ß cayyíhš” ‘“I treasure my feet”’. This pun is used for humorous effect, since puns are one of the basic ingredients of Koasati humor. Lines 30—31 Icók ónka:k, / “Scimalí:lo:š,” ká:hatoho:limpatš ‘Deer spoke. / “They are appropriate for you,” he said, so they say’. These words are almost identical to those of Turkey in speaking to Owl after they had exchanged calls. It is very likely that the latter tale, which 36 Koasati Traditional Narratives is a common Southeastern narrative, has had a strong structural effect on this tale, which is exclusively Koasati. Line 33 icók cokfí iwwiló ïháhøok ‘having put on Rabbit’s shoes against his wishes’. The fact that Deer is putting on Rabbit’s shoes against his wishes is signaled linguistically by the use of a dative prefix to express a malefactive, that is, an action done to the detriment of someone. The dative, which usually expresses a benefactive, that is, an action done for the benefit of someone, may, under the proper semantic conditions, as here, have a negative meaning. THE BUNGLING HOST narrated by Bel Abbey This was the first Koasati text that I obtained, in the fall of 1977, as a member of a class in field methods in linguistics at Tulane University. It was a narrative that was readily volunteered, and it was one that Abbey knew well, liked, and enjoyed telling. This is reflected throughout the narrative by the expert use of stylistic devices, such as parallelism, description, and quoted speech. Furthermore in the sixth scene (lines 71—102), irony is used in the repeated duplicitous speech of Vulture. Swanton obtained a much abbreviated version from Selin Williams in 1910, a translation of which he published under this same title (1929:210—11). Swanton’s (1924:47—48) publication of a few lines of this text in his article “The Muskhogean Connection of the Natchez Language” is historically the first publication of Koasati text material. Scene 1: Bear Invites Rabbit to Dinner Nitáp a:táhcotohok, Now, Bear used to dwell somewhere, cokfík ittimbiní:litoho:limpáhcok. and he and Rabbit used to visit each other, so it is said. Má:mo:sin, Thereupon, “Ambiní:lïh!” ka:háhcotohon, “Visit me later!” he said; 5 “Ambiní:lïh!” ka:háhcotohon cokf´ß. “Visit me later!” he said to Rabbit. Má:mo:sin, Thereupon, “Cimbiní:lilá:hiton,” káhcok cokfík nitá. “I was about to visit you,” said Rabbit to Bear. Scene 2: Bear Feeds Rabbit with Himself Má:mo:sin, Thereupon, imbiní:lá:hik ó:øan, he went over there to visit him, 10 cikkí:kat ómmá:ton, and after the two of them were sitting, ná:son ínkat í:pat í:pá:hik imíksoton, he had nothing to give to him to eat; “Ná:son ínkat í:palahá¿wá” á:lok, “What am I going to feed him?” sobbáylok á:tatohok. he thought, and then he knew. Rabbit Stories 37 Ná:hok, nitak ni:háhco:liskan, Well, because Bear was fat, 15 ikfí:kon mathalátkok, he pulled out his stomach, aksalí matíhsok, and picking up a knife, matkoyóffok, and cutting off a piece, illibátlok, cooked it, ínkat í:patoho:limpáhcok cokf´ß. and fed Rabbit with it, so it is said. 20 Má:mo:sin, Thereupon, cokfík hí:cat cokk°o::toho:limpáhcok. Rabbit really sat and watched, so it is said. Scene 3: Rabbit Invites Bear to Dinner Má:mo:sok, Thereupon, imbiní:láhpok øóykaton, having merely just visited him, he returned home. “Isnók amó:øâh!” ká:haton, “You too go over to my place later!” he said. 25 “Isnók amó:øâh!” ká:haton, “You too go over to my place later!” he said. niták aøí:yatoho:limpáhcok and Bear went to visit Rabbit, imbiní:lit cokfí. so it is said. Ná:hon, cokfík imó:øan, Well, he went over to visit Rabbit, cokkó:t ómmá:tok– and after he sat down– Akkáp nitá imí:sap ittó:bihayot ómmi:k, Now, Bear’s house was the inside of a hollow tree; 30 ittó:bihayo cikkí:kat áswat, the two of them sat dwelling in the hollow tree, áswat ómmá:ton, and after the two of them dwelt there, cokfí imó:øaton. he went over to Rabbit’s dwelling place. Cokfík pahí scokkó:lo:sihayó Rabbit dwelt within a little grass dwelling; cokkó:tohon, má á:tahayotoho:limpáhcok. within that was his dwelling, so it is said. 35 Má:fon cikkí:katohon. Over there the two of them sat. Scene 4: Rabbit Injures Himself Imitating Bear Cokfík ónkak, Rabbit spoke: “Cokkó:citik! Libátlili má!” káhhan, “Please sit down! I shall cook!” he said, áswat ómmá:ton. and, after the two of them stayed there. Ibisnók akkammí:cit hi:ca:fó:k, He himself did what he had seen; 40 aksalí matí:sit matacakoyóffitohon, he picked up a knife and cut out a piece, ikfí koyóffitoho:limpáhcok. he cut his stomach, so it is said. Ibisnáp sówwit solotkáhcotoho:litá:øok, Now, he himself being scrawny and lean, ilikoyóffit ilïho:páhcok, he injured himself cutting himself, “Amawíc! “Help me! 45 Amawíc! “Help me! Amawicilkón c`aban!” káhhan. I need help!” he said. 38 Koasati Traditional Narratives Niták walí:katon, Bear ran over. “Naksámmik?” “What is it?” “Anók âhó:p. “I am injured. 50 Ilikóyffilíhcónka:s,” káhhan. It is the case that I have cut myself,” he said. Má:mo:sin, Thereupon, “Alikcón wíhlilÆ, mó:li:p,” káhhok, “I intend to look for a doctor then,” Bear said, achalí:kok walí:katoho:limpáhcok niták. and it is said that he ran out. Ittat`ammin, The other lay on the ground; 55 koyóffok ikf´ß. he had cut his stomach. Scene 5: Bear Encounters Vulture Má:mo:sin, Thereupon, walí:kat ómma:tok, after he had run a ways, pa:cokkó:tohon híhcokš. he caught sight of one sitting on a branch. Saykík pa:cokkó:tohon híhcok, He caught sight of Vulture sitting on a branch, 60 imasilhá:citoho:limpak. and he asked questions of him, so it is said. Má:mo:sin, Thereupon, “Amawicilkón cab`an,” ká:hat after he said, “I need help.” ómmá:ton, “Ná:son cib`annok ómmi:k?” “What is it that you want?” “Alikcón wíhlili:s.” “I am looking for a doctor.” 65 “Naksán awicilkán hí:cá:hik cibá¿ná?” “Why do you want to look for help?” “Cokfík amoklák ho:páhcon ónkah,” “It is the case that my friend Rabbit káhhan, is injured,” he said. “Cokfík ïho:páhcon ónkan, “It is the case that Rabbit is injured, koyofkáhcon ónkan,” káhhan. it is the case that he has suffered a knife wound,” he said. “StammÆhíska:p, “If you tell me about it, I will perhaps cimawí:cillahomá:mik, help you, and it is the case that I will 70 imalíkcillaho katík óm,” káhhan. doctor him,” he said. Scene 6: Vulture “Doctors” Rabbit Oøá:cit ómmá:ton, After they arrived over there, má:mosin, thereupon, “Naksofón tá¿mí?” káhhan. “Where is he lying?” he said. “Yín t`am,” káhhan. “He lies over here,” he said. 75 Má:mo:sin, Thereupon, “Ná:son sammi:císká? “What are you doing? Rabbit Stories 39 Ná:son cibá¿ná?” káhhan. What do you want?” he said. “Imí:sa stimaholihtá:cimá:mik, “Fence in his house perhaps! stimatanahlí:ci:p mo:lihalpí:s,” káhhan. Would that it be encircled!” he said. 80 “Tá:la hísson wíhlok, “Look for palmetto leaves; óhya stimaholihtá:cit isá:cit fence it all in and make stimatanatlíhcok!” a house encircling it!” “M´ô, hiná:p! “Enough now! Achalí:k! Go out! Acicákkik imalíkcilá:hihcon óm,” He will follow you upon my doctoring káhhan. him,” he said. 85 Má:mo:sin, ná:hok, Thereupon, well, saykí:kok cokfí yahlí:citoho:limpáhcok. Vulture made Rabbit cry out, so it is said. Cokfí yahlí:ci:fó:kon, When Rabbit cried out, niták, “Sámmin ónká?” ká:toho:limpak. Bear said, “Why is he making a sound?” “Inko:š. Ahissí ambánkon ónk,” káhhan. “It is nothing. He does not want the medicine from me,” he said. 90 Má:mo:sin, Thereupon, “Sámmin bánkon ó¿mi?” káhhan. “Why is it that he doesn’t want it?” he said. “Ahissí ínkalá:hik ambánkon ónkan, “It is the case that he doesn’t want me to give him my medicine, naksá:kak,” káhhan. and he made noise,” he said. Má:mo:sin, Thereupon, 95 “Ná:son cibá¿ná man?” káhhan. “What else do you need?” he said. Má:min, Then, “Inkô. “Nothing. Imalíkcit fáylilá:hin óm. I am about to finish doctoring him. Ka:nóhco:liyon hiná:p. But now he is good. 100 Hiná:p ka:nóhco:lin ónk,” ká:hok, Now it is the case that he is good,” he said, wáykat abá and he flew up ittó insá:wa ohpa:cokkó:lin. into the branches of a tree and perched on one. Scene 7: Bear Assaults Vulture Má:mosin, Thereupon, niták cokhalí:kat hí:cat ómmá:ton, after Bear went in and saw it, 105 cokfí óhya í:pat anó:lok, that he had eaten Rabbit all up, ipón í:pat anó:lok, that he had eaten up his flesh, cofkoninánnan cikkí:tohon, that he had thrown down nothing but bones, 40 Koasati Traditional Narratives niták noksí:pahónka:sik, Bear became extremely angry; aksalí ilasá:citohok íhsok, he took out the knife that he carried, 110 sbakóhlit saykí pilahón. and he threw it overhand at Vulture. Sbakóhlit ómmá:tok, After he threw it at him, ibisá:ni matacasáhlin, it went through his beak; ibisá:ni ïøobóffin, it pierced his beak; ibisá:ni matacasáhlin it went through his beak, 115 í:sit, and he took it; aksal´ß í:sit he took the knife and threw it away, matapí:litoho:limpáhcok. so it is said. Scene 8: The Result of Bear’s Action I:bilahotok, He would have killed him; immáttok, he missed, ibisá:ni øobóffitoho:limpáhcok. and it is said that he pierced his beak. 120 Má:mo:sin, Thereupon, ibisá:ni øobófkak, he was pierce-beaked; niták ïøobóffit ómmin, it is the case that Bear pierced it on him, ímmot stá:yat stonafáyt ómmok, it seems he carried it as his possession unceasingly; ímmot syomáhlinánnampáhcok. it is said that they carried it all the time. 125 Kámmisk, Just like that, fó:sik naksántik ibisá:ni øobófka. any kind of bird is pierce-beaked. Kámmin, Just so, ïøobófkat ómmimpáhcok. it is said that they are pierced. Ká:mo:s. The end. 130 Tafhiyám! Finis! Textual commentary: Lines 4—7 This is a good example of the use of stylistic parallelism, with line 3 giving a statement, line 4 a repetition with addition, and line 7 a restatement. Lines 8—19 The use of six lines to compose only two sentences indicates that this scene is an important part of the narrative. Abbey identifies himself with the character Bear, and reveals to the listeners how Bear reasoned what to feed Rabbit. Lines 14—19, containing a vivid description of Bear’s actions, is stylistically good, according to native criteria. Rabbit Stories 41 Lines 29—41 These lines are an interpolation of material that Abbey felt was germane to the narrative. They describe in turn Bear’s home and Rabbit’s home, both of which are the naturalistic dens of real bears or rabbits. The description provides the listener with a vivid location in which the action takes place. Lines 39—46 The actions of Rabbit here result from hubris, in this case his belief that he can do anything that anyone else can do. Bear has the magic power to provide food from his own flesh without injuring himself, but Rabbit does not, and, in imitating Bear, he does injure himself. Lines 61—70 These lines are a good example of dialogue carrying the narrative of a tale. Generally, when speech is quoted, the quoted speech is introduced by the verb ónkak and followed by the verb ká:han ‘to say’, which carries person, tense, and aspectual information. However, in literary narrative, frequently ónkak and its subject are deleted, and here ká:han and its associated elements are also deleted so that the speech of each character follows the other, almost as if one were overhearing natural conversation. In earlier years, when Koasati mythology still formed a coherent system, it seems that Vulture was considered to be the doctor among the various theriomorphic characters. In a story provided to Swanton (1929:189) by Selin Williams (1841—1917), Vulture acts as a true doctor, not the sham doctor that he is in this narrative. Lines 78—81 Encircling the place where Rabbit is lying with a woven fence of palmetto leaves may reflect the practice of traditional Indian doctors, who were very possessive of their medicines, songs, and rituals. The secrecy of the doctor being expected, the listener does not realize that Vulture is having Rabbit hidden away for a more sinister reason. Lines 85—93 There is a double meaning to the words that Vulture uses. Bear understands that Rabbit is crying out because he does not like the taste of the medicine that Vulture is giving him. Vulture very cynically refers to his true actions, which are tearing Rabbit apart and eating him, as “his medicine.” Lines 96—102 In this sentence, marked by its length as an important segment of the scene, Vulture’s words again have double meanings. To Bear (and the listener), when Vulture says that Rabbit is good, he understands that Rabbit is now healthy again. In fact, Vulture is cynically mocking Bear, for he means that Rabbit is tasty. Lines 103—10 This series of lines forms the climax of the narrative, when Bear realizes how he has been tricked by Vulture, and that, as a result, his friend Rabbit has been killed. Lines 104—7 are a good example of the use of parallelism to increase dramatic tension. Lines 111—15 This, the subsidiary climax of the scene, shows the result of Bear’s action. Rather than killing Vulture by throwing his knife, as he intended, he only pierced Vulture’s beak. It is then left unstated, but understood, that Vulture escaped with his life. 42 Koasati Traditional Narratives Lines 116—28 This final scene sums up, in its first sentence, the intentions of Bear and the actual results of his actions, then goes on to state that magically, because Bear pierced Vulture’s beak, the beaks of all birds are pierced in the same way. In the end, this take has cautioned the listener against hubris, such as Rabbit’s, and against blind trust, such as Bear’s, and explained a feature of the natural world. VULTURE “CURES” RABBIT narrated by Martha John I recorded this narrative on tape in September 1992. At once one can see that this tale is almost identical to the final portion of The Bungling Host as narrated above by Bel Abbey. Nonetheless, Miss John treats it as an independent story; in fact, the character Bear does not occur in it at all. This is an example of how Koasati storytelling is a creative art, rather than the rote repetition of a fixed and unvarying narrative. There are four scenes in this tale which, like most of the narratives told by Miss John, can be divided into two sections. Martha John was a first cousin of Bel Abbey on her mother’s side. They had lived together as children during his mother’s widowhood, and remained close throughout their lives. John had a reputation as a very strict and upright person, and some people were quite afraid of her, as she was unwilling to suffer fools lightly. John never married, first by necessity, as her desired marriage partner was forbidden to her by rules of clan exogamy, and second by personal choice, as she came to realize the freedom that an unmarried woman was able to enjoy. She raised her two youngest half-siblings from her widowed mother’s levirate remarriage after her mother’s early death, and was able to enjoy child-rearing without the complications of husband or childbirth. She was the equal of Bel Abbey in knowledge of traditional narratives, knowing several that escaped Swanton’s notice, her versionofthe origin of corn (Chapter 2) being among them. Miss John found this tale to be highly amusing, and after the final sentence, but before the apotropaic interjection tafhiyam, she could not restrain her laughter. Koasati humor, and what the Koasati find humorous, is somewhat different than what is conceived of as humorous in European society. The duplicity of Vulture, and the ironical double-meaning of his words to the spectators, are the elements that make this narrative humorous to the Koasati listener. There are untranslatable linguistic features that add to the irony. Vulture almost exclusively uses the phrase-terminal marker -:š, which was the linguistic property of persons who were considered to be of high social status, such as doctors, prophets, and political leaders. In addition, like a true doctor, he uses rare words and syntactic constructions. All this helps him deceive those who listen to him, and intensifies the contrast between what is real and what is expected, which contrast informs much of Koasati humor. Rabbit Stories 43 Prologue Má:mik, cimmánkalâ cokfa:øihilkón anók. Well, then, I shall tell you a Rabbit Story. Ná:hok, Well, cokfí saykí stóklot áswatoho:limpáhcok. it is said that Rabbit and Vulture used to exist. Scene 1: Rabbit Falls Ill and None Can Cure Him Mó:tohon, Then, 5 cokfík a:táhcok hóhpan, Rabbit was continuing to be ill, í:san. Má:mo:sin, Thereupon, ná:hok, well, ná:si maøátli caffákan, One of the wild animals, 10 naksó:n sattá immâhkan, somewhere told Turtle íhlok i:timalíkci:k, and he arrived and came to doctor him ïfáykon, but he did not cure him, Wíhlit, wihlit, ná:si onapá iwwíhlit, They looked and looked and looked for domestic animals maøáhli óhya caffák °o:hyask for one and all of the wild animals, 15 ná:ho máhco:t such as what there were, sattá máhco:t such as Turtle, konó máhco:t such as Raccoon, ná:ho:t well, óhya nasmaøáhlok hacca:lí all the wild animals that there were 20 fó:si máhco:t such as the birds óhya alikcí all the doctors óhya wíhlin, they looked for them all, ná:ho:t well, imasilhá:cit wíhlin, they looked for and asked for them all, 25 imalpí:sat tàmmin cokfík. and Rabbit lay there feeling poorly. Scene 2: Vulture is Asked to Treat Rabbit Má:mo:sin, Thereupon, sánkon í:san a:táhpin, They were continuing to be unable to do anything, and he [Rabbit] merely continued, ná:hok, well, saykï ohhí:can, they went and saw Vulture, 30 saykí híhcok imasilháhcin, and having seen Vulture, they asked him, “Alikcíská?” káhco:lik, “Are you a doctor?” they said. “An’alikcilíhco:lik katík óm,” káhhan. “It is the case that I, I am a doctor,” he said. 44 Koasati Traditional Narratives Scene 3: Vulture Comes to Treat Rabbit Má:mo:sin, Thereupon, stilmá:katohok, They brought him, 35 stiláhcin, and arrived with him. saykí:kok íhlok, Vulture having arrived, incokhalí:kok, he went in with him, ná:hon, well, “Í:sa óhya okbá:ho:š!” káhhan, “Close ye up the entire house,” he said, 40 í:sa óhya okbáhlin. and they closed up the whole house. Má:mo:sok, Thereupon, acá í:satoho:limpáhcok it is said that they stayed outside, nasmaøáhli °o:hyak í:sat every one of the animals stayed, óhyak ittimatanátlik acáp. they all were in a circle outside. 45 Ná:hok, Well, saykí:kok cokfi hó:pa:kon imalíkcit . Vulture doctored the sick Rabbit. Scene 4: Vulture “Treats” Rabbit Má:mo:sok, Thereupon, í:pa:fó:kon ónkat, as he [Vulture] was eating him, he [Rabbit] made a noise, “Ya y!” ká:ha:p, “OUCH!” he said, 50 “Sammi:ciskan ónká?” ká:hat “What are you doing that he makes a noise?” matasilhá:cin, they said asking him. “Ínko:š, pilá:kalih ó:š,” ká:hat, “Naught! I am making the physic.” “Spilá:kalih ónkš,” ká:hat, He maketh noise through the physic,” he said, cakáøkat í:pat, and he tore him apart with his beak and ate him, cakáøkat í:pat staøi:yáhpok, he merely continued to tear him apart and eat him, 55 íhbon ómmiton mók. it is the case he killed him, saykók nakáøøan, and when he was ready to go, “Sáhmí?” “How is he?” “Hiná:p kánt aøí:yá:hi:yon ó:š. “But now he is just this way: Ka:nóhco:lá:hi:yon ó:š hiná:p. but now he is quite good, 60 Ká:not ka:nóhcok aøi:yá:hi:yon ó:š,” ká:hat, but he is extremely good,” he said. í:pak, He ate him, í:pak anóhlok, he ate him up, cofkoninánnan balláhlok, he laid down nothing but bones. ná:hon, well, 65 “Hiná:p ká:not halpí:sa:yon ó:š. “But now he is sufficiently good. Na:santiyáphó:š!” káhhan, Open ye it for me!” he said, ohintiyáplin, and they opened it, Rabbit Stories 45 wáykok nakáøtoho:limpáhcok saykík. and it is said Vulture flew off and disappeared. Má:min, Then, 70 cokfí cofkoninánnat tàmmitoho:limpáhcok. there were nothing but Rabbit bones lying there. Kámmi mók ïfáylik ómmit. That is how he cured him! Tafhiyám! Finis! Textual comments: Line 32 “An’alikcilíhco:lik katík óm,” káhhan ‘“It is the case that I, I am a doctor,” he said’. The final vowel of the pronoun anó, is elided. This pronoun is used here as an emphatic subject complement to the first person singular subject suffix -li. Elision like this is unusual in normal speech, and is the first indication that Vulture speaks very differently than other people. Line 39 “Í:sa óhya okbá:ho:š!” káhhan ‘“Close ye up the entire house” he said’. Vulture here starts using elite speech, which he continues to do for the rest of the narrative. By using this highly marked form of speech, which among the Koasati was used only by persons of high political or ritual status, Vulture is indicating that he is an aristocrat. The common speech form of okbá:ho:š is okbá:hól. Line 49 “Ya y!” ká:ha:p ‘“OUCH!” he said’. This interjection was uttered more loudly and more sharply than the rest of the words around it. Lines 51—52 “Ínko:š, pilá:kalih ó:š,” ká:hat, / “Spilá:kalih ónkš,” ká:hat ‘“Naught! I am making the physic.” / He maketh noise through the physic,” he said’. Here archaic English is used to translate Vulture’s combination of elite speech and rare vocabulary and syntax, which he uses to confuse the listeners with his erudition. As Miss John reported having seen traditional doctors practice when she was a girl, before the abandonment of Koasati religion, the behavior she ascribes to Vulture may well reflect the actual attitude of the traditional doctor. The phrase Ínko:š, pilá:kalih ó:š would be rendered in the common speech as Ínkô, ahissí stiltohnolíhcok óm ‘Nothing. I am using medicine’, and Spilá:kalih ónkš would be rendered Stiltóhnolin ónk ‘I am using it and he is making noise’. The verb pilá:kan is a rare word meaning ‘to prepare or to use medicine’, while -h is a connective suffix of rare occurrence. Line 53 cakáøkat í:pat ‘and he tore him apart with his beak and ate him’. The verb cakáøkan usually means ‘to chop once’. Here it is metaphorically extended to Vulture’s tearing Rabbit apart with his beak. 46 Koasati Traditional Narratives Lines 59—60; 65 As in The Bungling Host above, Vulture makes an ironic pun on two meanings of the verb ká:non. Vulture’s hearers understand it in the meaning of ‘to be well’ but he himself is using it in the meaning of ‘to be tasty’. ...