ary to paint the
man red and the animal black, and each was suspended from one end of the
crossbar which was securely tied some two feet from the top of the
pole. I have never been able to determine that this cross had any
significance; it was probably nothing more than a dramatic coincidence
that surmounted the Sun-Dance pole with the symbol of Christianity.

The paint indicated that the man who was about to give thanks publicly
had been potentially dead, but was allowed to live by the mysterious
favor and interference of the Giver of Life. The buffalo hung opposite
the image of his own body in death, because it was the support of his
physical self, and a leading figure in legendary lore. Following
the same line of thought, when he emerged from the solitary lodge
of preparation, and approached the pole to dance, nude save for his
breechclout and moccasins, his hair loosened and daubed with clay, he
must drag after him a buffalo skull, representing the grave from which
he had escaped.

The dancer was cut or scarified on the chest, sufficient to draw blood
and cause pain, the natural accompaniments of his figurative death. He
took his position opposite the singers, facing the pole, and dragging
the skull by leather thongs which were merely fastened about his
shoulders. During a later period, incisions were made in the breast
or back, sometimes both, through which wooden skewers were drawn, and
secured by lariats to the pole or to the skulls. Thus he danced without
intermission for a day and a night, or even longer, ever gazing at the
sun in the daytime, and blowing from time to time a sacred whistle made
from the bone of a goose's wing.

In recent times, this rite was exaggerated and distorted into a mere
ghastly display of physical strength and endurance under torture, almost
on a level with the Caucasian institution of the bull-fight, or the
yet more modern prize-ring. Moreover, instead of an atonement or
thank-offering, it became the accompaniment of a prayer for success in
war, or in a raid upon the horses of the enemy. The number of dancers
was increased, and they were made to hang suspended from the pole by
their own flesh, which they must break loose before being released.
I well remember the comments in our own home upon the passing of
this simple but impressive ceremony, and its loss of all meaning and
propriety under the demoralizing additions which were some of the fruits
of early contact with the white man