SONGS 331

(2) “The Beautifier.” This is one of the appellations of the infant’s patron, the
otter, so-called because people adorn themselves whenever an Otter dance is given.

(4) Recorded as song VII D 16a, National Museum of Canada; singer, Jim
Pollard. This song was composed for, and used during the kusiut season of 1923-4
at the initiation of Lilitwumlaix, a female infant distantly related to Qomanakwala.

(c) A reference to Otter, the neophyte’s patron. The significance is that chiefs
have an opportunity to display, “open,” their generosity by lavish giving at every
Otter dance.

(2) The elaborate ritual of an Otter dance dispels grief. It was impossible to
obtain individual translations for these two subdivisions.

(e) Referring to one of the dead man’s ancestors. The theme changes, and is
henceforth of the usual mourning pattern.

(f) Referring to the dead Qomaénakwala.

(g) “The Loftiest.” This is one of the many designations for Nusdgalst, one of
the dead man’s crests.

(4) A reference to the expanding house described in the dead man’s origin myth.

(#4) One of Qomaénakwala’s names.
, Y) This is another name for Nusgalst. The meaning of the whole part is:
Qomanakwala sits down within the expansible house on Mount Nusgalst. There
is the added implication that he seats himself as does his supernatural namesake
in the land above.

Non-CEREMONIAL SONGS

The Bella Coola are not an intensely musical people. Sing-
ing in unison is an essential feature of every ceremonial rite,
but, when alone, an individual seldom bursts into melody from
sheer joie de vivre. They have, however, a certain number of
non-ceremonial songs, shorter and more diverse in theme than
any of those previously recorded. The people themselves do
not attempt to classify them, though they can conveniently
be grouped in accordance with their themes. Some deal with
love, others are sung jocularly at sight of certain birds or
mammals, while a third class can only be described as miscel-
laneous. Still others accompany stories and games; these
are included in vol. II, chap. V, and appendix B.

LOVE SONGS

Men sometimes compose songs which they sing, unaccom-
panied, to their lady loves. Occasionally, too, the maker of a
popular one will teach it to his friends who will serenade the