CIHM Microfiche Series ({Monographs) ICMH Collection de microfiches (monographles) Canadian Institute for Historical Microraproductions / Institut Canadian da microraproductions historiquas Technical and Bibliographic Notes / Notes techniques et bibliographiques The Institute has attempted to obtain the best original copy available for filming. Features of this copy which may be bibliographically unique, which may alter any of the images in the reproduction, or which may significantly change the usual method of filming are checked below. ^ Coloured covers / Couverture de couleur I I Covers damaged / Couverture endommag^e □ Covers restored and/or laminated / Couverture restaur^ et/ou pelliculde Cover title missing / Le titre de couverture manque Coloured maps / Cartes g^ographiques en couleur Coloured ink (i.e. other than blue or black) / Encre de couleur (i.e. autre que bleue ou noire) Coloured plates and/or illustrations / Planches et/ou illustrations en couleur D D D D [^ Bound with other material / Reli^ avec d'autres documents Only edition available / Seule Edition disponible Tight binding may cause shadows or distortion along interior margin / La reliure serrte peut causer de I'ombre ou de la distorsion le long de la marge int^rieure. Blank leaves added during restorations may appear within the text. Whenever possible, these have been omitted from filming / Use peut que certaines pages blanches ajoutdes lors d'une restauration apparaissent dans le texte, mais, lorsque cela 6tait possible, ces pages n'ont pas 6t6 film6es. Additional comments / various paging*. Comnnentaires suppl6mentairss: This Ram Is fllmad at tha raductimi ratio ciMCkad batow / Ca documont aat film* au taux da rMuction indiqu* ei-dassous. L'Institut a microfilm* le meilleur exemplaire qu'il lui a 6\6 possible de se procurer. Les details de cet exem- plaire qui sont peut-4tre uniques du point de vue bibli- ographique, qui peuvent modifier une image reproduite, ou qui peuvent exiger une modification dans la mdtho- de normale de filmage sont indiqu6s ci-dessous. I I Coloured pages / Pages de couleur I I Pages damaged / Pages endommagdes D Pages restored and/or laminated / Pages restaurtes et/ou pellicultes Pages discoloured, stained or foxed / Pages dteolordes, tachetdes ou piques I I Pages detached / Pages d^tachdes \/\ Showthrough/ Transparence I I Quality of print varies / D D Quality indgale de I'impresston Includes supplementary material / Comprend du materiel suppl6mentaire Pages wholly or partially obscured by errata slips, tissues, etc., have been refilmed to ensure the best possible image / Les pages totalement ou paitiellement obscurcies par un feuillet d'errata, une pelure, etc., ont dt* filmdes k nouveau de fa^on k obtenir la meilleure image possible. Opposing pages with varying colouration or discolourations are filmed twice to ensure the best possible image / Les pages s'opposant ayant des colorations variables ou des decolorations sont filmtes deux fois afin d'obtenir la meilleure image possible. lOx 14x 18x 22x 26x SOX / 12x 16x 20X 24X 28X 32x Th« copy «lm«d h«r« hu b^n rsproducad thanks to th« Q«n«re«ity of: National Library of Canada L'axamplaira film* fut raproduit 9r«c« * la S^nAreait* da: Bibliothaqua nationala du Canada Tha imagaa appaaring hara ara iha basi quality poaaibia censidaring tha condition and lagibility of tha original copy and in koaping with tha filming eentraet spacificatiena. Original cepiaa in printod papar covora ara fllmad baginning with tha front covar and anding on tha laat paga with a printod or illuatratod impraa- •ion, or tha bach covar whan appropriata. All othar original copias ara fllmad bagmning on tna f irat paga with a printod or illustratad Impraa- sion. and anding on tha laat paga with a printad or illuatratad impraaaion. Tha laat racordad frama on aach microficho ahall contain tha •ymbol -^ •"•••."'"■-SS..," TINUED"), or tha symbol ▼ (moanmg two I, whiehavar appliaa. Mapa. plataa. charu. ate. may ba fllmad at diffarant raduction ratios. Thosa too larga to bo sntiraly includad in ono axposura ara nirn^a baginning In tha uppar laft hand cornar. laft to right and top to bonom. as many framas as raquirad. Tha following diagrama illustrata tha mathod: Las imagas suivantas ont *ti raproduitas awac la plus grand soin. eompta tanu da la condition at da la nattat* da I'aaamplaira film*, at ^n eenf ormM avac laa conditions du eontrat da filmaga. Laa aaamplalraa originaux dont la couwartura sn papiar aat imprimia sont filmSs an eommancant par la pramiar plat at mn tarminant soit par la darnlAra paga qui comporta una amprainta d'Imprassion ou d'illusuation, soit par la sacond plat, salon la caa. Toua laa autras aaamplairas originaux sont fiimis an commandant par la prami*ra paga qui comporta una amprainta d'impraaaion ou d'illuatration at an tarminant par la darniira paga qui comporta una taila amprainta. Un daa symbolas suivants apparaltra sur la darniira imaga da chaqua mieroficha. salon la caa: la symbolo •*> signifia "A SUIVRE". la symbolo ▼ signifia "FIN". Laa cartaa. planchas. tablaaux. ate. pauvant atra film*s * daa ttux da reduction diff«rants. Lorsqua la documant aat trap grand pour *tro raproduit an un saul clich*. 11 ast films * partir da I'angia sup*riaur gaucha. da gaucha * droita. at da haut an baa. an pranant la nombra d'Imagaa nAcaasaira. Laa diagrammaa suivants illuatrant la mathoda. 6 MKaOCOW RKOIUTION TMT CHAIT (ANSI and ISO TEST CHART No. 2) ^ -APPLIED IIVMGF Ir.. ^^ . '653 EosI Mam Str.,1 S%aS "O'""!"'. Nt« »ofk 14609 USA r^B ( " 6) «2 - 0300 - Phon. ^^ (716) 28e - ;9S9 - Fo. /fV4-vr 'C. CANADA DEPARTMENT OF MINES A. P. hum. OBOI OOICAL SURVBY MEMOIR 45 No. ti AlRBMMLOaUUI. SniM The "Inviting-In" Feast of the Alaskan Eskimo BmMt WlUiam HaiHMa >Si:-5^' [■*^V OTTAWA GtominmT TknmRa Boaaiv 1913 N*. HIT m Tid. i.J&iti^\:. CANADA DEPARTMENT OF MINES Hon. Loom Cooamat. Utnufnu; A. P. Low, Dbmtt MiMMns GEOLOGICAL SURVEY R. W. Baoos, DiiMVoa MEMOIR 45 No. :i, ANTHHoruUMiiCAL Sbmm The "Inviting-In" Feast of the Alaskan Eskimo ErnMt William HawkM OTTAWA QOTIBNIUMT PBINTIMa BOBIAU 1S13 N*. ItIT CONTENTS IntnMlurtnry . The KAigi, ttr Danrr-Houar . The Ntakuk, or MakiT tA tbf KpMt . 'llle Amnit-totipi. Comic ilaiirca. . . Group ((ancM . . Tot?in (Unm. Key to chwacten ummJ. . Addendum I'M.- I 4 7 ft 13 14 lA IS n» i ILLUSTRATIONS PIstp I.— ('omic mMk . . End .'!.— Comic maak • III.— Comic mMk, "Indiwi." • IV.— Heindwr girdle " V -Wolf ikin »rmlctinind fillet • VI.— WalruB mMk. . " VII.-Red Fox mHkN • VIII.— White Fox mMk... IX. — Armletii and (ox font, iwnd in fox dmneing * X. — Crow muk ... " XI. — Inua mMk " XII.— FingiT maski " XIII. — Handleta, umhI by women dancen* lupporting men t. ■< animal partx " FiR. 1. — Hide elevation of St. Michael Kdigi >'> 'i. — Fkwr plan, Hhowing interior arranRcment of ''.? Kdtfi and positionH of the dancers an'', ^u -tta <; 3.— The aaking-Htick. (aiyiguk).. . . 8 4. — Eakinao drum (ch&u.vaki . . fl 1 THE "INVITING-IN" FEAST OF THE ALASKAN ESKIMO INTRODUCTORY. In the winter of 1911-12, 1 was located at St. Michael, Alaska, as government teacher in charge of the Unaligmiut Eskimo of that vicinity. When, in January, it was rumored that a great mask festival was to be celebrated in conjunction with the neighbouring Unalaklit, Malemiut from Norton sound, I immedi- ately became interested, particularly since the natives informed me that it was to be the AithtikagOk, or "Inviting-In" Feast: a native festival which had not, to my knowledge, been witnessed by scientific observers before. The Aith(ikag(ik, or "Inviting-In" Feast, is observed in the month of January, after the local rites' — the Aiyiguk, or Asking Festival, and the Bladder Feast (Tcaiiiyflk) — have been completed. The "Inviting-In" Feast is a matter of great moment to the Eskimo, for on it depends the success of the hunters. It differs from the Bladder Feast in that while the latter placates the spirits of animals already slain, the Aith^kagdk is an appeal to the spirits represented by the masks, the totemic guardians of the performers, for future success in hunting. In the Eskimo ritual, this festival is only equalled in importance by the XithQ- kltQkhtQk, the Great Feast of the Dead. One supplies the material wants of the living, the other the spiritual needs of the dead. The Eskimo village of St. Michael, or T&tcek,» where the celebration was to take place, is situated on an island near the mouth of the Yukon river. On account of its convenient posi- tion at the mouth of the river, it is the chief ptrt for the Yukon trade, and was selected as such by the Russian-American Fur >Held durinx the months of November »nd December. 'Known M TCiuk to northero tribn. Company. As a result of long occupation the Unalit' became mixed with the Russian traders, so that at the present time a majority bear Russian names, and belong to the Russian church, although still practising their ancient religion. The Unaiaklit, on the contrary, have kept their blood and customs pure. They are counted as a model Eskimo tribe, and look down on their unfortunate neighbours, who have been unable to resist the encroachment of the white man, and its inevitable result — native deterioration. The Unaiaklit are the southernmost branch of the Malemiut; the largest and most warlike tribe of AU^kan Eskimo. The early home of the Mtdemiut was on Kotzebue sound; but in following the wild reindeer which formerly covered the interior of Alaska, they spread across Seward peninsula, crowd- ing back the weaker tribes — the Kavaigmiut and Unaligmiut. The Unalit never resisted the encroachment of these power- ful invaders, as they were continually harassed by the Magemiut of the lower Yukon, and in most encounters came off second best. The remains of one of their villages, which was wiped out by the Magemiut, can still be seen on a little island in St. Michael bay. It is very probable that the present good feeling between the tribes may be due to help received against the Yukon raiders; at any rate, the Malemiut and Unaligmiut mingle freely in border villages like Shatolik and Unaiaklit, hence it is not surprising that, for many years, they have cele- brated the great inter-tribal feasts together. But my anxiety to witness the feast nearly came to grief owing to the over-zealous action of the young missionary in nominal charge of the Unaiaklit. He scented some pagan performance in the local preparations, and promptly appealed to the military commander of the district to put a stop to the whole thing. Consequently, it was a very sober delegation of Eskimo that waited on me the next day — including the headmen and the shaman who had been hired to make the masks and direct the dances — to ask my assistance. They said that if they were forbidden to celebrate the feast on the island they would take to the mountains of the interior and perform their rites where they could not be molested. But if I said they could 'Or Unalismiut. dance, they would go on with their preparations. They also asked me to use my influence with the military commander. To this I readily consented. I found the captain a very liberal man, not at all disposed to interfere with a peaceful native celebration, which had lost most of its religious significance, and which was still maintained mainly for its social significance, and as offering an opportunity for trade between two friendly tribes. The last day of the festival he was invited to attend, as the Eskimo wished him to see the dances for himself, and form his own opinion. On this occasion the Unalaklit chief made a remarkable speech, in which he summed up the native attitude toward the dance. The Eskimo is not given to public speaking, as is the Indian, and usually expresses himself in the shortest possible manner; but under the stress of strong emotion even he becomes eloquent. "To stop the Eskimo singing and dancing," he said, "was like cutting the tongue out of a bird. It was as natural for them to dance as it was for the white man to eat and sleep. They had danced long before the white men came, and would not know how to spend the long dark winters if their only form of amusement was taken away. "They did not dance for pleasure alone, but to attract the game, so that their families might be fed. If they did not dance, the spirits {ihua) who attended the feast would be angry, and the animals would stay away. The shades of their ancestors would go hungry, since there would be no one to feed them at the festivals. Their own names would be forgotten if no name- sake could sing their praises in the dance. "There was nothing bad about their dances; which made their hearts good toward each other, and tribe friendly with tribe. If the dances were stopped, the ties between them would be broken, and the Eskimo would cease to be 'strong.' "They were as little children before the white men, who could see if their dances were good. If anything about them was bad they would stop them, but if not, they would never brook any interference again." The old Unalit chief arose and explained that the dances also supplied the wants of the Eskimo. The interchange of gifts at the festivals resulted in each tribe getting what they «i needed most. At the conclusion of the feast the surplus was distributed among the needy natives. He smote his breast as he sat down, declaring that his heart was good. At the conclusion of the feast I asked the old man for the masks which had been used in the dances. They are usually burned by the shaman after the ceremonies arc over. I was much surprised the next day when the old fellow appeared with the masks and the whole paraphernalia of the dancers. The people were grateful, he said, for the assistance I had given them. I believe he got around the religious difficulty by supplying an equal an.ount of wood for the sacrificial fire. I also was obliged to make gifts to the other headmen, so that the kdzgi ihua' — the spirit which sits in the posts and presides over the kdzgi — might not be offended. THE KAZGI, OR DANCE-HOUSE. The kdzgi (or kacim, as it is known among the Yukon Eskimo) is the communal house of the village. It is the club house, town hall, bath house, and dancing pavilion, all in one. Here, the unmarried men — termed kazgimitU, or kazgi people — make their home; here, tribal meetings are held; here, the men gather for the sweat bath; tma here, strangers are entertained and the annual dances and festivals held. In short, the kdzgi is the centre of the Eskimo's life. As a child he must gain admittance by gifts to the people, and to the kdzgi ihua, the spirit which is master of the kdzgi. In manhood he takes his seat on the iolak, or platform, according to his age and rank. Even in death he is represented by a namesake in the kdzgi, who feeds his shade and extols his virtues at the Feast to the Dead. The kdzgi is usually built on a larger scale than the native house or inne, and, for convenience sake, is located near the centre of the village. It has, as a rule, a winter and a summer entrance, the former bving used by the shamans and dancers, and the latter by the public. This arrangement, however, is only for conveiuencc, and guests and dancers mingle freely in the festivals. The following ■The Kdtgi {nwa is nipposed to appear in the shape of a decrepit old mui, who hia no hair on his body or bones in the back of hia head. To touch him would result in immediate death. See Brae, Tlu Central Btkiwto, pp. 697 and 636, 6th Annual Report, Bureau of Ethnolocj. illustration shows the side elevation of the St. Michael kdtgi (Fig. 1). Kig. I. Sida aievation ot St. Miehiel Kiwi. A. Outer vaitibule. R and D. Winter tnd lummer entrance!. C. Entrance hole, connectini; with tunnel. E. E. Platform, Mat ot ohonu and KuesU. F. Smoke hole, covered with walrus inteitine. Q. Fireplaoe, ueed in iweat bathe, alao aa hidini place for danoere entering at B. The arrangement of the kdzgi is similar to that of the ordinary native house, with the exception that the family quarters which mark the latter are absent. The fireplace in the centre of the room, which is used in the sweat baths, is much wider and deeper. It is kept covered by the floor planks when not in use. In this chamber the spirits are supposed to sit and enjoy the dances given in their honour, and offerings of meat and drink are p • iced here for them, or delivered to them through the cracks of the floor. The iolak, or bed platform, runs around the room on all four sides, at about the height of the shoulders. Entrance is made through the dgveak, or tunnel, and the visitor pops up through the piigyarak, or floor hole, in the centre of the room, like an enlarged edition of a "jack-in-the-box." Having safely emerged, it is customary to wait until the headman assigns you a place. The kaan, or rear portion, of the house is the place of honour, and is accorded to the headmen, the best hunters, and visitors of distinction — the kaaklim: the right and left are the second best; while the oaklim, or front part, the coldest pa''t of the kdzgi being near the entrance, is given the worthless and homeless, who contribute nothing to the support of the village. Directly above the fireplace is the rdlok, or smokehole, which is covered with a strip of walrus intestine. Often the shaman makes a spectacular entrance by this means. It is also used as a window when the kdtgi is overcrowded, people standing on the top of the house and looking through. The following diagram will give the details of the interior, and also the positions of the dancers (Fig. 2). Fin. 2. Floor pUm, Bhowing . iMrior uraucement ot the KAigi, and powtiooi of tb» dUM»n ud (UMU „ .. , A. Outer veetiDule. . . ■ j . i B Double entrance. Spectators une floor level, dancers tunnel. C. Entrance hole, connecting with tunnel. D. Rear ptatform. aeat of niskuk and honoured Kuetle. E. E, Side platforms, seaU for common spectators. F. F. Front platforms, seaU for orphans and worthless people. Q. Fireplace, seat of spirit-fuests. H. Position of chief dancer. I. Position of supportins dancers. J. Position of chorus ot arummers and sinnrs. THE NASKUK, OR MAKER OF THE FEAST. The maker of the feast is known as the ndskuk, or head. With this feast in view, he saves for years, as he has to feed the entire tribe of visitors during the first day of the festival. But although he often beggars himself, he gains great fame among the Eskimo, and lays all his guests under lasting obligation to him. In this respect the "Inviting-In" Feast resembles the potlatch of the Alaskan Indian ; and is often confused with the same by the white population. The ndakuk, having announced his intention to the villagers assembled in the kdtgi, a messenger is chosen — usually at the nomination of the ndskuk — to carry the invitation to the visitors. There is considerable rivalry for this position among the young men, as the messenger is newly clothed from head to foot. In a new squirrel-skin parka, plentifully trimmed with wolverine, reindeer boots, and sealskin leggings, he presents a brave appearance. In his hand he bears the aiy&guk, or asking-stick' (Fig. 3). This is a long slender wand with three globes, made from strips of wood hanging from the end. When the messenger delivers the invitation, he swings the globes to and fro in front of the person addressed. The asking-stick us the symbol of the wishes of the tribe, is treated with scrupulous respect by the Eskimo; and it would be a lasting disgrace for anyone to disregard it. During the ceremonies it is hung up over the kdzgi entrance. The messenger receives the asking-stick from the hands ot the ndskuk, together with an intimation of what presents would be acceptable to his tribe. As most Eskimo festivals result in more or less trading, it is usually some skins or other article of which the tribe is in need. In this case it was a request for ugruk (bearded seal) skins, which are "eneral in use for tniikluk (boot) soles. Having arrived at the visiting tribe, he enters the kdzgi on hands and knees, and preseiits the asking-stick to the village headman, with the message from bis tribe. If the answer is favourable he is raised to his feet, and after he has learned the ■The uLing-fltiok is Alio used in a local festival of the Mtiue name. See NelaoD, Tkt Bikimo Aimil Btriim Sbrail^ p. 359, 18th Anoual Repo.!. Bureau of Ameriean Etfanolofry- wishes of his visitors, is feasted to his heart's content, and sent home loaded with presents. In the meantime, the home tribe gathers nightly in the kdzgi, awaiting his return. Wnen it is rumored that he is near, Fif. 3. The Aakinc-Stiok (.aiy6guk). the vigil continues day and night. On his arrival, he crawls into the kdzgi and presents the asking-stick to the ndskuk, with 9 the answer. If the answer is favourable, preparations begin immediately, and the village is scoured for the necessary gifts. It is a point of honour between the tribes to exceed the requests as much as possible. The visiting tribe also has the privilege of demanding any delicacy of the ndskuk during the first day's feast which fancy may suggest. This usually takes the form of meat out of season, or Eskimo "ice-cream" — a concoction of reindeer tallow, blueberries, and chunks of whitefish kneaded in the snow until it is frozen. Sometimes the ndskuk is hard put to it, but he must produce the necessary articles, or lie disgraced forever. THE DANCE SONGS. When the feast has been decided upon, the people gather /• ; \ \ ^ \', \ . V \ \ \ ''V \\ ng. *. Eddmo drum (chtuyak). 10 nighUy in the kdtgi to rehei«e. The MngH are the property "Llk°ih? ♦Tk !?« •*««»«'"-« «' tribal tradition; and he ■elta them to the different dancen, a> the Eakimo say, which /'LXll^^H*.* ""^^V^' I^P'* the proper dance, for the iMtival, and they make him pri-wnU in turn. When the villagers have awembled, the oil lamps are extingui.hed. and the people •It in darkneW, while the old man gives out the 8ongs-a few words at a time. Weeks are conaumed in learning them prop«.ri y • m ac anng every rise and fall, proper shade, and intonatLm." ifie arum 18 the only instrument employed. It i> shaped like a tambourine about two feet in diameter, and covered on one side with a thin membrane of the bladder of the walrus or seal. It IS held by the handle ievel with the face, and struck with a fla hm stick. Ihe northern tribes strike the back of the rim; but the Yukon tribes the face of the drum (Fij?. 4.) With the Eskimo, rhythm is everything. The songs arc based on the double drum-beat: two quick beats, then a pause, inen two more. At any moment the leader drops an octave or Changes the key; but the others follow instinctively, and there ■8 no break or discord. The following measures, taken from the L row Dance, will give an idea of this primitive type of song .Drumt) Drums l^iif^ .^r-.ta-lU-kad-goktcau-yaUi-ka: Chorus: ta-la-kati-gok nu-lerq-tuitti-a klc-kti-ya kld-kti-ya d-yi'-d-d-yf^-i.^' Translation: The crow song. I drum it. The crow, he wishes to take a wife. Kla-kii-ya. The chorus usually consists of six men, led by the old man who acts as prompter, calling off the words of the song a line ahead. The measure begins softly to a light tapping of the drums; then^ at a gnren signal, come s a crashing double beat; the leader #4 11 announces the dance in stentorian tones, the song tliunders out. soaring high until the voices of the singers crack; then drops to lower pitch and brealcs off abruptly in the middle of the measure. Every one is privileged to join in after the song has been started; and the shrill treble of the women and children can be distinctly heard above the shouting of the men and the thumping of the drums. The Eskimo dances na Jly and enthusiastically, stamping each foot twice in succession, and jerking his arms to the double beat of the drums. The women dance differently, swaying the body from the hips, and waving the arms with outspread palms. Both sexes have dances of their own, but occasionally dance together, the woman being the central figure and the men dancing around her. Nothing pleases the Eskimo more than an exaggerated imitation by one of their clever actors of the woman's dance. The northern style of dancing differs as much from the southern as does the beating of the drums. The northerners leap and bound and htamp out their lines with tremendous vigour; wl ile the southeri^ers sit on the floor of the kdzgi, and, adorned with fillets and masks and feathers, wave their hands in irraceful unison. The Eskimo delight in telling an old legend which illustrates this difference: — A long time ago, they say, when the Eskimo first came into the country, there was only a single woman between the man who lived in the north and the man who lived in the south. In their struggle for possession of the woman, one took hold of her hands and the ether of her feet, with the result that she was pulled in two, the hands and upper half going to the man of the north, and the feet and lower half to the man of the south. At first they were each much perplexed as to what to do with only half a woman; but eventually conceived the plan of whittling out the missing parts in wood; this they did, and found they grew together nicely. Consequently, the northern woman was an adept with the needle but a wooden dancer, while her southern sister was an indifferent sewer but a charming performer in the kdzgi. The same distinction descended to their children. 12 The "Invitlng-In" d*ncea partake loinewhat of the nature of the nith conteita of Greenland. Each party puta forth ita Iwat actora, and atrivea in every way to outdo the other. During the first day, when the conaic dancca are on, the tribe lucceeding to making the other laugh can demand anything of them they wiah. The beat dancera receive valuable preaenta. The Bctora thcmgelvea go through the lame general motiona «• the ordinary dancers, never losing a step or a gesture, at the •wne time fitting their movements to the character in hand. Am much as possible they strive to make every gesture expressive, ••nd succeed so well that a stranger could tell the part they repre^ -ent, even if the prompter did not call it out at the beginning of the song. In fact, I have often wondered if they were not possessed by the spirit of the animal they depicted when dancing as the Eskimo believe. The actor's outfit consists of a face mask, armlets, finger masks, and fillets. In certain dances the octor also carries a staff. The masks are of two types— those intended to excite merriment and good feeling among the guests, anH those worn to honor the ihua of the animals in whose honour the dance is given. They are made by some noted shamaa employed by the tribe, who also has general direction of the dances. They are very clever representations and will be described as they occur in the dances. The finger masks are diminutive masks with an animal head in miniature. They are plentifully adorned with feathers- which give the idea of flying as the dancers' arms sweep through the air. The women (supporting dancers) use plain handlets of woven graas and feathers. The armlets and fillets are of fur or feathers corresponding to the animal represented. COMIC DANCES. ^il'^/^'^^' '^^^ *^*°*"'" ^^^ ^^^ ^^y "® °' '^ ^o'"'*' charac- ter. If, dunng the day's dances, the home tribe can succeed in making the visitors laugh, they can ask of them anj-thine they wjo J. '' " Entering the kdzgi, I noticed that the walls and iolak had been hung with white drilling (katiikUkuowUkiok), as a gift to 1 3 13 the visitors ; who, in their turn, had covered the floor with 6gruk (bearded seal) skins. Shortly after ihc people began to file in. As each man entered he threw down a small gift before the ndtkut, as is customary on such occasions. As soon as every one was settled, the dances began. Strange noises were heard in till' tunnel, gradually approaching the room. Then a horrible- looking wooden face was thruat up through the entrance hole, worn by the chief comit dancer of the Unalit. The mask was made lop-sided, with one cheok higher than the other, and the mouth nnd eyebrows twisted to one side. One eyelet was round, the other being in the shape of a half moon. A stubby moustache and beard of mink fur, nnd labrets of green beads, completed the ludicrous effect. Ho gased around the audience in silence for a full minute, throwing the children into fits of mingled terror and delight. Then the leader commenced the dance invitation, and the pantomine began. Sitting in front of the hole, the actor gesticulated with his feather handlets after the usual manner of the Eskimo; occasionally turning his head from side to side with the foolish stare of a craay person. But the Malemiut visitore, although their eyes twinkled, never cracked a smile. Then he disappeared through the hole, coming up with a hideous green mask, with a long nose, and a big red streak for a mouth. Surrounding the mask was a bristling bush of reindeer hair. He sat down solemnly, and all his motions were slow and sad. Every gesture, while keeping in perfee* time with the music, expressed the profoundest dejection. As a serio-comic, this was even more funay than the other, and t . Unalit, who could safely do so, fairly roared. But the cautious visitors sat as solemn as owls. Then the Unalit trotted out their champion, a lithe old fellow, wonderfully graceful and impressive in his movements. He wore a mask adorned with feathers and an enormous nose, which I was told was a Curicature of the Yukon Indian. The Eskimo have lost nons of their old hatred for their former foes, ana still term them in derision inkiUk/ "louse-caters;" from the fact of their long hair being full of these pests. Neither is the Eskimo, with tonsu red head, free from the same affliction; as I •Ijtordly, "th<>w having line." 14 I-ned more than once, at a crowded dance, to .y temporal^ his lap he seemedink .n l^^deep r^^'^e^^^^^ '* "^* °" hand to his head and cracked a 'o^auSv' Thf I'"'"^ *■" for the Unalaklit and t Hpv h«t,iT ?.u ^- ^**" '"'^ too much won the dayX t4 * 5 f H m '^'^^ ''^"«*»*«'- Then, having women witT leather raSi ts%tppTd°fo;r '^^ ''^"•=^- ^^^ him, imitating his everrmove S ^ 1° ^''""P'^^^ his hands, like the rapTdupwLdwhSfl^^ ^' «*""« thedancestoppedas^ahruXlritt'^^^^^^^^^^^^ ancient duck e^L strfnt ^r . Iff^^ boiled entml kfnws of hl.rK "' ^'"^^'■' ^™'«° ««''l-°>eat, other dishes whrchappea to tt sto'rt 'r''°^' ^'^^ ^''"°- having any particularTle to pUa^^^^^^^ i '' "^''1"°- ^°* departure. Partake of the same, I took my GROUP DANCES that^tf L ^^:^ fZt -?^,^ay, I noticed As the Unalaklit came in 71 1 IT °^ ^^"^ ^^'^ <=a"co. I was informed, wasTheX of Tfi^^^^^^^^^ ™«' they w looking for am^pler/e^^: fhTslrd dar ^"^ *'^* ally the dancers Sglane^'^^^^^^^^ *''''^P«- «---- back and shoulders or extend th.l T'^^ '""'^'^^ °^ **»« quiver. The Unalit in f h ? ""' ^"^ "^^^^ ^^e muscles aame, and out^o L" ftor^ *2 aT'^if^*" '"'*^*^ *»>« dancer exhibited his enolmous arm. i^^"^'' ^^''' ^'^ ^'°^ they were evidently outZe Tot'h T *° «°°^ ^^^-t^««. anotherseries,theco'nte:;trs;stiS^ by the old men, ar: ^:::^;z^^:^r' --' 15 A young woman appeared in the centre of the floor wearing a white reindeer parka' and a girdle of reindeer hair tied around her waist. She began the conventional motions of the woman's dance, glancing nervously round her. Then men dancers, wear- ing fillets and armlets of wolf-skin, leaped down from the ialak and surrounded her, jumping about and howling hideously. As the dance-song quickened, they became more and more excited, until the floor became one confused mass of shaggy heads and wildly tossing arms. The drums redoubled the beat, until the kdzgi fairly rocked under the volume of sound and the stamping feet. Then, as suddenly as the pandemonium began, it ended. This was easily guessed as the wolf-pack pulling down a reindeer. Not to be outdone, the Unalaklit presented a very ancient dance from their old home, Kotzebue sound. This dance, I was tol ., was two hundred years old, and the old-style dance of the Malemiut. Strangely enough, no drums were used, but the chorus consisted of a double row of men who used ivory clappers to mark the time. Instead of stamping, the dancers bounded up and down on the balls of their feet, holding the legs arched and rigid. No one was able to fathom this dance. It was different from any Eskimo dance I have ever seen. It might be an earlier form, or borrowed from the T>ia.€. So the visitors won the honours of the second day, and left the kdzgi in high good humour. TOTEM DANCES.* Third Day. The third day the contest reached its climax. The best dancers of each party were put forth, and the interest became intense. For months they had been trained in their parts, until every movement had become almost instinctive. Each appeared in full regalia of armlets, fillets, and handlets, adapted to their part. Their appearance was the signal for a demonstration on the part of their friends and every new turn or movement which they introduced into their dance received attention. 'Dunns the aarly oecupmtion of Aladu by Rtuuan (ui^tradera, aeveral wordi of Ksmehatkao oriiin w»rB introduced, and inoorpontad io the nmtin lutuicee, wnoos them rarka. It ehoukl be pronouneed parki, but it beinc luotioned by tenenl uee, I have retained the unial form. Totem mark! on penooal property and gnn poeta can atiU be Men amonc the Alaakan EaUmo, but the aceompanyinc lubdiviiion of the people into «i«-t baa endently broken down. 16 The first actors acre women, who went through the house- ho d occupations of the Eskimo in pantomime, illustrating the ^S,n5 '"*1^'"««'°« °^ '^^' the sewing and making of garments, adaptmg the movements to the woman's dance. Then a Unalaklit man took the floor and depicted the life 01 the walrus. He wore a very life-like looking walrus mask, and enacted the features of the walrus hunt, modifying the usual gestures. In pantomme he showed the clumsy movements of the great ammal movmg over the ice, the hunter approaching, and his hasty plunge mto the water, then the hunter paddling furiously wah-us ^^^^""'^ t^™st, and the struggles of the dying Next two young Unalit gave the Red Fox dance. They wore the usual fur trin^odngs and masks, and the leader flourished a fox foot with which he kept time to the music. This dance depicted the cunning habits of the little beast, and his finish in the trap of the hunter. The Unalaklit responded with the White Fox dance, which was quite similar, showing a fox stalking a ptarmigan. One actor represented the fox and the other the ptarmigan. The stealthy movements and spring of the fox were cleverly given. The Unalit, on whom the dance had made a great impression, put forward their best dancer in the celebrated Crow Dance. The dancer entered from behind the press of the crowd, stooping low and imitating the cawing of the raven. The cries appeare.! 10 come from above, below, in fact, everywhere in the room. Then he appeared in all his glory. He wore a raven mask with an immense beak, and bordered with fur and feathers. Labrets and fillets of wood adorned the sides, and a spotted black and white design covered the forehead. He bore a stafif in his hand decorated with a single feather. After piro- .ting around the room in a ridiculous fashion, he disappeared in the crowd and appeared dragging a bashful woman, who was similarly attired. They danced for a short time together, the raven continmng his amatory capers. Then, evidently tiring of her charms, he disappeared into the crowd on the opposite side of the kdzgi and reappeared bearing in tow another bride 17 evidently younger. After squawking and pirouetting around her for a while, the three danced, the two women supporting him, making a pleasing background of waving arms and feathers. At the conclusion of the dance, he seeks again his first love, and is angrily repulsed while seeking to embrace her. This greatly amuses the audience. Then the three leave the scene, quarrelling and pushing one another. This concluded the dances proper. Then the shaman don- ned an tnua mask^, and began running around the entrance hole in ever lessening circles. He finally tumbled over and lay in a trance, the while he was communing with the spirit-guests (so the Eskimo told me) in the fire-place below. After a time he came to and informed the hunters that the ihua had been pleased with the dances and promised their further protection for a successful season. After appropriate offerings of meat and drink and tobacco had been made to them through the cracks in the floor, the celebration broke up, and the Unalaklit storted home. ^Before commencina bia part, the abaman daubed aoot from the k6ig% wall on hit brcMt. This waa auppoeed to put bim en rapport with tbe flptrit-guesta. I 18 KEY TO CHARACTERS USED. d, i, i, S, a, long vowels. o, c, i, 0, u, short vowels. d, as in AeU. d, as in law. A, as in but. at, as in aisle. au, as in how. h, w, y, semivowels. c, as ah in should. f, a bilabial surd. g, as in get. g, a post-palatal sonimt. k, as in ptcife. {, as in Ml. m, as in mum. n, as in nun. V, aangin sing. p, as in pipe. q, a post-palatal surd. r, a uvular sonant spirant. «, as in £auce. t, an alveolar stop. (c, as ch in chapter. 9, a bilabial sonant. z, as in zone. 19 ADDENDUM ESKIMO DANCES AMONG THE ANVIK DENE {KAIYUHKHOTANA). In the wholesale borrowing of Eskimo customs by the neighbouring Athabaskan tribes of the Yukon river, it is inter- esting to note that even minute details of ceremonial dances were not lost in the transfer. With the adoption of the Eskimo kdigi and its chorus of drummers and characteristic seating arrangement we should expect the complement of winter cere- monials in a modified form, but hardly that they should be identical down to the smallest detail of procedure and para- phernalia of the dances. It appears from the very interesting account of the ceremonies of the Anvik D6n6, by Chapman, published in Tome II of the Congris International des Am^rican- istes, Que., 1907, that the Kaiyuhkhotana copied the ceremonial life of the neighbouring Eskimo almost slavishly, without in- fusing into it the inherent art and spirit of the latter. From Chapman's description (page 15) we gather that the main festivals celebrated among the Anvik people were the three feasts of "Dolls, Animals' Souls, and Masks." The first is evidently the Doll Festival of the Igomiut Eskimo described by Nelson (page 494). This was a local feast and did not spread among the conservative Eskimo, although it was eagerly taken up by the D6n6 on the other side. The feast of "Animals' Souls" is probably the Bladder Feast of the Eskimo, while the feast of "Masks" is the "Inviting-In" Dance. From Chapman's somewhat disjointed observations we could construct a passable account of the Eskimo original. The purpose of the feasts is the same: "A thanksgiving for abundance of fish and game, with the intention of securing a further supply" (page 16). The preparation, "making masks representing the various spirits {iniui), and fi^iu-es of animals which correspond to them, attached to the masks, and com- posing songs in their honour," is the same. The sending of the newly-clothed messengers with an invi- tation stick (page 33) is another Eskimo feature, as well as the "rehearsal" previous to the festival. Compare the diagram 20 (page 34) showing the arrangement of the kdtgi and the dancers with the one in the present article. They are practically the same, with the chorus at the rear, the dancers in front of them, and the spectators grouped around the sides. The use of a screen is also practised by the Eskimo. The principal male dancer featuring with two supporting female dancers, mentioned by Chapman on page 30, is another Eskimo characteristic. An examination of the masks exhibits an even more striking similarity. Allowing for the comparatively poor workmanship of the Indian, they are identical. Compare the illustrations in this article with those in Chapman. (1). The grass circlets are the same. (2) . The general design of the masks, mottled forehead, and banded ir uth, is the same. The spectacled eyes, which does not show in the present series, is a common Eskimo feature. (3). Taken individually, the "Siren" mask of Chapman corresponds to Plate I; the "Grouse" masks belong to the same series as Plate X; the "Old Man" mask is one of the comic series represented by Plate II (what the Eskimos themselves think of Indian physiognomy may be seen in Plate III). (4). Masks similar to the "Silver Salmon Spirit" m»>y be seen in Nelson's work. Their number is legion, and only bounded by the imagination of the Eskimo. I have personally seen a mask like the "Otter" mask. This variety of totemic mask is very common. The fact that the Anvik D6n6 were able to identify the masks in Nelson, when shown them by Chapman, is sufficient proof of the source of their supply. ;-^*f,S@tf3ift; .1 117. 1'l t<^'i, 'i!** .Ujj|;i .JwkM ti'xJ .l^n'-ivHf-i^mn'ill-il fH''> .iKil.iiw/ Mirfy/ .liell >liiiiii 'Tii l.ii««K< liiin it-MiJiiiiol/. .ftjrfti tain .iiiJii I ie PLATE I. Uh^fSk^SL MrL'"'IL''"^'"''.!!'"."^' I-^"«b'*t.««htbh.o; right - supplv. Plate I. I right iul<*r. U'mjr ■:) Comic mask. iHL. .11 %TAJ'k .: .i".^v ;v nnm"* n^ ,''fi ¥ iftC* 1'"- ,«i ifcv.i ,i))iK.>« .If- ng ■n'.h'I «i^uu ?u.n/') PI-ATE II. Divwion of Anthr..,K.log,v Mu...„„, x., |V. K hI" 1 I'LATR II. ITOWI . inches. Comic mask. A .Jit dV/.l'L .^'.v.a.Vi.-v: •■: :' i PLATE III. Comic mask, "lo'lian." Mouih, nostrils and eyeleta retl. also crown. Moustache and eyebrows lihick. ExagKt-rated nose, 4 inches long, JH inchtvs deep. Central feather, loon with ptarmigan tuft, 9 inches long. BordiT feathers, duck, 4 inches long. Size. ."> X Vi inches. Division of Anthropology. MiLseum No. IV. E. S72. Plate III crown, incht's 3ordiT lology. Comic mask, "Indian." .y ilr I 1 - f i I IW frr^TA.r*i: . >-.Bii Jfrtt^fW l:.n« ->..ji». I'LATK IV. Ui'imltsT girdle. Wmii by woiimii in lliiiidi'cr ami Wolf I'ju^k (Isiiicc. l>iviMon of Antl>ron(il(i)sy. Mu-ipum \> uitii in lUiiuU'cr :iii'l Wnll' I'uck leii iJivisiou uf ViilliroiHjIinjv. MaNeuiii No-i IV. K, »74 a, )■ r. -■'Ail. Plate V. i Turk Wolf nkin amiletH and fillet. .1 iSSSmmmtk mh & AM&f: " •<& -^f^'i-^" p" *¥*!l C jeS-^ - . 17 MTA.M PLATK VI. "Walrim" mask. Vaov rpJ fox u-migan. I inches. HI i \\r^ LMi iUtm/A*i ■■>\>-^u,tMl .' 1 lit tfcoii jjlldw -Wttl liii {jciH '.;»w .1, "itof.iMy/''' ■'t'^ 't VI ••.'/iiv.,(/ /v.1«« il(i/v 'Ii> imi rV|( I (T PLATE VIII. "Whit« Fox" uiiuk. Heail auJ face white, nose black. Hair, white fox fur (aummer skin). Feather* same as red fox inaskx. !'. Miiwimi No. IV. K, S7S. ^^i>i.^ PtATl VIII. rliite fox i I inchi's. -f "Whitp Fox" imu.k jiiii ii-®;' Wi^-Ma:-i^''^^'"£:-:'-€ ''"' ' VSfSy'-'.t 11 ./J ,1'i-^. I'[ TLATi; 1\. \ii„l.t.s un.l f.-x f.H't. UM-.1 in "Vox- daii.Tj.. A M k is inMil..! in tla- lux fiwf uii.l It i« iwil ii- a baton iJivi-ion of Antl.roiK.lony. MuMiini \o. IV i;, !<7!» i_ I'lATE IX. 1 in tlif iIuMiini 1 Annletg ind fox foot, used in "Fox" dancea JUi Mk .is-.Tt'/.r! ?• -^^ PI.ATi: X. •■('ii>«" niiiek. lli'iui ami li-fl l:il>rft lilaok with white spots. Faic whit''. Ui[i\n labri't, grim; IxjaJi black; side pi«-fiv, rcpicstniinn br!ti^l^ i)f li:iii-. Allcrnati' pairs of riii|p< iol()iin- inches. l>ivi.-ion of Anthropology. Museum N«, IV, K, ShO. '^*^"' I'LATB X. 3 "Crow" mask. lif -^ii fS., iX 5fTA.N id i ■ ::.«I»;1»t*; «!|^V'. ■•ti'l*^t!9<4 . "lu,;,!^ ipf .nb^/ .jfHcii^tvM". • . fT PLATK XI. "Jlivii" iiiifk. Worn by .sliuinan. I'acc wliitc, cyibrowM aii.l ihiii marks black. Hoar.1, while fox. Hair, nil fo.x fur. K.alh.rs, loon an.l ptarmigan. IValurw much natt.-n iu.hps. Division of .\nthropolopy. Museum \o IV. Iv SSI. -jm Plate XI. chill I anil un I if "Iiiva" mask. 1^, '-"^11 '%^\„:¥*^:^:- X.'. ' • • ,., »rw*. J^ *■..■' ^- ■, f «■<- .117. :'rrA.pf " t I'l.ATK XII. "l-'iiipr" iiia,«k!'. iim- tiikiiig imitiml p:irl». Miiiinturo :iiiiiii;il fmo, rnl. Hliick «jp« ni»l umixU . FiHlhcr.-, I'-on luul |.t;iiiiiigaii. Divixiun «f Aiiihro|H>loKy. Musi mil Nih. IV. K, ^iS'.' :i, l>. 0, (1. urr .»// :Ji7„ij 1^1 PLATE XIII. llauiUi't.f, ased l>y wuiiirii ihuuvrs sup|ioi'iiiiK iin'ii taking .'iiiiiiiul purls, lliugii wciiiihl will) gram. Bonier ffuthoM, luoii unit ptannigun. Diviiimi of Anthroi>olog>-. .Museum Nos. IV K, H,S3 a, b, i', J, v, f. I I'll i CLASSIFIED LIST OF RECENT REPORTS OF GEOLOGICAL SURVEY. Smee 1910, reports issued by the Geological Survey have been called memoirs and have been numbered Memoir 1, Memoir 2, etc. Owing to delays incidental to the publishing of reports and their accompanying maps, not all of the reports have been called memoirs, and t^ memoirs have not been issued in the OTder of their assigned numbers, and, therefore, the following Bst has beea prepared to prevest any misconceptions arising OB this accooBt. Memoirs and Reports Published During 1910. KEPOBTS. Report on a. geoiopcal reconnaunanre o( the region traversed by the National TranMontinontal railway between Lake Nipigon and CUy lake, Ont.— ''^ \j^r^°oLThe (reSiogicalposition and characterutica of the oU-ahale deposiU °' "^A^^^nii-ln^ «™« the Mackeniie mountain, on the Pelly. ^^d Gravel rivers, Yukon and North West Territories— by Joseph Keele. No. 1W7. MEMOIRS— GEOLOGICAL SERIES. No. 1, Gtolooieai Seriu. Geology of the Nipigon basin, Ontario— by Alfred W. G. WUson. j . , tt^i.„ No. B. Geolotieal Stria. Geology and ore depoeiU of Hodtoy Mining district, British Columbia— by Charles CamseU. No. 3, Geohgieal Serie*. Paleoniscid ftshra from the Albert sbalM of New Brunswick— by Lawrence M. Lambe. No. 4, -Geological Sena. Preliminary memoir on the Lewea and Nordenekiold Rivers coal district, Yukon Territory— by D. D. No. 5,""i^icaf Serws. Geology of the Haliburton and BMCToft areas. Province of Ontario— by Frank D. Adams and Alfred E. No e.'oeouigical Seriee. Geology of St. Bruno mountain, Province of Quebec — by John A. Dresser. MEMOIRS— TOPOGRAPHICAL SERIES. Mbmoib II. So. t, Topotravkieal Seriet. Triangulation and spirit levdling of MBMoiB VancouvSr idand, B.C., 1900— by R. H. Chapman. MaiioiB 1. MCMOIB 2. Mehoib 3. Memoib 5. Memoir 6. Mbmoib 7. Memotos and Reports Published During 1911 REPORTS. Report on a traverse through the southern pMt of the North West Territories, from Lac Seul to Cat Uke, in 1902— by AUred W. G. WUson. No. 1006. R!S>rton a pit of the North West Territories drained by the Wmisk and Vdott Attawaoiskat rivers — by W. Mclnnes. No. 1080. .,,„... •^■^port'n tht Beoloi^f in area adjoining the east side of Lake Timiskammg —by Morley E. WUson. No. 1064. MEMOIRS— GEOLOGICAL SERIES. No. 7. Oeolooical Swiss. Geological reconnaissance alongthe line of the National Transcontinental raUway in western Quebec— by No. S, Geological Strin. The Edmonton coal field. Alberta— by D. B. Dowling. . ... . ,l » u.. i- a No. 9, Geological Seriei. Bighorn coal basin, Alberta— by o. a. No 10 ^e,dooieal Seriee. An instrumental survey of the itho'«- linee of the extinct lakes Algonquin and Nipissing in southwesi . Ontario — by J. W. Goldthwait. . „ . , , j No.U. Oeoligical Seriee. Insects from the Tertiary lake deposjts of the southern interior of Bntiah Columbia, collected by Mr. lAwrence M. Lambe, in 1906— by Anton Handlirsch. Vo 12, Ueohgical Seriee. On a TrenUm Echmoderm fauna at Kirkfield, Ontario— by Frank Hpringer. . , . ... „„„ .v.. IS, Geological Seriee. The clay and shale deposits of Nova Scotia and porUons of New Brunswick— by Heuinoh Ries, asustad by Joseph Keele. Mbmoib 4. Memoib 8. Memoib 9. Mbmoib 10. Memoib 12. Mbssoih 16. Mbmoib 16. 111. MEMOIRS— BIOLOGICAL SERIES. Mnioi»14. '''<>:'; BMoeieal SeHe, New .pecie. of .hellt coUected by Mr Columbur— by V, Uliam H. DkU and P»uJ Bmrtwh. ' Memoirs Published During 1912 MEMOIRS-GEOLOGICAL SERIES. MiMOi.13. ^^•^^;G«>toB<«rfSm«. Southern Vancouver Wand-by Charle. Aale de^^^fV'- ^^"^"V ^P<"i on the"^ el«y and J~eph 2^e ""° prov.nce»-by Heinrich Rie« and „ ^ !jS-^v"%^^u1rinou„^.rF?a'nil^.&^^^^ s4.r^tak\%n^r.'l;y^b°i?L°£.'w'S'^/r'° '''"^''°'"' "' MUIOIR 21. Mmoim 24. Mbhoib 27. MufoiB 17. Mbmoib is. Mbmoib 26. Mbmoib 29. MsiiotR 31. Mbmoib 33. Mbmoib 35. Mbmoib 37. llisMoni38. Memoirs Published During 1913 MEMOIRS— GEOLOGICAL SERIES. ^WdM iSfc^trfrff;. ^'i'^ ^"^ «™°9«'i« '••'ources of the '"g: A^'Yo^S^t^ ^"^- ""'hurst district, New Brunswick-by c'cin^f*^*'^- ■r"'»°'«'° Mining district, B.C.-by Jroets-^sr-by^vi^. i3ir™'"°''^"=^ °' »-' -"»»'-' D d' SrZ'^ ^*^- '^'"»'°" '*"'"'='• Yukon Territory-by ^^r.!"' ''f 'f'^ ■»''••>«• Reconnaissance along the National Trana. ^Til°'<"*^' ""'r?,^ *" southern Quebec-by JohnT Dresse?^ p.D.'c^^^*^- ''°'^"'"' °' AtUn dUtriJi, B.clby ' «■ the fo^^,^";, PSP'°«^ "' '1"? '^°''*'» American CordUlem at^e forty-nmth parallel, Parts i and Il-by Reginald Aldworth Mbmoib 23. Mbmoib 25. Mbmoib 30. Mbmoib 20. Memoirs Published During 1914 MEMOIRS— GEOLOGICAL SERIES. 'The*S,r*^fJ''tff^- ''^'^■'- ^rA"^ "'^^^ "<""» "nJ island'- ''«tween Austen ■l'/a„°'rof;.""*" "'"' '^"^° ^''"'°"'' »"■«*• »•' ""y?. iV<..^/,6'ea|oeica/5«riM. Report on the clay ami shale deoosita of^he western provinces (Part II)-by Heinrich Ries and jS«ph ''rU'.-X'Ztt^^t'.lJ^'' '«"""' °' ^•='«'° "<^ Churchill MatcolSr'^''^ ■^''''"- ^"^^ ^'■■''^' "' Nova Scotia-by W. Iv. Memoirs In Press, February 23, 1914 MBMOim 40. No. t4, Otoloaieal Serin. The Arebaui scology of Rainy lake— by Andraw C. Lawaon. Mbmow 33. No. te, Otoloaieal Serin. Portion! of Portland Canal and Skeena Mining diviniona, Bkcena diitrict, B.C. — by R. Q MoConnell. Mbmow 19. No. te, OeologiaU Srria. QpoloKy of Mother I