The gods are good; a play in three acts and an epilogue

Introduction

In those days, long before Christopher Columbus first landed on the shores of the New World, there existed a group of tiny republics in a part of the America which he was destined to discover. Even then the people of these little "citystates" built their houses of stone rising story-on-story above the tops of lofty desert mesas, and lived in comparative peace in a land of fierce, nomadic tribes, against whom they fought only to defend their homes. Here they tilled the soil and developed a system of laws and government. They recognized the rights of property, and elected their rulers in true democratic fashion.

These people inhabited what is now New Mexico and Northeastern Arizona, where their descendants still live in the storied pueblos of their fathers. Here they cultivated maize and cotton, and wove the latter into a cloth which was the admiration of the Spaniards when, under Coronado in 1537, the white men first saw the Pueblos — as these people are called.

Three years after Coronado had discovered the Pueblos of the Rio Grande valley, his lieutenant, Don Pedro del Tovar, led a portion of the Spanish expedition to the west and north, where he discovered the Grand Canyon of the Colorado in what is now Northern Arizona. Nearby, in the very heart of El Desierto Pintado — "The Painted Desert" — he found another group of pueblo-building Indians, who called themselves the Hopituh — "People of Peace." On the summits of three rocky mesas, rising hundreds of feet above the sands, they had built their villages, and they retreated to these impregnable heights when attacked by their war-like Navajo neighbors. Below the mesas they tilled the f.elds, where the men of the tribe wrung a meagre subsistence of corn from the sandy soil. Their only water was that which seeped out of tiny springs in the rocks, and when these failed them death was inevitable. Such was the so-called "Land of Tusayan."

The religious beliefs of men are largely influenced either by what they need most or fear most, and it is only natural that in the religion of the Hopis, as we call these people today, the need of water with its life-giving power should play a predominant part. In fact, nearly all their great religious ceremonials are actually elaborate and symbolic prayers for rain. Of these the most notable are the Snake Dance and the Flute Dance, both prayers to "Those Above" for "the water that is life." In the Snake Dance the snakes are danced with and chanted to, and then set free with the prayer that they will go out and tell the gods about the Hopi's need, for the snakes are thot to be in close touch with the gods. In the Flute Dance we see a primitive dramatization of history and religion. The priests of the flute clan review the history of the people and in chants pray that the gods "may not forget." In "The Gods are Good" we are taken back into the ancient Hopi Pueblo of Oraibi as it was many centuries ago, long before the Europeans set foot on the soil of the New World. It is a time of terrible drought, and the priests of the Blue Flute Clan are about to enact their dramatic prayer for rain. The action of the play is complete in a single day, the first act being in the morning, the second in the afternoon, and the third in the evening of this day of the Flute Dance, 'ixiere is also an epilogue later in the evening.

SYNOPSIS OF THE PLAY

Act One. Scene One

Hotewa, foster son of Cochewa, the old priest of Oraibi, has been chosen to lead the Flute Dance. It is a time of terrible drought, and the dance is to be the people's last despairing prayer for rain. Hotewa is in love with Nampeyo, daughter of Tewani, the chief, and she with him; but Tewani promises Nampeyo to Tanto in return for the sacred eagle basket of good luck which Tanto wins in the race early in the act. Hotewa hears of this and tells Nampeyo and they plan to run away together to the land of the Tehuas on the Rio Grande. They plan to get away that very day as the marriage is set to begin that evening. But several incidents happen in quick succession to show Hotewa plainly that he, above all others, is looked to by the whole tribe to save the people from death and to prevail on the Gods to send the needed rain. Not knowing what to do, and torn between his love for Nampeyo and his loyalty to the tribe, he at length goes down into the sacred underground council-chamber, or Kiva, to pray the Gods for a sign.

Scene Two

In the Kiva Hotevva prays for a sign. A vision appears of Nampeyo. He believes it is the sign from heaven and is about to depart when it fades and another vision appears of the starving people dying from lack of water. He tries to look away but a certain power forces him to look at it, and he finally accepts this as the command of the Gods to stay and give up Nampeyo for the sake of the tribe.

Act Two. Scene One

Preparations are being made for the dance. Old Cochewa, the grand old man of the tribe, climbs to the topmost roof to watch for a cloud. Just before the dance starts Nampeyo sees Hotewa, and for the first time knows that she has lost him. He seems oblivious of everything except the dance. It grows wilder and wilder. And yet no rain. Nikano, the scoffer, mocks the efforts of the dancers and Tanto joins him in contempt for the ancestral Gods. The rest of the people are almost ready to believe them for no cloud appears. At last, as the dance is finished, old Cochev/a, unable longer to stand the strain, totters and falls, and the scene closes as the men carry him down into the Kiva.

Scene Two

In the Kiva Nikano, the scoffer, scornfully declares, "There are no Gods." The dying Cochewa rises and with his last strength calls on the Hopis not to listen, but to stand by the Gods of their fathers. In a prophetic vision he speaks of the rain to come and lays a dying curse upon the scoffer. As he sinks back a cry outside is heard, "The Rain," but he is unconscious. Then the rain begins to fall upon the roof and a few drops come thru the doorway and strike Cochewa in the face. His eyes open and he speaks, "God of my fathers, it is the rain! I die in peace." Out of the Kiva rush the men, sobbing and wild with joy. Hotewa alone remains with the dead Cochewa. He has done his dutj-. His loyalty to the tribe has brot the rain. But Nampeyo is lost, and Hotewa feels that he can no longer stay in Oraibi if he must see her married to Tanto.

Act Three

The feast is on, for the rain has come and the "People of Peace" are saved. Everyone praises Hotewa, who led the Flute Dance. They say that he is still in the Kiva praying to the Gods and grieving over the death of Cochewa. Nampeyo alone knows what it really is that he is grieving over. At her father's command she is making ready to marry Tanto. When everyone has departed for the feast, Hotewa comes from the Kiva and says goodbye to Oraibi. He has lost that which he most desired and feels that now there is nothing to hold him to Oraibi. He has decided to go away to the Tehua villages across the desert. Immediately after he has gone, Nampeyo goes to the Kiva saying that no one can keep her from saying goodbye to Hotewa. She discovers that he is gone and spreads the news to the feasting people. Some go after him. Just then the news is brot to Tewani, who is beginning to wish that he had not promised Nampeyo to Tanto, that Nikano, the scoffer, has fallen over the cliff to death as Cochewa had said in his prophecy and curse. The people say that Tanto is next and draw away from him. Tewani cries, "My daughter shall not marry one who scoffs at the givers of rain." Tanto reminds him of his promise; but Tewani, enraged, cries, "By the Gods I swore it — by the Gods at whom you scoff, — and now by those same Gods I take away my promise." He throws the Eagle Basket at Tanto's feet and bids him go. The act closes with Tewani's appeal that Hotewa be found.

Epilogue. Tableau Scene.

The scene opens as Act I, Scene I, with Mooa, the crier, calling on the people to give thanks for the rain. The Pueblo is dark except for a light from Tewani's doorway where Nampeyo is waiting for news of Hotewa. As Mooa calls, Hotewa stealthily comes in to say goodbye for the last time to the home of his childhood, and to place a prayer-stick for happiness at Nampeyo's doorway before he leaves her forever. He does not know that Tanto is discredited. He looks in the lighted doorway and sees Nampeyo, and wants to speak to her but does not dare. He starts away but is accidentally discovered by Tewani, who leads him into the house. The door closes for a moment and the stage is dark. Then Hotewa and Nampeyo appear and walk along the rooftop. As they reach the edge a distant peal of thunder is heard, and then, as they embrace, Hotewa cries, "The Gods are Good."

EXECUTIVE COMMITTEE

Director William L. Stanton

Assistant Director Carl I. Wheat

Stage Manager William G. Metz

Assistant Stage Manager Colvin Heath

Stage Carpenter Rollin J. La Follette

Electrician William E. Hudson

Business Manager Byron S. Phillips

Assistant Business Manager Paul R. Daggs

House Manager Archie G. Postlethwait

Chairman Music Committee Miss Florence W. Hoover

Chairman Costume Committee Miss Florence T. Holme

Dances Miss Francene L. Bishop

PERSONS IN THE DRAMA

A>j Old Pkiest in the Prologue

CocHEWA The Old Priest

Tewani Chief of OraiM

HoTEWA Young Leader of the Flute Priests

NiKANO The Scoffer

Tanto Whose Fields are Broad

Ahtowan A Man of Oraibi

MooA The Village Crier

SoYOMi Much Henpecked

DoKOYA The Storyteller

AlIWANTE \ NOTAWA '

lowANO / Yomig Men of OraiU

YOWYTEWA I

Nampeyo Daughter of Tewani

Matase Daughter of Cochewa

Tawase Wi/e of Mooa

Watobe Wife of Soyomi, and Master of the Household

Villagers, Flute Priests, Runners, Corn Maidens, Flute Maidens, and Children.

Scene — The Hopi Pueblo of Oraibi

Time — The day of the Flute Dance — a thousand years ago.

Prologue

^THOSE DAYS OF OLD ARE GONE IN TU8AYAN'

PLAN OP STAGE— PUEBLO SCENE

PROLOGUE

(This Prologue is spoken just before the curtain is to rise hy an old, robed priest, who comes before the curtain and addresses the audience as follows:)

Aliksai! In Tusayan the people were living, and it was many, many years ago; aye many plantings before the men of the white skins first looked upon the mesa towns of the Hopituh, People of Peace. Then, even as now, they lived in their cities in the sky worshipping the Gods of their Fathers, for were not they the chosen people of the Ancient Ones, and had not the Gods been good to them? Long years they had lived here, since first the Spirits from above had pointed to these towering mesas and bade the old men rear their cities here. Here they sowed the seed of maize and it grew abundantly, for the Gods were gracious. Twice only had They held back the rain in the treasuries of the skies, yet each time the water came again when their anger was at length appeased. For the Gods loved the people of the mesa towns, and wished them well. And in this desert land the rain is life.

So we take you back tonight into that ancient, mystic world of Tusayan, where men have lived and loved and died since time forgotten. Those days are gone indeed in Tusayan, but we may live them o'er again. Come, then, with me and look again upon the times of the Ancient Ones of elder days. Draw back the curtain, — time falls away, — in the twinkling of an eye an age-long thousand years are gone. It is the dawn! Draw back the curtain, — look ye once more on ancient Tusayan.

Act I. ^the Gods Have Forgotten Us'

ACT I. SCENE L

THE PUEBLO

(Curtain discloses Puehlo in first glow of daivn. Low flute melody heard proceeding from Kiva opening. Then chant is heard, low at first — then higher and stronger as light grows stronger on stage. As chant comes to climax — enter Mooa from Kiva — he is naked hut for a scanty Weech-cloth and eagle feather in hair. Slowly comes from Kiva, looks about him, then climbs the ladder to the first roof. Again he stops — then climbs on to the topmost point. There he halts — icaiting.)

Voice from Kiva. Call Mooa, for the day has come.

Mooa. (To Kiva.) I call. (To village, musical call, long drawn out.) Ai — ee, ai — ee! Awake, people of Oraibi. (Pause.)

Voice. Call louder.

Mooa. Ai — ee! Awake! Already your young men are running on the trail. The priests have chanted thru the long night in the Kiva. It is the sixteenth day.

Voice. (Slight pause.) Once more Mooa, call the people.

Mooa. Arise! They dance today the dance of flutes in old Oraibi, that Those Above may hearken to our prayer for rain.

(Enter Cochewa, Rear 2 — He is very old, ivears a skin over his shoulders ; his back is bent ivith age, and he totters as he tvalks. His voice is trembly as an old man's voice, but he has a certain nobility of bearing.)

Cochewa. (Hesitatingly.) You call early, Mooa.

Mooa. Yes, father, but the sun will soon be high.

Cochewa. It is so. Many years I have led the flute dance. Now I am old. I pass it on to Hotewa. Call on, Mooa.

Mooa. (To village.) Ai— ee! With flutes they play to the Rain Gods. Arise, people of Oraibi.

Cochewa. Alas, we are in sore need. May Those above hear us.

(Chant is heard from Kiva— also flute at intervals. People enter by twos and threes as Cochewa and Mooa talk.)

Cochewa. (Talking on, half to himself.) Listen! In the

Kiva they are making ready, (Flute grows louder then d^es ^,2 Hearken! You who dwell above. They pray tor Zl (CooUev>a sits on tenoU and roelcs to and fro vroamn,

'" ' Moo!'^ Grieve not Cochewa. The young men are strong

^""^ Cochewa Aye! But what is fleetness when the spring is dry' Ai-ee,' fSoS o1 grief) ai-ee! My corn is almost gone- Tclange of demeanor. He gestures and points as he speaKs) Hear me' I am old and fit to die, for my lite has been long m ?usIyTn Gladly will I go. But there (points) in my daugh- ~ho«se her baby is crying tor tood and (^^agM^^ mother's breasts are dry. (Rising.) Call on, Mooa. Call. Rouse the people of Oraibi in this time of need. Mooa. The Gods will surely send the ram. Cochewa Ai-ee! Who can tell. Let the old men die unmorrnerbut if the children die, the name of the Hopituh will live no more in Tusayan. Is Hotewa in the Kiva? Mooa. Yes.

Cochewa. Today he leads the dance.

Mooa Surely the Gods will answer (lis prayer. COCHEWA. May it be SO! I ^ave brought him up as my own son I have taught him all the secrets of the Blue Flute Clan and there is no one else who can lead the ancient dance-no one else who knows the secret things that have power with th Gods above. Give him strength, oh, you Ancient Ones. He alone can save the people.

(Cocnewa totters of, stage rear 2, muttering to UM Re-enters as BOY ENTERS RUNNING lower left. People gather on stage.)

Boy The runners are coming up the trail.

Voi^E FEOM KIVA. Call again. Mooa, for with the runners

"""Mo'r.Tome, people of Oraibi. Greet thy young men. Arise! (Long drawn out.)

(Mooa slowly comes clown as people gather on stage--- exit into Kiva. Enter Notawa center. He cUmM nurr^edly to first roof— looks over rear.)

NoTAWA. They are coming.

(All look totvard spot at lohich he points.)

lowANO. Who leads?

NoTAWA. I can't quite make out.

Voice from far away. Ai — ee! Ai — ee!

NoTAWA. Look! They are starting up the mesa. A race! A race!

lowANO. Who is leading?

NoTAWA. It is (pause) Ahwante.

People. (Confusedly shouting.) Ahwante! Ahwante is leading.

(Enter Corn Maidens led "by Nampeyo, lower left. People step back to let them pass.)

NoTAWA. They near the turn.

(Enter Teioani from his dooricay.)

Tewani. Who leads?

NoTAWA. It is Ahwante, Chief.

Tewani. Where are the others?

Nampeyo. Come, father, hurry.

Tewani. Yes, Nampeyo.

(Tewani hastens doion ladder.)

NoTAWA. See! They are passing the turn. Tanto —

Nampeyo. What of Tanto?

NoTAWA. (Excitedly.) Tanto is close behind — Ahwante stumbles — They are neck to neck — The turn! The turn! (People grow more excited.) Ah!

lowANO. What is it?

NoTAWA. Tanto has passed him. Tanto leads.

People. Tanto!

NoTAWA. They come! (Noise heard outside.) Away! Make room. Ai! Tanto will win.

People. Tanto will win!

(Enter Tanto, lower left, panting, but not exhausted. Ahwante staggers in soon after. People crowd around. Corn Maidens throw pollen over the runners as they come in. Little children pelt them with corn stalks.)

Corn Maidens. (Chanting) —

Brothers, — runners of the sun, —

With prayers of rich success we greet you.

Brothers, — runners of the sun, —

With corn and songs of joy we meet you.

Come and dance with us, ye runners; Come and dance with us the corn dance, That the Gods above may hearken, That the Gods above may hear us.

People. (Chanting) —

Come and dance the joyous corn dance, That the Gods may send the raindrops.

(Corn maidens dance the Corn Dance accompanied by tom-tom and ''Ho-ya'' shouts of onlookers, loho applaud frequently. As the dance closes the corn maidens again throiv pollen over the runners and children pelt them with corn stalks. Tanto goes to opening of Kiva. People begin to disperse, talking to one another. One goes to the loom by doorivay. A woman works on a basket on second level.)

Tewani. (From above.) Come, Nampeyo.

Nampeyo. Yes, father. (She starts up the ladder. Tanto, sitting on the bench of the Kiva opening, follows her with his eyes. She looks around and he quickly looks away.)

Tanto. (Under his breath as Nampeyo goes into doorivay.) Nampeyo!

(There is silence for a moment. Then Hotewa enters from the Kiva with three baskets.)

Hotewa. (Solemnly.) Tanto, you have won the holy race, and to you I give these baskets of good luck. Take them and plant them in your field and you shall have much corn. (Tanto bows to receive them.) The Eagle Basket! — The Storm Basket! — and the Basket of the Niman Katchina! (Raising his arm in gesture.) These are the Sacred Baskets — They are the most precious gift the Gods can bestow on you.

(Exit Hotewa into Kiva. Tanto goes toward lower left. Stops as flute begins playing. ''Bull-roarer" used here to call priests from Kiva. Flute priests then silently file up out of Kiva and off center, stamping rhythmically, and chanting. When all are gone Tanto comes over to point beneath chief's doorway. Holds up baskets.)

Tanto. Ah, Nampeyo! They call you Sipala, bloom of the peach tree. With these magic, sacred baskets I will woo thee. Watch carefully, for / will pluck the peach blossom. (Enter Hotewa, center. Sees Tanto and stops.) Twice you have denied me. This time / shall win. (Tanto starts to go — Hoteiua stands still in corner of house and is unnoticed,)

HoTEWA. (Watching him.) Yes? (Quietly.)

(Exit Tanto, lower left, and Hotewa to Kiva. Enter Cochetva rear 2.)

CocHEWA. (Holding out two ears of corn — Tragically.) Ai — ee! My corn, my corn! Gone, gone! (Sits on 'bench on first roof still gazing at the corn. As he sits the low flute melody begins. As it grows louder he rises, looking far aivay — towards audience; flute plays softly as he speaks.) Oh, Thou Sun, Father of the Hopituh. In this hour of need,f orget not Thy people. I think not of myselm. / am old, and when my corn is gone I shall die with no complaint. But, oh. Thou Spirit of Power, guide of the Hopituh, save Thou Thy people who this day dance the sacred dance of Flutes. (Pause.) It is all Oraibi that is calling Thee.

(Cochewa totters down ladder, mutteriiig to himself. Exit center as Dokoya enters from upper doorway — not chief's house — and descends ladder, Dokoya begins ivorking at something near corner of house. Enter Soyomi, running heedlessly. Butts head into Dokoya.)

Dokoya. Hi, there, what are you after?

SoYOMi. I'm not after anything. 3iy wife's after me.

Dokoya. What for?

SoYOMi. For the tenth time today.

Watobe. (Outside.) Soyomi. (High, harsh voice.)

SoYOMi. The Gods have deserted me.

(Hunts around for some place to hide.)

Dokoya. The idea of being afraid of your wife!

Soyomi. Eh? What? You don't know my wife.

Dokoya. Well, I wouldn't run away from her like this.

(Soyomi peers cautiously around and then climbs into bake oven.)

Watobe. (Outside.) Soyomi, oh, Soyomi.

(He jerks his head in. Then in a minute sticks it out again.)

Soyomi. (To Dokoya.) Help me. Send her away. Do something.

Dokoya. Leave it to me.

(Enter Watobe; sees Dokoya and 7nistakes him for Soyomi Goes to hit him. He looks up just in time to dodge. Look of terror comes over his face. Watohe discovers mistake but is not bothered. Thru rest of this scene Soyomi peeks out once in a ichile. Sees Dokoya get frightened and enjoys it hugely.)

Watobe. (To Dokoya.) Have you seen him? Dokoya. (Still scared.) Seen who?

Watobe. Soyomi.

DOKOYA. (Looking around.) He was here a minute ago. He must have gone out.

Watobe. Well, I want him. The idea of him leaving when the corn isn't ground yet!

Dokoya. Yes, the idea!

Watobe. What? (Makes motion toward Dokoya, who dodges.) Soyomi. Soyomi, come here.

Dokoya. (Aside.) Poor man!

Watobe. (Quickly.) What's that? (Dokoya dodges.) Oh, he's a trial to my soul.

Dokoya. (Ironically.) Yes?

Watobe. Yes! (Sohs.) Poor dear. I have to look after him all the time.

Dokoya. Yes, I notice you're doing that now. Watobe. (Dries eyes fiercely.) I'll show him when I get him. He'll be in a hot place.

Dokoya. Ha! Ha! That's good!

Watobe. Why?

Dokoya. Because he is now.

Watobe. Is what now?

Dokoya. In a hot place.

Watobe. Well, when I get him I'll— I'll— rCaZJs; -Soyomi,

oh, Soyomi.

(Exit Watobe. Soyomi sticks his head out. Starts to crawl out. Coughs and spits out ashes.)

Soyomi. Ugh! What a place! (Coughing.) I nearly

burnt.

Dokoya. But you escaped her. (Looks apprehensively

about.)

Soyomi. No telling how long.

Dokoya. I told her you were in a hot place.

Soyomi. (Ironically.) Yes, I heard you. I was sitting on one hot coal trying to get another out of my ear when, — Ah— - choo!

Watobe. (Outside.) That's his sneeze,

(She Gomes running in. He dodges behind corner of house.)

SoYOMi. (To Dokoya.) Save me.

(Watobe comes up to Dokoya, who immediately dodges and tries to get away.)

Watobe. (Grabs him.) You tell me where he is. You saw him,

(Dokoya m,eekly points to the corner behind which Soyomi is hiding. He tries to get aioay, but she takes him by the ear a7id pulls hi7n along.)

You're a fine fellow! Here I've been hunting everywhere for you. Why weren't you here when I first called?

Soyomi. (Meekly.) I was.

Watobe. (Fiercely.) Don't talk back to me. Come home. (Drags him along by ear.)

Soyomi. Oh, (Plaintively.) I almost believe you don't love me any more.

Watobe. We'll see about that!

(Leads him out. Dokoya works away at his task.)

Tewani. (Outside.) Cochewa, think how the Gods in years gone by have blessed the Hopituh.

Cochewa. (Outside.) Yes, my son, I am thinking of that. (Enter Cochewa and Tewani, center.) How well I know the mercies of the Gods. May they help us now in our time of distress.

(Enter Ahtowan and Nikano, lower left.)

Tewani. Is it for long, Ahtowan, that the Gods are angry?

Ahtowan. How shall I say? My prayers are nothing. I have planted the holy bahoes every day and yet no rain comes. What of you, Dokoya?

Dokoya. I, too, have planted bahoes — to no avail.

NiKANo. Perhaps your prayer sticks were not made right. Try again.

Tewani. In my house the ears of corn are few, but surely I cannot believe that the Katchinas on the sacred peaks have forgotten us.

Cochewa. (Tottering forivard.) Say not— say not that the Gods have forgotten us. Look! (Points right.) There! beyond Sit-yat-ki! where the sun touches the top of Dokosiid! I see a cloud!

Tewani. I see no cloud.

NiKANO. It is only the fevered imagination of an old man.

CocHEWA. What? /, who have danced the Flute Dance since the days of Imatase?

Ahtowan. What do you see, then?

CocHEWA. Behold, beyond Dokosiid, I see a cloud rising —

DoKOYA. (Looking.) What? A cloud?

NiKAXO. (Turning aivay.) It is only a cloud of whirling dust.

CocHEWA. (Going on.) I see it. /, whom men say have the gift of future vision. Even today the Hopituh shall see it —

NiKANO. (Aside.) Yes, they that are dead.

CocHEWA. (Continuing.) For the Gods are good.

NiKANO. (Scornfully turning aivay.) The Gods!

CocHEWA. (Starting after him.) Aye, the Gods! Take heed, scoffer, lest your mad tongue run faster than your wit, and you lose it,

NiKANO. Well, before that day thirst will overtake us all. Then where will all your prayer sticks and your rain dances be? Ha!

(Exit Nikano, center.)

CocHEWA. (Looking after Nikano.) What can one do with a scoffer like him?

(Cocheiva sloioly climhs the ladder and totters to rear 2 — exits.

Tewani. Nikano thinks there are no Gods. What do you think, Ahtowan?

Ahtowax". Well, I take the safe side. If there are no Gods they can't hurt us for believing in them. But if there are Gods and one doesn't believe in them think what evil they might bring to one. So I believe in the Gods. Take my advice, Tewani. Run no chances. You can come to no harm, and there's a chance of rich gain by believing in the Gods. (Exit Ahtowan and Dokoya, loiver left.)

Tewani. (Looking after them.) How many of us there are who believe in that way! (Starts to go up ladder to his house.)

(Enter Tanto carrying Eagle Basket.)

Tajn'to. Wait, Tewani, I wish to spealt to the chief.

Tewani. What is it?

Tanto. It is about Nampeyo.

Tewani. (Coming down.) Nampeyo?

Tanto. Yes. (The two come down center.) You know I, — like many others, — have wanted her a long time.

Tewani. Yes, I know.

Tanto. Well, I have come again to ask you. Today I won the holy race.

Tewani. Yes?

Tanto. If I might celebrate my victory —

Tewani. (Pause.) Yes?

Tanto. With a wedding. Here, Chief of Oraibi, is the Sacred Eagle Basket which I won today. If you will begin the wedding ceremony between Nampeyo and me tonight, this basket shall be yours to plant in your field for luck.

Tewani. (Starting.) What! The Eagle Basket of the race?

Tanto. Yes, the Eagle Basket. (Holds it out.)

Tewani. (Sloioly.) Nampeyo is old enough.

Tanto. Older even than the most.

Tewani. She, too, is a prize of great value.

Tanto. Yes.

Tewani. Others desire her.

Tanto. (Quickly.) I know that. But I give you the Sacred Basket for your promise.

Tewani. See here, Tanto! This morning you won three baskets, each of equal merit.

Tanto. But the Eagle Basket is the finest.

Tewani. (Handling it and looking it over.) Yes, it is the Eagle Basket.

Tanto. It will bring great good luck.

Tewani. (Meaningly.) Others are asking for Nampeyo. Tanto. I know.

Tewani. Hotewa is a good man. Today he leads the dance. (Starts to hand hack the basket.)

Tanto. Yes, yes, I know. But come. Chief! The basket. Speak.

THE GODS ARE GOOD 2o

Tewani. (Takes the hasket again and looks it over.) Tonight, did you say?

Tanto. Yes, it must be tonight.

Tewani. (Slowly.) Well.

Tanto. Yes?

Tewani. You are a good man, Tanto, and you have won the race today. I have been in doubt before.

Tanto. But now?

Tewani. I am decided. Yes, Tanto, I will do it.

Tanto. Ah!

Tewani. Tonight.

Tanto. You promise it?

Tev/ani The Gods are witness to my promise. After the dance the ceremony shall begin. I say it, Tewani, the chief.

Tanto. (Slowly.) And as Tewani promises, so it must

be done. ^ . , ^^

Tewani So it shall be done. Make ready. Tewani has never yet broken a promise to Gods or to men. (Tewani cUmhs ladder.) Make ready.

(Exit Teivani thru his doonvay.)

Tanto (Starts away, then looks furtively hack at Teivani ) Ah, Nampeyo, this time you will not escape me. This time the promise has been made. Tonight I shall lay my baskets at your door.

(Exit Tanto, lower left, hearing young men coming. Enter young men, loiaano, Ahwante, Yowytewa, and others, center Play 'Teon" game, laugh and hanter one another. Notawa enters from Kiva, while game is on. Stands and watches it Tewani also comes in aDove, and later descends ladder. Enter Ahtowan and Soyomi center. All gather around to watch game and applaud winners. As game progresses one holds out a piece of colored wood and others try to get it. Finally, the one with the ohject gives a yell and runs out center with all the rest, except Teioani, Ahtowan, Soyomi and Hotewa, after him pell mell, laughing and yelling.)