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20                                           HOPI SONGS
suggested in No. 3 by the rhythmic expansion of the theme both ways from a constant axis, and the undisturbed course of the second theme meanwhile; and a like balance by the slow reintegration of the tetrad in No. 1. Anoshkaey at once expands and shifts its theme, occupying the same zone later with a contracted phrase, and becoming by these duplications of movement a type of reality and appearance. Shiash-tasha moves between major and minor versions like the shuttle of the Fates, inclining neither way, the one phase leading back into the other through a neutral interlude ; neither plainly the beginning of the song, and perhaps the neutral interlude the end. In Jakwaina the movement upward begins in a leap beyond, instead of to a previous limit, and the pursuit of this vivacious initiative through a motley sequence of themes displays the verve of the singer and symbolizes a persistent and suc­cessful struggle. A diffident opening and a confident close mark Anonymous II, of whose effect, dependent in part upon its portamenti, no simple account can be given. The expansion of the theme of Mai-hai-katcina from a fourth to a fifth, taken together with its other muta­tions, its inverse rhythm, and its conclusion, make up a dialogue of moods like Tennyson's "Two Voices." In Coyohim-katcina, where a movement in a triad is shifted upward, and movements in a fourth above give place to it, close down upon it, and finally adjust themselves to it, the upper third of the triad at the higher pitch forms by itself (at first augmented to major) a long introduction to the melody, whose course thus appears its temporary defeat and final victory. In Malo-katcina the shaped figure is not restored, but a coda outlines in the lower octave the tract within which it would move were the semitone shift upward complete; and the expression of the song mainly resides, to our apprehension, in the unexpected source from which its deliver­ance comes. Sumyacoli ends likewise. The two figures are not them­selves restored, but the tracts they would occupy are outlined in a coda, which seems to bring their release from duress. The two remaining songs are buoyant in quality throughout. In Snake Song No. 2 re­peated vigorous shifts upward by the extremes of a triad incite the mediant to take the lead. The leadership of the mediant from the
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