University of Virginia Library

Ethnological Note 1
Literally, "he by reason of whom there is life." This is one of the names by which the creator of the world is designated. The conception of a Creator is not sharply defined for the Chiricahua Apache and seems to have little relation to other phases of their religious thinking. It is quite possible that the concept is a result of Western European contact.

Ethnological Note 2
White Painted Woman is the mother of the culture hero, as the myth relates, and is the author of important Apache ceremonies and customs. It was she who gave instructions in the use of beneficial herbs, it is said.

Ethnological Note 3
The position of Killer of Enemies in Chiricahua and Mescalero mythology is most interesting. For the Navaho, Western Apache, Lipan, and Jicarilla, Killer of Enemies is the principal culture hero and performs deeds and exploits comparable to those attributed to Child of the Water in this story. By the Chiricahua and Mescalero, however, Killer of Enemies is relegated to a subordinate position, an unenviable position, or is forgotten altogether. In some versions he figures as an older but more timid brother of Child of the Water, again as a maternal uncle (brother of White Painted Woman) or as the step-father (husband of White Painted Woman) of Child of the Water. Very often, as in the present version, Killer of Enemies is charged with cowardice (see Chiricahua text 2) or is represented as the protector and benefactor of the white man (see Chiricahua text 6). Some Chiricahua informants have said that the term Killer of Enemies is synonymous with "enemy" or "white man" and cases have been noted where parents and grandparents will not allow children to utter the name of Killer of Enemies, giving the children the explanation that it is the name of the "devil" or an "evil one" (see also text Mescalero text 8).

Ethnological Note 4
A monster of huge size, usually described as having the appearance of a man. He is pictured as carrying a knife and a large burden-basket in which to put his victims. He is cumbersome and slow of foot and burdened with enormous testicles which he swings over a bush under which he lies, thus providing shade for himself. There is an independent body of stories about the monster, who is probably to be identified with the "big owl" of other Southern Athabascan myths.

Ethnological Note 5
Some versions have it that she lay under a waterfall, others that she exposed herself to rain on a mountain top. According to some informants impregnation occurred when the water entered her vagina, others say this occurred when water fell upon her navel or upon her head.

Ethnological Note 6
The footprints were made with the outer side of the clenched fist, the toes being added with the finger.

Ethnological Note 7
The honey referred to is said to be deposited by bees in the stalks of yucca plants.

Ethnological Note 8
In complete versions other encounters between Giant and White Painted Woman are described and other means (usually four in all) which she used to deceive Giant are related.