The wind blew the down from his shoulder, and it fell in the woods, when the Wild Boy took his right shape again and went back and told his brother what he had seen.
Keeping out of sight of their father, they followed him up the mountain until he stopped at a certain place and lifted a large rock.
At once there ran out a buck, which Kana′tĭ shot, and then lifting it upon his back he started for home again.
“Oho!” exclaimed the boys, “he keeps all the deer shut up in that hole, and whenever he wants meat he just lets one out and kills it with those things he made in the swamp.” They hurried and reached home before their father, who had the heavy deer to carry, and he never knew that they had followed.
A few days later the boys went back to the swamp, cut some reeds, and made seven arrows, and then started up the mountain to where their father kept the game.
When they got to the place, they raised the rock and a deer came running out.
Just as they drew back to shoot it, another came out, and then another and another, until the boys got confused and forgot what they were about.
In those days all the deer had their tails hanging down like other animals, but as a buck was running past the Wild Boy struck its tail with his arrow so that it pointed upward.
The boys thought this good sport, and when the next one ran past the Wild Boy struck its tail so that it stood straight up, and his brother struck the next one so hard with his arrow that the deer’s tail was almost curled over his back.
The deer carries his tail this way ever since.
The deer came running past until the last one had come out of the hole and escaped into the forest.
Then came droves of raccoons, rabbits, and all the other four-footed animals—all but the bear, because there was no bear then.
Last came great flocks of turkeys, pigeons, and partridges that darkened the air like a cloud and made such a noise with their wings that Kana′tĭ, sitting at home, heard the sound like distant thunder on the mountains and said to himself, “My bad boys have got into trouble; I must go and see what they are doing.” So he went up the mountain, and when he came to the place where he kept the game he found the two boys standing by the rock, and all the birds and animals were gone.
Kana′tĭ was furious, but without saying a word he went down into the cave and kicked the covers off four jars in one corner, when out swarmed bedbugs, fleas, lice, and gnats, and got all over the boys.
They screamed with pain and fright and tried to beat off the insects, but the thousands of vermin crawled over them and bit and stung them until both dropped down nearly dead.
Kana′tĭ stood looking on until he thought they had been punished enough, when he knocked off the vermin and made the boys a talk.
“Now, you rascals,” said he, “you have always had plenty to eat and never had to work for it.
Whenever you were hungry all I had to do was to come up here and get a deer or a turkey and bring it home for your mother to cook; but now you have let out all the animals, and after this when you want a deer to eat you will have to hunt all over the woods for it, and then maybe not find one.
Go home now to your mother, while I see if I can find something to eat for supper.” When the boys got home again they were very tired and hungry and asked their mother for something to eat.
Narratives or doctrines of cosmic origin — how heaven, earth, and the primordial deities first came into being. The Kojiki's deities born alone on the Plain of High Heaven, Voluspo's Ginnungagap, Genesis's tohu wa-bohu, the Timaeus's Demiurge fashioning the Receptacle, the Hesiodic Theogony, the Kalevala's egg-cosmogony, Egyptian Nun-and-Atum. Distinct from emanation_hierarchy (structural-ontological cascade), letters_of_creation (mechanism of creation), and apocatastasis/frashokereti (end-state restoration); cosmogony is temporally-narrative beginning.
The text includes an etiological explanation for the physical appearance of deer tails ('The deer carries his tail this way ever since'), which is a minor element of origin narrative.
Form-mutability as a constitutional property of divine and preternatural beings — gods, heroes, spirits, and their human practitioners possessing inherent capacity to alter form across human, animal, plant, or elemental states. Loki and Odin's transformations in Norse, Math's pigs and Blodeuwedd's owl-shape and Pwyll's exchange with Arawn in the Mabinogion, the Greek Proteus, the Indian dasavatara, Vainamoinen's bird-flight in the Kalevala, Ovid's metamorphoses, the shamanic and witch's capacity for ritual form-change. Distinct from anthropomorphism (divine taking specific human form, single embodiment) in that anthropomorphism establishes a stable form whereas this concept establishes form's plurality and instability.
The passage explicitly describes the 'Wild Boy' taking his 'right shape again' after appearing in a form that shed down, indicating a capacity for form-mutability characteristic of preternatural beings.