{"collection":"myth-cosmogony","full_text_available":true,"graph_url":"https://unchartedknowledge.5gfusion.net/v2/api/page/gutenberg_20839/graph","html_url":"https://unchartedknowledge.5gfusion.net/v2/page/gutenberg_20839","id":"gutenberg_20839","license":"Public Domain (US)","rights_basis":"gutenberg_metadata_copyright_false","source":"gutenberg","source_url":"https://www.gutenberg.org/ebooks/20839","summary":null,"tags":["Category: Archaeology & Anthropology","Category: Mythology, Legends & Folklore","Category: Religion/Spirituality","Mountainway (Navajo rite)","Navajo Indians -- Rites and ceremonies","Paganism"],"text":"Produced by Louise Hope, Carlo Traverso, and the Online\nDistributed Proofreading Team at http://www.pgdp.net (This\nfile was produced from images generously made available\nby the Biblioth\u00e8que Nationale de France (BnF/Gallica) at\nhttp://gallica.bnf.fr and by First-Hand History at\nhttp://www.1st-hand-history.org)\n\n\n\n\n\n [Transcriber's Note:\n\n This e-text is intended for readers who cannot use the \"real\"\n (unicode, utf-8) version of the file. Characters that could not be\n fully displayed have been \"unpacked\" and shown in brackets:\n\n [-a] [-i] (a, i with macron or \"long\" sign)\n [`y] [)e] (y with grave accent; e with breve or \"short\" sign)\n [n] (small raised \"n\")\n \u00c2\u00a2 [\u00c2\u00a2] (lower-case and upper-case \"c with slash\")\n\n The author's \"Note on Orthography\" has been left in its original\n location, between the table of contents and list of illustrations.\n\n Except for Illustration markers and the characters noted above, all\n brackets are in the original text. Any errors are listed at the end\n of the e-text.]\n\n\n * * * * *\n\n Smithsonian Institution--Bureau Of Ethnology.\n\n\n THE MOUNTAIN CHANT:\n\n A NAVAJO CEREMONY.\n\n by\n\n Dr. WASHINGTON MATTHEWS, U.S.A.\n\n * * * * *\n\n\nCONTENTS.\n\n [Numbers in {braces} are paragraph numbers, added to the Table of\n Contents by the transcriber.]\n\n Page.\n Introduction 385 {1}\n Myth of the origin of dsily\u00c3\u00addje qa\u00c3\u00a7\u00c3\u00a0l 387 {9}\n Ceremonies of dsily\u00c3\u00addje qa\u00c3\u00a7\u00c3\u00a0l 418 {81}\n First four days 418 {84}\n Fifth day 419 {85}\n Sixth day 424 {100}\n Seventh day 428 {111}\n Eighth day 429 {115}\n Ninth day (until sunset) 430 {119}\n Last night 431 {124}\n First dance (nahik\u00c3\u00a0\u00c3\u00af) 432 {129}\n Second dance (great plumed arrow) 433 {131}\n Third dance 435 {133}\n Fourth dance 436 {136}\n Fifth dance (sun) 437 {138}\n Sixth dance (standing arcs) 437 {140}\n Seventh dance 438 {141}\n Eighth dance (rising sun) 438 {142}\n Ninth dance (Hoshk\u00c3\u00a0wn, or _Yucca_) 439 {143}\n Tenth dance (bear) 441 {147}\n Eleventh dance (fire) 441 {148}\n Other dances 443 {151}\n The great pictures of dsily\u00c3\u00addje qa\u00c3\u00a7\u00c3\u00a0l 444 {154}\n First picture (home of the serpents) 446 {160}\n Second picture (yays and cultivated plants) 447 {163}\n Third picture (long bodies) 450 {172}\n Fourth picture (great plumed arrows) 451 {174}\n Sacrifices of dsily\u00c3\u00addje qa\u00c3\u00a7\u00c3\u00a0l 451 {176}\n Original texts and translations of songs, &c. 455 {192}\n Songs of sequence 455 {193}\n First Song of the First Dancers 456 {198}\n First Song of the Mountain Sheep 457 {201}\n Sixth Song of the Mountain Sheep 457 {205}\n Twelfth Song of the Mountain Sheep 458 {209}\n First Song of the Thunder 458 {213}\n Twelfth Song of the Thunder 459 {216}\n First Song of the Holy Young Men, or Young Men Gods 459 {219}\n Sixth Song of the Holy Young Men 460 {223}\n Twelfth Song of the Holy Young Men 460 {227}\n Eighth Song of the Young Women who Become Bears 461 {231}\n One of the Awl Songs 461 {236}\n First Song of the Exploding Stick 462 {239}\n Last Song of the Exploding Stick 462 {243}\n First Daylight Song 463 {247}\n Last Daylight Song 463 {250}\n Other songs and extracts 464 {254}\n Song of the Prophet to the San Juan River 464 {254}\n Song of the Building of the Dark Circle 464 {257}\n Prayer to Dsilyi` Ney\u00c3\u00a1ni 465 {261}\n Song of the Rising Sun Dance 465 {265}\n Instructions given to the ak\u00c3\u00a1ninili 466 {269}\n Prayer of the Prophet to his Mask 466 {272}\n Last Words of the Prophet 467 {275}\n\n\nNOTE ON THE ORTHOGRAPHY OF NAVAJO WORDS.\n\nThe spelling of Navajo words in this paper is in accordance with the\nalphabet of the Bureau of Ethnology:\n\nc = _ch_ in _chin_; \u00c2\u00a2 = _th_ in _this_; \u00c3\u00a7 = _th_ in _think_; j = _z_ in\n_azure_; q = German _ch_ in _machen_; ` shows that a vowel is aspirated;\nthe vowels have the continental sounds; _ai_ is the only diphthong, and\nis like _i_ in _line_; _l_ is usually aspirated; the other letters have\nthe ordinary English pronunciation.\n\n\n\n\nILLUSTRATIONS\n\n\nPLATE X. Medicine lodge, viewed from the south 418\n XI. Medicine lodge, viewed from the east 420\n XII. Dance of nahik\u00c3\u00a0\u00c3\u00af 432\n XIII. Fire dance 442\n XIV. The dark circle of branches at sunrise 444\n XV. First dry painting 446\n XVI. Second dry painting 448\n XVII. Third dry painting 450\n XVIII. Fourth dry painting 452\n\nFIGURE 50. Qastc\u00c3\u00a8\u00c3\u00abl\u00c3\u00a7i, from a dry painting of the kl\u00c3\u00a8dji-qa\u00c3\u00a7\u00c3\u00a0l 397\n 51. The \u00c3\u00a7obol\u00c3\u00a7\u00c3\u00a0, or plumed wands, as seen from the door\n of the medicine lodge 422\n 52. Ak\u00c3\u00a1ninili ready for the journey 424\n 53. The great wood pile 429\n 54. Dancer holding up the great plumed arrow 434\n 55. Dancer \"swallowing\" the great plumed arrow 434\n 56. The whizzer, or groaning stick 436\n 57. Yucca baccata 440\n 58. Sacrificial sticks (ke\u00c3\u00a7\u00c3\u00a0n) 452\n 59. The talking keth\u00c3\u00a0wn (ke\u00c3\u00a7\u00c3\u00a0n-yal\u00c3\u00a7\u00c3\u00ac`) 452\n\n\n * * * * *\n\n THE MOUNTAIN CHANT: A NAVAJO CEREMONY.\n\n By Dr. Washington Matthews, U.S.A.\n\n * * * * *\n\n\nINTRODUCTION.\n\n\n1. The ceremony of dsily\u00c3\u00addje qa\u00c3\u00a7\u00c3\u00a0l, or mountain chant--literally,\nchant towards (a place) within the mountains--is one of a large number\npracticed by the shamans, or medicine men, of the Navajo tribe. I have\nselected it as the first of those to be described, because I have\nwitnessed it the most frequently, because it is the most interesting to\nthe Caucasian spectator, and because it is the best known to the whites\nwho visit and reside in and around the Navajo country. Its chief\ninterest to the stranger lies in the various public performances of the\nlast night. Like other great rites of the shamans, it has its secret\nceremonies of many days' duration in the medicine lodge; but, unlike the\nothers, it ends with a varied show in the open air, which all are\ninvited to witness. Another ceremony which I have attended, and which\nthe whites usually call the \"Ya[`y]bichy Dance\" (Y\u00c3\u00a8bitcai), has a final\npublic exhibition which occupies the whole night, but it is unvaried.\nFew Europeans can be found who have remained awake later than midnight\nto watch it. Such is not the case with the rite now to be described.\nHere the white man is rarely the first to leave at dawn.\n\n2. The appropriateness of the name dsily\u00c3\u00addje or tsilgitce--towards\n(a place) within the mountains--will be better understood from the myth\nthan from any brief description. \"Dsilyi`\" may well allude to mountains\nin general or to the Carrizo Mountains in particular, to the place in\nthe mountains (paragraphs 9 and 38) where the originator of these\nceremonies (whom I often find it convenient to call \"prophet\") dwelt, or\nto the name of the prophet (par. 41), or to all these combined. Qa\u00c3\u00a7\u00c3\u00a0l\nsignifies a sacred song or a collection of sacred songs. From the many\nEnglish synonyms for song I have selected the word chant to translate\nqa\u00c3\u00a7\u00c3\u00a0l. In its usual signification hymnody may be its more exact\nequivalent, but it is a less convenient term than chant. The shaman, or\nmedicine man, who is master of ceremonies, is known as qa\u00c3\u00a7\u00c3\u00a0li or\nchanter--el cantador, the Mexicans call him. In order to keep in mind\nhis relationship to similar functionaries in other tribes I shall, from\ntime to time, allude to him as the priest, the shaman, or the medicine\nman, following the example of other authors. To all ceremonies of a\ncharacter similar to this the term qa\u00c3\u00a7\u00c3\u00a0l is applicable. It would seem\nfrom this that the Navajo regard the song as the chief part of the\nceremony, but since the Americans, as a rule, regard all Indian\nceremonies as merely dances and call them dances, I will, out of\ndeference to a national prejudice, frequently refer to the ceremony as a\ndance.\n\n3. Sometimes the collective rites and amusements of the last night are\nspoken of as ilnasj\u00c3\u00adngo qa\u00c3\u00a7\u00c3\u00a0l, or chant in the dark circle of branches,\nfrom _il_, branches of a tree; _nas_, surrounding, encircling; _jin_,\ndark; and _go_, in. The name alludes to the great fence of pi\u00c3\u00b1on\nbranches, erected after sunset on the last night, to receive the guests\nand performers. I shall often refer to this inclosure as the corral.\nSome white men call the rites I describe the \"corral dance,\" but more\nusually they call them the \"hoshk\u00c3\u00a0wn dance,\" from one of the minor\nperformances of the last night, the hack\u00c3\u00a0n-in\u00c3\u00a7\u00c3\u00a1`, or act of the _Yucca\nbaccata_, a rite or drama which seems to particularly excite the\nCaucasian interest. To such minor acts the terms in\u00c3\u00a7\u00c3\u00a1` and al\u00c3\u00acli are\napplied; these may be translated dance, show, act, or exhibition.\n\n4. The purposes of the ceremony are various. Its ostensible reason for\nexistence is to cure disease; but it is made the occasion for invoking\nthe unseen powers in behalf of the people at large for various purposes,\nparticularly for good crops and abundant rains. It would appear that it\nis also designed to perpetuate their religious symbolism. Some of the\nshows of the last night are undoubtedly intended to be dramatic and\nentertaining as well as religious, while the merely social element of\nthe whole affair is obvious. It is an occasion when the people gather to\nhave a jolly time. The patient pays the expenses and, probably in\naddition to the favor and help of the gods and the praise of the\npriesthood, hopes to obtain social distinction for his liberality.\n\n5. This, like other great rites of the Navajo, is of nine days'\nduration. Some of these rites may take place in the summer; but the\ngreat majority of them, including this dsily\u00c3\u00addje qa\u00c3\u00a7\u00c3\u00a0l, may be\ncelebrated only in the winter, in the season when the thunder is silent\nand the rattlesnakes are hibernating. Were they to tell of their chief\ngods or relate their myths of the ancient days at any other time, death\nfrom lightning or snake-bite would, they believe, be their early fate.\n\n6. While in New Mexico I sometimes employed a very liberal minded\nNavajo, named Juan, as a guide and informant. He had spent many years\namong Americans, Mormons, and Mexicans, and was, I imagined, almost\nperfectly emancipated from his \"early bias.\" He spoke both English and\nSpanish fairly. On one occasion, during the month of August, in the\nheight of the rainy season, I had him in my study conversing with him.\nIn an unguarded moment, on his part, I led him into a discussion about\nthe gods of his people, and neither of us had noticed a heavy storm\ncoming over the crest of the Zu\u00c3\u00b1i Mountains, close by. We were just\ntalking of Ests\u00c3\u00a1natlehi, the goddess of the west, when the house was\nshaken by a terrific peal of thunder. He rose at once, pale and\nevidently agitated, and, whispering hoarsely, \"Wait till Christmas; they\nare angry,\" he hurried away. I have seen many such evidences of the deep\ninfluence of this superstition on them.\n\n7. When the man (or the woman) who gives the entertainment concludes he\nis sick and that he can afford to call a shaman, it is not the latter\nwho decides what particular rites are best suited to cure the malady. It\nis the patient and his friends who determine this. Then they send for a\nman who is known to be skilled in performing the desired rites, and it\nis his province merely to do the work required of him.\n\n8. Before beginning to describe the ceremonies it will be well to relate\nthe myth accounting for their origin.\n\n\n\n\nMYTH OF THE ORIGIN OF DSILY\u00c3\u008dDJE QA\u00c3\u0087\u00c3\u0080L.\n\n\n9. Many years ago, in the neighborhood of Dsilyi`-qoj\u00c3\u00b2ni, in the Carrizo\nMountains, dwelt a family of six: the father, the mother, two sons, and\ntwo daughters. They did not live all the time in one locality, but moved\nfrom place to place in the neighborhood. The young men hunted rabbits\nand wood rats, for it was on such small animals that they all subsisted.\nThe girls spent their time gathering various wild edible seeds.\n\n10. After a time they went to a place called Tse`-bi\u00c3\u00a7\u00c3\u00a0\u00c3\u00af (the Wings of\nthe Rock or Winged Rock), which lies to the east of the Carrizo\nMountains, on a plain. When they first encamped there was no water in\nthe vicinity and the elder brother went out to see if he could find\nsome. He observed from the camp a little sandy hillock, covered with\nsome vegetation, and he determined to see what sort of plants grew\nthere. Arrived there, he noticed a spot where the ground was moist. He\ngot his digging stick and proceeded to make a hole in the ground. He had\nnot dug long when the water suddenly burst forth in great abundance and\nsoon filled the excavation he had made. He hastened back to the camp and\nannounced his success. When they left the Carrizo Mountains it was their\nintention to go to [\u00c2\u00a2]ep\u00c3\u00a9ntsa, the La Plata Mountains, to hunt for food,\nand their halt at Tse`-bi\u00c3\u00a7\u00c3\u00a0\u00c3\u00af was designed to be temporary only; but, now\nthat they had found abundance of water, the elder brother counseled them\nnot to hasten on, but to remain where they were for a while. The spring\nhe developed still exists and is known to the Navajo as \u00c3\u0087obin\u00c3\u00a0kis, or\nthe One-Eyed Water.\n\n11. The spring was some distance from the camp, and they had but one\nwicker water bottle; so the woman, to lighten her labor, proposed that\nthey should move their goods to the vicinity of the spring, as it was\nher task to draw the water. But the old man counseled that they should\nremain where they were, as materials for building were close at hand and\nit was his duty to erect the hut. They argued long about it; but at\nlength the woman prevailed, and they carried all their property down\nclose to the spring. The elder son suggested that it would be well to\ndig into the soft sandy soil, in order to have a good shelter; so the\nold man selected a sandy hillock, overgrown with grease-wood, and\nexcavated it near one edge, digging straight down, so as to have a wall\non one side.\n\n12. They had a stone ax-head, with a groove in it. Around this they bent\na flexible twig of oak and tied it with the fibers of the yucca, and\nthus they made a handle. The first day after the spring was found the\nyoung men went out and chopped all day, and in the evening brought home\nfour poles, and while they were gone the old man dug in the hillock. The\nnext day the young men chopped all day, and at night returned with four\nmore poles, while their father continued his digging. They worked thus\nfor four days, and the lodge was finished. They made mats of hay to lie\non and a mat of the same material to hang in the doorway. They made mats\nof fine cedar bark with which to cover themselves in bed, for in those\ndays the Navajo did not weave blankets such as they make now. The soles\nof their moccasins were made of hay and the uppers of yucca fibers. The\nyoung men were obliged to go hunting every day; it was only with great\nlabor they could keep the house supplied with meat; for, as has been\nsaid, they lived mostly on small animals, such as could be caught in\nfall traps. These traps they set at night near the burrows, and they\nslept close to the traps when the latter were set far from home. They\nhunted thus for four days after the house was finished, while their\nsisters scoured all the country round in search of seeds.\n\n13. With all their work they found it hard to make a living in this\nplace. The land was barren; even rats and prairie dogs were scarce, and\nthe seed bearing plants were few. At the end of the fourth day they held\na consultation, and the old man said they would do better to move on to\nthe San Juan River, where food was more abundant, and they could trap\nand gather seeds as they traveled. They determined to leave, and next\nmorning broke camp. They journeyed on till they reached the banks of the\nSan Juan. Here they found abundance of tciltcin (fruit of _Rhus\naromatica_) and of grass seeds, and they encamped beside the river at\nnight.\n\n14. Next day they traveled up the stream to a place called Tse`\u00c3\u00a7q\u00c3\u00a0ka,\nand here again they halted for the night. This place is noted for its\ndeposits of native salt. The travelers cut some out from under a great\nrock and filled with it their bags, made out of the skins of the\nsquirrels and other small animals which they had captured. Thence they\nfollowed up the river to Tse`\u00c2\u00a2ez\u00c3\u00a1` (Rock Sticking Up), and thence to\n\u00c3\u0087isy\u00c3\u00a0-qoj\u00c3\u00b2ni (Beautiful Under the Cottonwoods), where they remained a\nday and killed two rabbits. These they skinned, disemboweled, crushed\nbetween two stones, bones and all, so that nothing might be lost, put\nthem into an earthen pot to boil, and when they were sufficiently cooked\nthey added some powdered seeds to make a thick soup; of all this they\nmade a hearty meal. The Navajo then had neither horses nor asses; they\ncould not carry stone metates when they traveled, as they do now; they\nground their seeds with such stones as they could find anywhere. The old\nman advised that they should cross the river at this point and he\ndirected his sons to go to the river and look for a ford. After a time\nthey returned and related that they had found a place where the stream\nwas mostly knee deep, and where, in the deepest part, it did not come\nabove their hips, and they thought all would be able to cross there. The\nfather named the hour of bihil\u00c3\u00a7\u00c3\u00b2higi (when it gets warm, i.e., about 10\na.m.), on the morrow, as the time they should ford the San Juan; so\nnext morning at the appointed time they crossed. They traveled up the\nnorth bank until they came to a small affluent whose source was in\n[\u00c2\u00a2]ep\u00c3\u00a9ntsa. Here they left the main river and followed the branch until\nnight approached, when they made camp.\n\n15. They moved on next day and came close to [\u00c2\u00a2]ep\u00c3\u00a9ntsa, to a soil\ncovered with tracks of deer and of other great animals of the chase.\nHere they encamped, and on the following morning the young men set out\nby different ways in the direction of the mountain to hunt; but at night\nthey returned empty handed. Thus they hunted four days unsuccessfully.\nEvery day while his sons were gone the old man busied himself cutting\ndown saplings with his stone ax and building a house, and the daughters\ngathered seeds, which constituted the only food of the family. As the\nsaplings were abundant and close to the camp, the old man built his\nhouse fast, and had it finished at nightfall on the fourth day, when his\nsons returned from their fruitless labors. They entered the lodge and\nsat down. They were weary and hungry and their bodies were badly torn by\nthe thorns and thick copse of the mountains. Their father spoke not a\nword to them as they entered; he did not even look at them; he seemed to\nbe lost in deep contemplation; so the young men said nothing, and all\nwere silent. At length the old man looked up and broke the silence,\nsaying, \"Aqal\u00c3\u00a0ni cactcini!\" (Welcome, my children.) \"Again you have\nreturned to the lodge without food. What does it avail that you go out\nevery day to hunt when you bring home nothing? You kill nothing because\nyou know nothing. If you had knowledge you would be successful. I pity\nyou.\" The young men made no reply, but lay down and went to sleep.\n\n16. At dawn the old man woke them and said: \"Go out, my children, and\nbuild a sweat-house, and make a fire to heat stones for the bath, and\nbuild the sweat-house only as I will tell you. Make the frame of four\ndifferent kinds of wood. Put ka\u00c3\u00a7 (juniper) in the east, tse`is\u00c3\u00a7\u00c3\u00a1zi\n(mountain mahogany) in the south, \u00c2\u00a2ests\u00c3\u00ac[n] (pi\u00c3\u00b1on) in the west, and\naw\u00c3\u00a8tsal (cliff rose) in the north; join them together at the top and\ncover them with any shrubs you choose. Get two small forked sticks, the\nlength of the forearm, to pass the hot stones into the sweat-house, and\none long stick to poke the stones out of the fire, and let all these\nsticks be such as have their bark abraded by the antlers of the deer.\nTake of all the plants on which the deer most like to browse and spread\nthem on the floor of the sweat-house, that we may sit on them.\" So they\nbuilt the lodge as he directed, and lit the fire and heated the stones.\nWhile they were transferring the hot stones from the fire to the lodge\nthe old man brought out the mats which they used for bedding, and when\nall the stones had been put in he hung the mats, one on top of another,\nover the doorway. This done the three men went into the sudatory and sat\ndown to sweat, uttering not a word. When they had perspired sufficiently\nthey came out and sat down in silence until they were again ready to\nsubmit themselves to the heat. In this way they sweated themselves four\ntimes, keeping all the time a perfect silence, until they emerged for\nthe last time, when the old man directed his daughters to dig some soap\nroot and make a lather. In this he bade his sons wash their hair and the\nentire surface of their bodies well. When they were thoroughly cleansed,\nhe sent them out to set twelve stone fall traps, a task which occupied\nall the rest of the day. For each trap they buried a flat stone with its\nupper side on a level with the surface of the ground; on this they\nsprinkled a little earth, so that the rat would suspect nothing; over\nthis they placed another flat stone, leaning at an angle and supported\nby a slender stick, to which were attached berries of the aromatic sumac\nas a bait. That night the young men sat up very late talking with their\nfather, and did not lie down to sleep until after midnight, when, as\ntheir father directed, they lay side by side with their heads to the\neast.\n\n17. The elder brother arose early, stirred the embers and made a fire,\nand soon the younger awoke. As they sat by the fire warming themselves,\nthe elder one said: \"Younger brother, I had a dream in the night;\nI dreamt I killed a buck deer.\" And the younger replied: \"Elder brother,\nI, too, had such a dream, but that which I killed was a doe.\" The old\nman heard their words and rose, saying, \"It is well, my children; go out\nand try again.\" They went out to visit their traps. The first one they\ncame to had fallen; they lifted the stone and found under it the body of\na rat. So each one in turn, as they visited it was found to have fallen,\nkilling in its fall some small animal; and they returned to the lodge\nwith twelve little creatures for their food. Then the old man told them\nto take their bows and arrows and hunt for deer. \"Hunt,\" said he, \"to\nthe east, the west, and the north, if you will, but do not pass to the\nsouth of the lodge.\" With these instructions they set out, each one in a\ndifferent direction. The elder brother had not traveled far when he saw\na herd of deer and shot one of the number. He skinned it, cut it up,\ntook the backbone, hide, and tallow, and hung the rest in a tree. As he\ndrew near the house, he saw his younger brother approaching from a\ndifferent direction with the hide and meat of a doe. When they entered\nthe hut, the old man asked which of the two deer was shot first. The\nelder brother answered: \"I think mine was, for I killed it early this\nmorning, soon after I left the house.\"\n\n\"Well,\" said the father, \"this skin of the first slain is mine; go and\nstretch it and dry it for me with care.\" After this they went out\nhunting every day for twelve days, but fortune seemed to have deserted\nthem; they killed no more game; and at the end of that time their supply\nof meat was exhausted. Then the old man said: \"It always takes four\ntrials before you succeed. Go out once more, and if you kill a deer do\nnot dress it, but leave it as it is.\"\n\n18. On the following day they left the lodge together and did not take\nseparate trails. Soon they killed a deer, and the younger brother said:\n\"What shall we now do with it, since our father has told us not to skin\nit and not to cut it up?\" The elder brother said: \"I know not. Return to\nthe lodge and ask our father what we must do.\" Then the younger brother\nreturned to his father and the latter instructed him thus: \"Cut the skin\naround the neck; then carefully take the skin from the head, so as to\nremove the horns, ears, and all other parts, without tearing the skin\nanywhere. Leave such an amount of flesh with the nose and lips that they\nwill not shrivel and lose their shape when they dry. Then take the skin\nfrom the body, which skin will again be mine. One of you must take out\nthe pluck and carry that in the hide to me; the other will bring the\nskin of the head and the meat. Let him who bears the pluck come in\nadvance, and stop not till he comes directly to me, and he must hand it\nto me and to no one else.\" The younger brother went back and told all\nthis to the elder. They dressed the deer as they were bidden; the\nyounger put the pluck in the skin and went in advance, and the elder\nfollowed with the venison and the skin of the head. When they reached\nthe hog\u00c3\u00a1n, the father said: \"Where is the atcai?\" (pluck) and the\nyounger said: \"It is in the skin.\" \"Take it out,\" said the old man, \"and\nhang it on yonder mountain mahogany.\" The young man did as he was\nbidden. The father advanced with his bow and arrow and handed them to\nthe elder brother, who placed the arrow on the string and held the bow.\nThe old man put his hands on top of those of his son and together they\ndrew the bow. The former took careful aim at the pluck and let the arrow\nfly. It struck the object and penetrated both heart and lungs so far\nthat the point protruded on the opposite side. Then the old man told his\nson to seize the arrow by the point and draw it completely through,\nwhich was done. Next he made his son stand close to the pluck, looking\ntowards it, and while his son was in this position he blew on him in the\ndirection of the pluck. \"Now,\" said the father, \"whenever you want to\nkill a buck, even if there is neither track nor sign of deer in sight,\nyou have only to shoot into the tse`is\u00c3\u00a7\u00c3\u00a1zi (mountain mahogany,\n_Cercocarpus parvifolius_) and you will find a dead deer where your\narrow strikes; while if you wish to kill a female deer you will shoot\nyour arrow into the aw\u00c3\u00a8tsal (cliff rose, _Cowania mexicana_) and you\nwill find a doe there.\" When all this was done they prepared the skin of\nthe head, under the old man's directions. To keep the skin of the neck\nopen they put into it a wooden hoop.\n\nThey sewed up the mouth, left the eyeholes open, stuffed the skin with\nhay, and hung it in a tree to dry, where it would not get smoky or\ndusty. They cut places in the neck through which the hunter might see.\nThe skin of the doe which the younger brother had killed some time\nbefore, and which had been tanned in the mean time, they painted red and\ngray, to make it look like the skin of an antelope. They prepared two\nshort sticks, about the length of the forearm; these were to enable the\nhunter to move with ease and hold his head at the proper height when he\ncrept in disguise on the deer. During the next four days no work was\ndone, except that the elder brother practiced in imitating the walk of\nthe deer.\n\n19. From the camp where these things happened they moved to a place\ncalled Tse`-lak\u00c3\u00a0\u00c3\u00af-i\u00c3\u00a1` (White Standing Rock). Before they went to hunt or\ngather seeds, the old man desired that they should all help to build the\nhog\u00c3\u00a1n (hut); so all went to work together, men and women, and the hog\u00c3\u00a1n\nwas completed, inside and outside, in four days.\n\n20. The morning following the completion of the hog\u00c3\u00a1n, the father sent\nthe young men out again, directing them, as before, not to go to the\nsouth. They went off together, and soon espied a herd of deer. The elder\nbrother put on the deer mask and began to imitate the motions of the\nanimal, asking his younger brother what he thought of the mimicry. When\nthe latter gave his approval, the elder brother said, \"Steal round to\nthe other side of the herd and when they see you they will come in my\ndirection.\" He waited, and when he saw that his brother had got to the\nother side of the herd, he selected a big fat buck as his special\nobject, and began to move towards him, walking and pawing the ground\nlike a deer, and rubbing his antlers against the trees. Soon the buck\nbegan to approach the hunter, but the latter kept his head constantly\nturned toward the deer the better to maintain his disguise. Presently\nthe buck came quite close to the Indian, when the latter sped his arrow\nand brought the quarry down. They carried the meat home and the old man\ndemanded that the meat and skin should all be his in payment for his\nadvice. This was the third time he had advised them and the third time\nhe had received a gift for his service. He directed that the meat should\nbe cut into pieces and hung in the trees to dry, and that the skin\nshould be stretched and dried for his bed.\n\n21. Next day the elder brother desired the younger to stay at home,\nsaying that he would like to hunt alone. As usual, the old man warned\nhim against the south, and directed him to hunt in the country north of\nthe hog\u00c3\u00a1n. He set out, accordingly, to the north; but he returned at\nnight without any game. Again on the following morning he set out alone,\nand this time went to the west, as his father had directed. He hunted\nall day without success, until near sunset, when it was time for him to\nreturn. Then he remembered what his father had told him of the shrubs\nthat would always have deer for his arrow. Looking around he saw a cliff\nrose, into which he shot his dart, and at the same instant he observed a\ndeer falling in the shrub. He ran to the spot and found a dead doe. When\nhe had skinned and dressed it, he could discover no high tree at hand\nthat he might hang it on to keep it safe from the wolves, so he laid the\nmeat on the top of the cliff rose, spread the skin over it, stuck an\narrow upright on the top of it, and went home. On his way he often said\nto himself, \"Why does my father bid me never to go to the south?\" He\npondered much on the subject, and before he reached the hut he had\ndetermined to satisfy his curiosity and to go to the south on the first\ngood opportunity. When he got home he told where he had laid the meat,\nand, fearing that the crows or coyotes might get at it, he begged his\nbrother to hasten and bring it in. When the meat came he asked that a\npiece might be broiled for his lunch on the hunt next day. All that\nnight the thought of his father's prohibition continued to haunt his\nmind and would not be dismissed.\n\n22. On the morrow, when he went forth on his hunt, his father gave him\nthe usual injunctions, saying: \"Hunt in any direction from the lodge\nthat you will; but go not to the south.\" He departed as if he were going\nto the east; but when he got out of sight from the hog\u00c3\u00a1n he turned round\nto the south and pursued his way in that direction. He went on until he\ncame to the San Juan River, and he forded it at a place a little above\nBeautiful Under the Cottonwoods, where they had crossed it before. He\nwent on to a place called Ty\u00c3\u00a8l-saka\u00c2\u00a2 (Erect Cat-Tail Rushes) and thence\nto a place called Dsisk\u00c3\u00ad\u00c2\u00a2 (Clay Hill). Here he laid his deer skin mask\nand his weapons on the ground and climbed the hill to observe the\nsurrounding country for game. But instead of looking south in the\ndirection in which he was going he looked to the north, the country in\nwhich dwelt his people. Before him were the beautiful peaks of\n[\u00c2\u00a2]ep\u00c3\u00a9ntsa, with their forested slopes. The clouds hung over the\nmountain, the showers of rain fell down its sides, and all the country\nlooked beautiful. And he said to the land, \"Aqal\u00c3\u00a0ni!\" (greeting), and a\nfeeling of loneliness and homesickness came over him, and he wept and\nsang this song:\n\n That flowing water! That flowing water!\n My mind wanders across it.\n That broad water! That flowing water!\n My mind wanders across it.\n That old age water! That flowing water!\n My mind wanders across it.\n\n23. The gods heard his song and they were about to gratify his wishes.\nHe was destined to return to [\u00c2\u00a2]ep\u00c3\u00a9ntsa, but not in the manner he most\ndesired. Had he gazed to the south when he ascended the hill, instead of\nto the north, it might have been otherwise.\n\n24. He wiped away his tears and went down to the place where he had laid\nhis mask and arms at the foot of the hill. He put on his buckskin coat\nand was just putting on his mask, but had not quite drawn it down over\nhis head, when he heard a noise to the south and, looking around, he saw\na great crowd on horseback riding towards him. To see better he drew off\nhis mask, and then observed that they were dividing into two lines as\nthey advanced; a moment later he was surrounded. The horsemen were of\nthe tribe of Ute, a people whose language he did not understand. One\nyoung man rode up close to the Navajo, aimed an arrow at the breast of\nthe latter and drew it to the head; but just as he was about to release\nit an old man began to address the party in a loud voice and the young\nwarrior lowered his arrow and relaxed his bow. Then the speaker\ndismounted, approached the captive, and seized him by the arm. For a\nlong time there was much loud talking and discussion among the Ute. Now\none would harangue the party and then another would make a speech, but\nafter a while the dispute ceased and the old man motioned to the Navajo\nto move on. They made him trot while they followed him on horseback in a\nsemicircle, so that they could guard him and watch his movements. Soon\nthey came to Ty\u00c3\u00a8l-saka\u00c2\u00a2; shortly afterward they crossed the San Juan.\nThat night they camped near [\u00c2\u00a2]ep\u00c3\u00a9ntsa, where they watched him closely\nall night and gave him nothing to eat. They bound his feet firmly\ntogether, tied his hands behind his back, and threw an untanned buckskin\nover him before they lay down to sleep.\n\n25. They set out on their journey again early in the morning. At\n\u00c3\u0087\u00c3\u00b2in\u00c3\u00a7eski` (Scattered Springs) they stopped for a little while to eat,\nbut the only food they gave the Navajo was the full of his palm of\nservice berries. When they arrived on the south side of \u00c3\u0087\u00c3\u00b2tsosi (Narrow\nWater) they halted for the night and a number went out to hunt. Among\nthem they secured two deer, one large and one small; the feet of these\nthey gave to their captive for his supper. Next morning they gave him a\npiece of liver, half of which he ate and the rest he kept. They moved on\nrapidly and rested for the night at Dsil nahoy\u00c3\u00a0l, where there was a\nspring. They had given him nothing to eat all that day, and at night\nthey gave him nothing; so it was well for him that he had secreted part\nof the liver. This he ate after dark. On the third morning he had to set\nout fasting and had to go on foot as usual. About noon, however, one of\nthe Ute took pity on him and lent him a horse to ride, while the owner\nof the horse walked all the afternoon. That night they arrived at the\nbank of a large river, and here they gave him to understand, by signs,\nthat this was the last river they would cross until they got home.\nBeyond the river there was nothing in sight but a great plain.\n\n26. By the light of the morning, however, on the next day, he discerned\nsome mountains showing their points faintly above the northern horizon.\nTo these the Ute pointed and motioned to him to go ahead. They did not\nfollow him immediately; but saddled up at their leisure while the Navajo\nwent on. Though he was now for some time alone on the trail and out of\nsight of his captors, he knew that he could not escape; all around and\nbefore him was a desert plain where he could not discover a single\nhiding place; so he trudged on, tired and hungry and sorrowing, and he\nwept all along the way. At noon they gave him another handful of\nberries.\n\n27. At night they came to a plain situated between four mountains, one\non the east, one on the south, one on the west, and one on the north,\nand here there was a great encampment of Ute, whose tents were scattered\naround in different places on the plain. There was one tent whose top\nwas painted black and whose base was painted white and which had a\nforked pole set in the ground in front of it. To this his master, the\nold man who had saved his life and taken him by the arm on the occasion\nof his capture, led him, while the rest of the war party departed to\ntheir respective tents. The old man hung his own arms and accouterments\non the pole, and the slave, following his example, hung his deer skin\nmask and robe on the forks and laid his crutches against the pole, and\nhe prayed to the head of the deer, saying:\n\n Whenever I have appealed to you, you have helped me, my pet.\n Once you were alive, my pet.\n Take care that I do not die, my pet.\n Watch over me.\n\nWhen he had finished his prayer an old man came and danced around him,\nand when the latter had done an old woman approached with a whistle in\nher hand and she whistled all around him. This was for joy because they\nhad captured one of an alien tribe. Then his master motioned to him to\ngo into the tent. Here he was given a large bowl of berries of which he\nate his fill, and he was allowed to lie down and sleep undisturbed until\nmorning.\n\n28. Next morning the Ute began to enter the tent. They came one by one\nand in small groups until after a while there was a considerable crowd\npresent. Then they gave the Navajo to understand by signs that they\nwished to know for what purpose he wore the mask and the buckskin. He\nanswered that he used them for no particular purpose, but only for a\nwhim. They repeated the question three times very pointedly and\nsearchingly, but he continued to make evasive replies. The fourth time\nthey addressed him they charged him to tell the truth and speak quickly,\nreminding him that he was a prisoner whose life was in the hands of his\ncaptors and telling him that if he did not disclose the use of his mask\nand robe he would be killed before sunset, while if he revealed the\nsecret his life would be spared. He pondered but a short time over their\nwords and determined to tell them the truth. So he explained to them the\nuse of the mask and the robe in deceiving the deer and told the\nwonderful power he had of getting game by shooting into certain bushes.\nAt dark they sent in two young men to be initiated into his mysteries.\nHe began by giving them a full account of all his father had done and\nall he had shown him; he then taught them how to build the sweat-house,\nhow to make the mask, how to shoot the pluck, and how to walk like a\ndeer, and he made them practice the walk and the motions of the animal.\nAll this occupied eleven days.\n\n29. On the twelfth day the Ute went out to hunt, leaving few men in\ncamp. There was a small inclosure of brushwood close to the tent; in it\nwere two high poles on which skins were dressed. His master left him,\nthat day, two skins to prepare, and he set to work at them and labored\nhard scraping and rubbing them until about noon, when he felt hungry and\nwent into the tent to see if he could find anything to eat. He opened a\nbag and found it to contain dried meat; he put some of this on the coals\nand sat down to wait till it was done. As he watched the meat cooking he\nheard a noise at the deer skin door of the tent and, looking up, he\nbeheld an old woman crawling in on her hands and knees. She passed once\naround the fire and went out at the door again, but before she\ndisappeared she turned her head and addressed him, saying: \"My\ngrandchild, do something for yourself.\" He paused a moment in wonder at\nthe strange vision he had seen and the strange words he had heard, and\nthen he rushed out of the tent to follow his visitor and see who she\nmight be. He went around the tent four times; he gazed in every\ndirection; but no one was to be seen. During the rest of the day he\nworked but little. Occasionally he took up a stone and rubbed the hides;\nbut most of the time he walked and loitered around, busy with his\nthoughts.\n\n30. After sunrise the hunters returned with an abundance of meat. They\ncame to the great lodge where the master of the Navajo dwelt; they\nextended its circumference by removing the pegs at the bottom; they\nstored the goods of the owner away at the outer edge, so as to leave a\nclear space in the center, and made everything ready for the reception\nof a large number of guests. After dark a great number gathered in the\ntent and the captive was ordered by his master to bring some water. He\ntook two wicker bottles to a neighboring spring, filled them, and laid\nthem on the ground beside the spring, while he went to gather some\nplants to stick into the mouths of the bottles as stopples. As he went\nhe heard a voice saying \"Hist!\" and looking in the direction whence it\ncame he saw a form sitting in the water; it wore a mask like the head of\na great owl and it was smoking a pipe. When he turned towards it, it\nsaid, \"You walk around like one without sense or knowledge. Why don't\nyou do something for yourself? When next you hear my voice it will be\nwell for you if you walk towards it.\"\n\n31. The voice ceased and the form of the owl-man vanished. Then the\nNavajo put the stopples into the vessels and carried them back. When he\nreturned he observed that two large dogs were tied to the door, one on\neach side, and that three doors had been added to the lodge during his\nabsence, so that now there were four doors covering the doorway. When he\nentered he found the lodge filled with Ute and he saw four bags of\ntobacco and four pipes lying near the fire, one at each cardinal point\nof the compass. He observed a very old man and a very old woman seated\nat the door, one on each side. A cord tied to the old woman passed round\nthe edge of the lodge on one side, behind the spectators, to the west,\nand another cord, tied to the man, passed round on the opposite side of\nthe lodge. His master bade him sit down in the west, and when he was\nseated one of the cords was tied to his wrists and one to his ankles,\nand thus he was secured to the old pair.\n\n [Illustration: FIG. 50.\n Qastc\u00c3\u00a8\u00c3\u00abl\u00c3\u00a7i, from a dry painting of the kl\u00c3\u00a8dji-qa\u00c3\u00a7\u00c3\u00a0l.]\n\n32. Now he feared more than ever for his safety; he felt sure that his\ncaptors contemplated his death by torture. The pipes were lit and the\ncouncil began. The talking in the strange tongue that he could not\nunderstand had lasted long into the night, when he fancied that he heard\nthe voice of the Y\u00c3\u00a8bitcai (Anglicized, Y\u00c3\u00a0y-bi-chy or Gay-bi chy) above\nthe din of human voices, saying \"hu`hu`hu`hu\" in the far distance. He\nstrained his attention and listened well, and after a while he felt\ncertain that he heard the voice again nearer and louder. It was not long\nuntil the cry was repeated for the third time, and soon after the\ncaptive heard it once more, loudly and distinctly, immediately to the\nwest of the lodge. Then there was a sound as of footsteps at the door,\nand the white lightning entered through the smoke-hole and circled\naround the lodge, hanging over the heads of the council. But the Ute\nheard not the voice which the Navajo heard and saw not the vision he\nbeheld. Soon the Y\u00c3\u00a0ybichy (Qastc\u00c3\u00a8\u00c3\u00abl\u00c3\u00a7i) entered the lodge and standing on\nthe white lightning, said: \"What is the matter with you, my grandchild?\nYou take no thought about anything. Something you must do for yourself,\nor else, in the morning you will be whipped to death--that is what the\ncouncil has decided. Pull out four pegs from the bottom of the tent,\npush it open there, and then you can shove things through.\" The Navajo\nanswered, \"How shall I do it! See the way I am tied! I am poor! See how\nI am wound up!\" But Qastc\u00c3\u00a8\u00c3\u00abl\u00c3\u00a7i again said: \"When you leave, take with\nyou those bags filled with embroideries and take with you tobacco from\nthe pouches near the fire.\" Scarcely had Qastc\u00c3\u00a8\u00c3\u00abl\u00c3\u00a7i disappeared when the\nNavajo heard a voice overhead, and a bird named qoc\u00c3\u00a7\u00c3\u00b2\u00c2\u00a2i flew down\nthrough the smoke-hole, hovered four times around the lodge over the\nheads of the Ute, and departed by the way it had entered. In a moment\nafter it had disappeared a few of the Ute began to nod and close their\neyes; soon the others showed signs of drowsiness; some stretched\nthemselves out on the ground overpowered with sleep; others rose and\ndeparted from time to time, singly and in little groups, to seek their\nlodges and repose there. The last to drop asleep were the old man and\nthe old woman who sat at the door; but at length their chins fell upon\ntheir bosoms. Then the Navajo, fearing no watchers, went to work and\nloosened the cords that bound him; he lifted, from the inside, some of\nthe pegs which held the edge of the tent, and shoved out the two bags of\nembroideries which Qastc\u00c3\u00a8\u00c3\u00abl\u00c3\u00a7i had told him to take. Passing out through\nthe door of the lodge, where he found both the watch-dogs sound asleep,\nand taking with him the cords with which he had been tied and some of\nthe tobacco, he went round to the back of the lodge, where he had put\nthe bags; these he tied with the cords in such a manner that they would\nmake an easily balanced double bundle. He shouldered his bundle and was\nall ready to start.\n\n33. At this moment he heard, at a little distance to the south of where\nhe stood, the hoot of an owl. Instantly recollecting the words of the\nowl-like form which he had encountered at the spring at nightfall, he\nset off in the direction from which the call proceeded. He had not\nwalked far until he came to a precipitous bluff formed by two branching\nca\u00c3\u00b1ons, and it seemed at first impossible for him to proceed farther.\nSoon, however, he noticed a tall spruce tree, which grew beside the\nprecipice from the foot to the summit, for the day had now begun to dawn\nand he could see objects more clearly. At this juncture Qastc\u00c3\u00a8\u00c3\u00abl\u00c3\u00a7i again\nappeared to him and said: \"How is it, my grandchild, that you are still\nhere? Get on the top of that spruce tree and go down into the ca\u00c3\u00b1on on\nit.\" The Navajo stretched out his hand to seize the top of the tree, but\nit swayed away from his grasp. \"See, my grandfather,\" he said to\nQastc\u00c3\u00a8\u00c3\u00abl\u00c3\u00a7i, \"it moves away from me; I cannot reach it.\" Then Qastc\u00c3\u00a8\u00c3\u00abl\u00c3\u00a7i\nflung the white lightning around the top of the tree, as an Indian\nflings his lasso around the neck of a horse, and drew it in to the edge\nof the cliff. \"Descend,\" he commanded the Indian, \"and when you reach\nthe bottom take four sprays from the tree, each from a different part.\nYou may need them in the future.\" So the Navajo went down, took the four\nsprays as he was bidden and put them under his robe.\n\n34. At the base of the bluff he again met Qastc\u00c3\u00a8\u00c3\u00abl\u00c3\u00a7i, and at this moment\nhe heard a noise, as of a great and distant tumult, which seemed to come\nfrom above and from beyond the edge of the cliff whence they had\ndescended. From moment to moment it grew louder and came nearer, and\nsoon the sounds of angry voices could be distinguished. The Ute had\ndiscovered the flight of their captive and were in hot pursuit. \"Your\nenemies are coming for you,\" said the divine one; \"but yonder small\nholes on the opposite side of the ca\u00c3\u00b1on are the doors of my dwelling,\nwhere you may hide. The bottom of the ca\u00c3\u00b1on is strewn with large rocks\nand fallen trees; it would take you much time and hard labor to get over\nthese if I did not help you; but I will do something to make your way\neasy.\"--As he said this he blew a strong breath, and instantly a great\nwhite rainbow spanned the ca\u00c3\u00b1on. The Navajo tried to step on this in\norder to cross, but it was so soft that his feet went through; he could\nnot step on it. Qastc\u00c3\u00a8\u00c3\u00abl\u00c3\u00a7i stood beside him and laughed at his fruitless\nattempts to get on the rainbow. After he had enjoyed this sport\nsufficiently the ye (Anglicized, gay or yay) blew another strong breath,\nwhen at once the rainbow became as hard as ice and they both crossed it\nwith ease. When they reached the opposite wall of the ca\u00c3\u00b1on Qastc\u00c3\u00a8\u00c3\u00abl\u00c3\u00a7i\npointed to a very small hole in the cliff and said, \"This is the door of\nmy lodge; enter!\" By this time the shouts of the Ute sounded very loud\nin the ears of the terrified fugitive and it seemed to him that his\npursuers must have reached the edge of the opposite cliff, where they\nwould not be long before they would see him; still, hard as he tried to\nenter the cave, he could not succeed; the hole was not big enough for\nhim to put his head in. The Y\u00c3\u00a0ybichy roared with laughter and slapped\nhis hands together as he witnessed the abject fear and the fruitless\nefforts of the Navajo. When he had laughed enough he blew on the little\nhole and it spread instantly into a large orifice, through which they\nboth entered with ease. They passed through three rooms and stopped in\nthe fourth. Here Qastc\u00c3\u00a8\u00c3\u00abl\u00c3\u00a7i took the bags from the back of the Navajo,\nopened them, and drew from them some beautifully garnished\nclothing--a pair of moccasins, a pair of long-fringed leggings, and a\nshirt. He arrayed himself in these and went out, leaving the Navajo in\nthe cave. As soon as his rescuer was gone the fugitive heard loud noises\nwithout and the sound of many angry voices, which continued for a long,\nlong time. At last they died away and were heard no more. The Ute had\ntracked him to the edge of the cliff where he got on the tree; but there\nthey lost his trail and searched all the neighborhood to see if they\ncould regain it; hence the noises. When all was silent Qastc\u00c3\u00a8\u00c3\u00abl\u00c3\u00a7i\nreturned and said, \"Your enemies have departed; you can leave in\nsafety.\" So, taking a tanned elk skin to cover his back and a pair of\nnew moccasins to protect his feet, the Navajo set out from the cave.\n\n35. It was nightfall when he emerged. He turned his face in the\ndirection of his home and walked rapidly all the night. As day dawned he\nbegan to feel hopeful; but, ere the sun rose, distant sounds, which grew\nlouder and louder, reached his ear. He knew them to be the voices of his\npursuers and again he became sorely afraid. He hurried on and came near\nthe foot of a high isolated pinnacle of rock, whose top appeared to be\ninaccessible. Glancing to the summit, however, he beheld standing there\na black mountain sheep. Thinking that this singular vision was sent to\nhim as a sign from the yays (gods) and boded well for him, he came to\nthe base of the rock, when the sheep addressed him, saying: \"My\ngrandson, come around to the other side of the rock and you will find a\nplace where you may ascend.\" He went around as he was bidden and saw the\ncleft in the rock, but it was too narrow for him to climb in it. Then\nthe sheep blew into the cleft and it spread out so wide that he entered\nit easily and clambered to the summit. Here he found the sheep standing\nin four tracks, marked or sunken in the rock, one hoof in each track,\nand under the center of his body was a small hole in the rock. Into this\nhole the sheep bade him enter; but he replied that the hole was too\nsmall. Then the sheep blew on the hole and it spread so wide open that\nboth the man and the sheep entered easily and descended into the heart\nof the rock. Here there were again four apartments; two of them were\nblue and two were black; rainbows extended in all directions through\nthem. In the fourth room, which was black, the sheep left the Navajo to\nrest, and departed. Soon the fugitive heard, as on the previous day,\nwhen he lay hidden in the cave of Qastc\u00c3\u00a8\u00c3\u00abl\u00c3\u00a7i, the voices of the angry\nUte calling and haranguing all around the rock, and he continued to hear\nthem for a very long time. Soon after the clamor ceased the sheep\nreturned to him to notify him that his enemies had withdrawn and that he\ncould set out on his journey again without fear.\n\n36. He journeyed homeward all the night, and when daylight began to\nappear he found himself on the banks of the stream where the Ute slept\nthe night before they reached their tents, when they bore him home a\ncaptive. Here again he heard in the distance the voices of his pursuers\nand he hastened his steps. Presently he met a little old man sitting on\nthe ground and cleaning cactus fruit. The old man had a sharp nose,\nlittle bright eyes, and a small moustache growing on each side of his\nupper lip. At once the Navajo recognized him as the Bushrat (_Neotoma\nmexicana_). The latter asked the traveler where he came from. \"Oh, I am\njust roaming around here,\" was the answer. But the rat, not satisfied,\nrepeated his question three times, in a manner which gave the Navajo to\nunderstand that his answer was not credited. So at last he answered\ntruthfully that he was a Navajo who had been captured by the Ute, and\nthat he was fleeing homeward from his captors, who were at that moment\nclose behind him in pursuit. \"It is well,\" said the rat, \"that you have\ntold me this, for I think I can save you. On yonder hillside there is a\nflat rock, and round about it are piled many little sticks and stones.\nIt is my home, and I will guide you thither.\" He led the Indian to the\nrock and, showing him a small hole under it, bade him stoop low and\nplace his head near the hole. As the Navajo obeyed the rat blew a strong\nbreath on the hole, which at once opened wide enough to let the visitor\nin. The rat followed immediately behind him as he entered. Inside of the\nden there were an old woman, two young men, and two young women. These\nconstituted the family of the Bush-rat, who left the den as soon as the\nstranger was safely housed. Soon the voices of the pursuing Ute were\nagain heard around the rock and at the mouth of the den, and the Navajo\nsat a long time in silence listening to them. After a while the rat\nwoman said to him, \"You seem to be tired and hungry. Will you have\nsomething to eat?\" and he answered, \"Yes; I am very hungry and would\nlike some food.\" On hearing this she went into one corner of her\ndwelling, where were many chips and bones and shells of seeds and skins\nof fruits, and she brought him some of these and offered them to him;\nbut at this moment the wind god whispered into his ear and warned him\nnot to partake of the refuse; so he said to the woman; \"My mother, I can\nnot eat these things.\" Then she went to another corner of the den, where\nthere was another pile of debris; but again the wind god prompted him\nand again he refused. After this she visited in turn two other piles of\ntrash in the corners of her lodge and tried to make him accept it as\nfood, but he still rejected it. Now, while he had been sitting in the\nlodge he had not failed to look around him, and he had observed a long\nrow of wicker jars standing at one side. At one end of the row was a\nblack vessel and at the other end a white vessel. When she at length\nasked him, \"What food is it that you would have, my son?\" the wind god\nwhispered to him, \"Ask her for that which is in the jars at the end of\nthe row,\" and he replied, \"I will take some food from the black jar and\nsome from the white jar.\" She removed the stopples from the jars. From\nthe black vessel she took nuts of the pi\u00c3\u00b1on and fruit of the yucca and\nfrom the white vessel she took cherries and cactus fruit, all of which\nhe received in the folded corner of his elk robe. He was just about to\npartake of some of the nice fruit when again he heard the low voice of\nthe wind god. This time it said, \"Eat not the food of the rats in the\nhome of the rats, if you would not become a rat; wait till you go out\nto-night.\" Much, as he longed for the food, after hearing this, he\ntasted it not, but held it in the fold of the elk skin. Late in the day\nthey were all astonished by hearing a loud rattling noise at the mouth\nof the cave, and, looking in that direction, saw the end of a big stick,\nwhich was thrust viciously from time to time into the opening and poked\naround in different directions; but it was not long enough to reach to\nthe place where they sat. \"What is that?\" said the woman. \"Oh,\" answered\nthe Navajo, \"that is the Ute, who have trailed me to this hole and hope\nto kill me by poking that stick in here.\" The old rat watched from a\nsecret place outside all the actions of the Ute, and when he came home\nat night he asked his family if the stick had hurt any of them. \"We saw\nonly the end of it,\" they replied. He then turned to the Navajo and\nsaid, \"Your pursuers have disappeared; you may go out without fear.\"\n\n37. He trudged wearily on all night, and at dawn he was beside the high\nvolcanic rocks at \u00c3\u0087\u00c3\u00b2tsosi, another place where his captors had halted\nwith him. There is one place where the rocky wall is quite smooth. As he\nwas passing this place he heard a voice saying, \"Sh!\" He looked all\naround him, but saw nothing that could have made the sound. He was about\nto pass on when he again heard the voice, and, looking around, he again\nsaw no one. The fourth time that this happened, however, he observed in\nthe smooth part of the rock a door standing open and a little animal\ncalled Kleyatcini looking out at him. As he stood gazing at the sharp\nnose and the bright eyes the distant voices of his pursuers sounded\nagain in his ears and the little animal bade him enter and hide himself.\nAs the Navajo entered the Kleyatcini passed out and closed the door\nbehind him. The fugitive was not long in his place of concealment when\nthe clamor made by the foiled pursuers was again heard, but it ceased\nsooner than usual. It was not yet sunset when the little animal returned\nto announce that the Ute had gone from the neighborhood. When the Navajo\nstepped out of the hole in the rock, Kleyatcini pointed out to him the\nmountains in which his home lay and counseled him to travel directly\ntowards them.\n\n38. He pursued his way in the direction indicated to him all night, and\nat break of day he found himself walking between a pair of low hills of\nclay which stood close together, and once more he heard behind him the\nvoices of his enemies and the trampling of their horses. But now his\ngood friend Qastc\u00c3\u00a8\u00c3\u00abl\u00c3\u00a7i appeared to him and said to him: \"My grandchild,\nare you still here? Have you come only thus far?\" \"I am here,\" cried the\nNavajo, \"and oh, my grandfather, I could do no better. Look at my limbs!\nSee how sore and swollen they are! I am exhausted and feel that I cannot\nflee much farther before my enemies.\" \"Go, then,\" said Qastc\u00c3\u00a8\u00c3\u00abl\u00c3\u00a7i, \"to\nthat hill which is the farther from us and climb to the top of it; but,\nwhen you are taking the very last step which will place you on the\nsummit, shut your eyes as you make that step.\" The Navajo hastened to\nthe hill, and, weary as he was, he soon ascended it. As he lifted his\nfoot to take the last step he closed his eyes, as the yay had bidden\nhim. When he felt his foot again on the earth he opened his eyes, and\nlo! instead of having a little hill under his feet, he stood on the\nsummit of a great mountain peak, seamed with deep ca\u00c3\u00b1ons, bordered with\nrugged rocks, and clothed with great forests of pine and spruce; while\nfar away on the plain at the foot of the mountain--so far that he could\nscarcely discern them--were his baffled pursuers, and beside him stood\nQastc\u00c3\u00a8\u00c3\u00abl\u00c3\u00a7i. The latter pointed out to him many familiar places in the\ndistance--the valley of the San Juan, and Dsilyi`-qoj\u00c3\u00b2ni (Beautiful in\nthe Mountains), where he and his people first lived. He rested securely\non the mountain top all day.\n\n39. At sunset he went on his way again. When daylight began to appear he\ncrossed the San Juan. Soon after, while journeying on over an open\nplain, he once more heard the Ute on his trail. He now felt very sad and\nhopeless, for his limbs were so stiff and swollen that every motion gave\nhim pain and he could hardly drag himself along. But at this moment he\nbecame conscious that he was not alone, and glancing to one side he saw\nNiltci, the wind god, walking with him. And Niltci brought a great dark\nwhirlwind, which roared a moment beside them and then buried its point\nin the ground and dug a deep hole there; it dug a cavern with four\nchambers. Then dark clouds gathered and rain began to fall. \"Have you\nanything with you that may help you?\" asked the god. \"I have nothing,\"\nsaid the Navajo, \"but four sprays of spruce, which the Y\u00c3\u00a0ybichy bade me\npluck from the tree on which I descended into the ca\u00c3\u00b1on the night I left\nthe Ute camp.\" \"They will do,\" said the wind god. \"Make quickly four\nballs of mud and thrust through each ball a twig of the spruce, and lay\nthem on the ground so that the tops of the twigs will point towards your\nenemies.\" The Navajo did as he was commanded. Then Niltci blew the twigs\nand mud balls in the direction of the pursuers and told the Navajo to\ndescend into the retreat which the whirlwind had formed. He went down\nand rested secure, while he heard overhead great peals of thunder, the\nloud rushing of the tempest, and the heavy pattering of enormous\nhailstones, to bring which the mud balls had been made. The noises of\nthe storm died away, and about midday Niltci came into the cave and said\nto the man: \"Come forth; your enemies have been dispersed. Many have\nbeen killed by the hail, and the rest have gone towards their homes.\"\nThen the Navajo came up out of the ground and set out in the direction\nof his old home at Dsilyi`-qoj\u00c3\u00b2ni.\n\n40. It was about sunset when he reached the top of the mountain. The\nsnow began to fall heavily and a strong wind began to blow. He walked on\nto the western brow of the mountain, where there was a great precipice.\nHere the storm blew with such violence that he could scarcely stand, and\nyet the precipice was so steep that he did not see how he could get\ndown. But soon, as on a former occasion of this kind, he discovered a\nspruce tree which grew against the side of the precipice, and at the\nsame time Qastc\u00c3\u00a8\u00c3\u00abl\u00c3\u00a7i appeared to him again and directed him to go down\non the spruce tree. He did so, and when he reached the bottom he found\nthe yay there awaiting him. He addressed Qastc\u00c3\u00a8\u00c3\u00abl\u00c3\u00a7i: \"Oh, my\ngrandfather, I am tired and sore and sleepy. I would like to lie down\nunder this tree and sleep.\" But the god answered, \"Go, my grandchild, to\nyonder fire and rest,\" and he pointed to a distant gleam on the side of\na mountain which lay beyond a very deep valley. \"No, my grandfather,\"\ncried the Navajo, \"I am weary and my limbs are sore and weak; I can not\ntravel so far.\" \"I will help you,\" said the yay, and as he spoke he\nspanned the valley with a flash of lightning, over which he led the man\nto the distant mountain. They reached it at a point close to the fire;\nbut the moment they stood again on the firm earth Qastc\u00c3\u00a8\u00c3\u00abl\u00c3\u00a7i and the\nfire vanished. The man was bewildered and at a loss what to do. He\nwalked around the mountain a short distance and then changed his mind\nand walked back to the place from which he started. Here he found\nQastc\u00c3\u00a8\u00c3\u00abl\u00c3\u00a7i awaiting him. The yay spoke not a word, but pointed down into\nthe valley and led the way thither. At the bottom of the valley they\ncame to a great hole in the ground; the yay pointed in and again led the\nway. As they advanced into the cave the air grew warmer. In a little\nwhile they discovered a bright fire on which there was no wood. Four\npebbles lay on the ground together: a black pebble in the east, a blue\none in the south, a yellow one in the west, and a white one in the\nnorth; from these the flames issued forth. Around the fire lay four\nbears, colored and placed to correspond with the pebbles. When the\nstrangers approached the fire the bears asked them for tobacco, and when\nthe former replied that they had none the bears became angry and thrice\nmore demanded it. When the Navajo fled from the Ute camp he had helped\nhimself from one of the four bags which the council was using and had\ntaken a pipe, and these he had tied up in his skin robe; so when the\nfourth demand was made he filled the pipe and lighted it at the fire. He\nhanded the pipe to the black bear, who, taking but one whiff, passed it\nto the blue bear and immediately fell senseless. The blue bear took two\nwhiffs and passed the pipe, when he too fell over in a state of\nunconsciousness. The yellow bear succumbed after the third whiff, and\nthe white bear, in the north, after the fourth whiff. Now the Navajo\nknocked the ashes and tobacco out of his pipe and rubbed the latter on\nthe feet, legs, abdomen, chest, shoulders, forehead, and mouth of each\nof the bears in turn, and they were at once resuscitated. He replaced\nthe pipe in the corner of his robe. When the bears recovered they\nassigned to the Navajo a place on the east side of the fire where he\nmight lie all night, and they brought out their stores of corn meal and\ntciltcin and other berries and offered them to him to eat; but\nQastc\u00c3\u00a8\u00c3\u00abl\u00c3\u00a7i warned him not to touch the food and again disappeared. So,\nhungry as he was, the Indian lay down supperless to sleep. When he woke\nin the morning the bears again offered food, which he again declined,\nsaying he was not hungry. Then they showed him how to make the bear\nketh\u00c3\u00a0wns, or sticks to be sacrificed to the bear gods, and they drew\nfrom one corner of the cave a great sheet of cloud, which they unrolled,\nand on it were painted the forms of the yays of the cultivated plants.\nAs he departed the bears said, \"There are others in these parts who have\nsecrets to tell you. Yonder is Tsen\u00c3\u00a1stci, where many dwell.\" So he set\nforth for Tsen\u00c3\u00a1stci (Circle of Red Stones.)\n\n41. As he passed down the valley he heard a loud rushing noise be hind\nhim, and looking around he beheld a tornado. The air was filled with\nlogs and uprooted trees, borne along by the great storm. It came nearer\nand seemed to be advancing to destroy him. He was terrified and cried\nout to the storm: \"Ciy\u00c3\u00a8\u00c3\u00afc\u00c3\u00a7e, Dsilyi` Ney\u00c3\u00a1ni. Qua\u00c3\u00afl\u00c3\u00a1\u00c3\u00a7i?\" (\"'Tis I, Reared\nWithin the Mountains. Who art thou?\") The tempest recognized him and\nsubsided, and in its place appeared four men in the shape of the gl\u00c3\u00b2\u00c3\u00af or\nweasel. The four weasel men showed him how to make the gl\u00c3\u00b2\u00c3\u00af-bike\u00c3\u00a7an, or\nsacrificial sticks of the gl\u00c3\u00b2\u00c3\u00af. What name the Navajo bore before this\ntime the ancient tale does not tell us; but from the moment he said\nthese words he was called among the gods Dsilyi` Ney\u00c3\u00a1ni, and was\nafterwards known by this name among his people.\n\n42. After this adventure he continued on his way to Tsen\u00c3\u00a1stci. He had\nnot journeyed far when he met the wind god, who said to him: \"Those whom\nyou will meet at Tsen\u00c3\u00a1stci are evil ones; therefore I will be with you\nand will walk before you.\" When they came to Tsen\u00c3\u00a1stci they found a hole\nin the rocks guarded by two great rattlesnakes, one on each side, and\ncovered by two pi\u00c3\u00b1on trees, for a door. When the travelers drew near,\nthe serpents showed signs of great anger, and when the former approached\nthe door the reptiles shook their rattles violently, thrust out their\ntongues, and struck at the intruders as though they would bite them; but\nthey did not bite. Niltci thrust aside the pi\u00c3\u00b1on trees; he and his\ncompanions entered, and, when they had passed within, the pi\u00c3\u00b1on trees,\nmoving of their own accord, closed the entrance behind them. Within they\nencountered a bald headed old man who had only a little tuft of hair\nover each ear. This was Klicts\u00c3\u00b2, the Great Serpent. He asked Niltci who\nhis human companion was, and the wind god answered that he was a Navajo\nwho had been captured by the Ute, but had escaped from them and had\nsuffered many hardships. On hearing this Klicts\u00c3\u00b2 showed the Indian how\nto make the keth\u00c3\u00a0wns, now known to the Navajo shamans as\nklicts\u00c3\u00b2-bike\u00c3\u00a7an, or sacrificial sticks of the Great Serpent, and he told\nhim how to plant these sacrifices.\n\n43. From the home of Klicts\u00c3\u00b2 they went to a place called Tse`bin\u00c3\u00a0yol\n(Wind Circles Around a Rock). When they drew near the place they heard\nloud peals of thunder and the lightning struck close to them in four\ndifferent places. They were now approaching the home of the lightning\ngods; this is why destruction by the thunderbolt seemed to threaten\nthem. Then the Navajo spoke to the lightning, as he had formerly spoken\nto the whirlwind, saying, \"'Tis I, Reared Within the Mountains. Who art\nthou?\" whereat the thunder and the lightning ceased, and the travelers\nwalked on until they entered a house of black clouds, inside of a\nmountain, which was the house of I`\u00c2\u00a2n\u00c3\u00ac`, the Lightning. He was bald,\nlike the Great Serpent, having only a little tuft of hair over each ear.\nAt each of the four sides of the room where I`\u00c2\u00a2n\u00c3\u00ac` sat was a lightning\nbird; that in the east was black, that in the south was blue, that in\nthe west, yellow, and that in the north, white. From time to time the\nbirds flashed lightning from their claws to the center of the room where\nthe god sat, and the lightning was of the same color as the bird that\nemitted it. When the travelers entered I`\u00c2\u00a2n\u00c3\u00ac` said to Niltci, \"Who is\nthis that you have brought with you?\" The latter answered, \"It is a\nNavajo who has been a captive with the Ute and has escaped. He has\nsuffered much. See how his knees and ankles are swollen.\" Then the\nLightning showed him two keth\u00c3\u00a0wns, such as the shamans now sacrifice\nunder the name of I`\u00c2\u00a2n\u00c3\u00ac`-bike\u00c3\u00a7an, or sacrificial sticks of the\nlightning, and, having instructed him how to make and to plant these, he\nbade his visitors depart.\n\n44. The next place they reached on their journey was S\u00c3\u00a0\u00c3\u00af byits\u00c3\u00b2zi\n(Narrow Sand Hills). They entered the hill and came to the house of\nKa\u00c2\u00a2l\u00c3\u00b9gi, the Butterfly, a dwelling filled with butterflies and rainbows.\nThey found Ka\u00c2\u00a2l\u00c3\u00b9gi and his wife sitting there, and also Ats\u00c3\u00b2s-bebag\u00c3\u00a0ni\n(House of Feathers), who wore black leggings. Here Niltci disappeared\nand the woman had to put her questions to the Navajo. She inquired, as\nthe others had done, who he was, and he briefly told her his story. She\narose, went out, and presently returned with a large basin made of a\nbeautiful white shell; this was filled with water and soap root. She\nlaid it before the Navajo, saying, \"You are about to visit some fair and\nbeautiful people, and it is proper that you should bathe your body and\nwash your hair well.\" When he had finished his bath he of the house of\nfeathers took fine corn meal and applied it to the feet, the knees, the\nabdomen, and the other parts of the body which are usually touched in\nhealing ceremonies. Then, under the directions of Ats\u00c3\u00b2s-bebag\u00c3\u00a0ni, the\nNavajo rubbed his whole body with meal to dry himself and painted his\nface white with glee (white earth}. House of Feathers next brought in\nsmall bundles of the following plants: tcil\u00c2\u00a2elg\u00c3\u00adsi (_Gutierrezia\neuthami\u00c3\u00a6_), \u00c3\u00a7oikal (_Artemesia trifida_), ts\u00c3\u00a9ji, and tlo`nas\u00c3\u00a7\u00c3\u00a1si\n(_Bouteloua hirsuta_), burned them to charcoal, and directed the Indian\nto blacken his legs and forearms with this substance. When this was done\nhe put spots of white on the black, and, in short, painted him as the\nak\u00c3\u00a1ninili, or courier (Fig. 52) sent out to summon guests to the dance,\nis painted to this day in the ceremonies of the dsily\u00c3\u00addje qa\u00c3\u00a7\u00c3\u00a0l. When\nthe painting was done Ka\u00c2\u00a2l\u00c3\u00b9gi Es\u00c3\u00a7\u00c3\u00a1ya (Butterfly Woman) took hold of his\nhair and pulled it downward and stretched it until it grew in profusion\ndown to his ankles. Then she pressed and worked his body and face all\nover until she molded him into a youth of the most beautiful form and\nfeature. They gave him fine white moccasins and a collar of beaver skin\nwith a whistle attached to it; they put the k\u00c3\u00a0bas\u00c3\u00a7an, or plumed sticks\nto represent wings, on his arms, and altogether dressed and adorned him\nas the ak\u00c3\u00a1ninili is dressed and adorned. The woman gave him white corn\nmeal mixed with water to eat, and he slept all night in the house of the\nbutterflies. In the morning the woman (or goddess, as we might better\ncall her) laid two streaks of white lightning on the ground and bade him\nstand on them with one foot on each streak. \"Now,\" she said, \"the white\nlightning is yours; use it how and when you will.\" Then she told him to\ngo to the top of the hill in which their house lay. When he ascended he\nfound another house on the top, and in it he again met Ka\u00c2\u00a2l\u00c3\u00b9gi and his\nwife, who awaited him there. He observed a streak of white lightning\nthat spanned a broad valley, stretching from the hill on which he stood\nto a distant wooded mountain. \"There,\" said Ka\u00c2\u00a2l\u00c3\u00b9gi Es\u00c3\u00a7\u00c3\u00a1ya, pointing to\nthe lightning, \"is the trail you must follow. It leads to yonder\nmountain, which is named Bistc\u00c3\u00a0gi.\"\n\n45. He followed the lightning trail and soon arrived at the house of\nEsts\u00c3\u00a0u-\u00c2\u00a2ig\u00c3\u00acni (Holy Woman). The house was inside of a black mountain;\nbut the lightning ended not until it went quite into the dwelling; so he\nhad only to follow it to find his way in. The door was of trees. Within,\non the east wall hung the sun and on the west wall hung the moon. Here\nhe was shown the keth\u00c3\u00a0wn which is called Ests\u00c3\u00a0n-\u00c2\u00a2ig\u00c3\u00acnibike\u00c3\u00a7\u00c3\u00a0n, or the\nsacrificial stick of the holy woman, and was told how to make it and how\nto bury it. As he was about to depart from this place two of the wind\ngods and the butterfly god appeared to him, and the whole party of four\nset out for Tc\u00c3\u00b9ckai (Chusca Knoll of our geographers).\n\n46. At this place they entered a house which was inside of the mountain.\nIt was two stories high; it had four rooms on the first story and four\non the second. It had four doorways, which were covered with trees for\ndoors; in the east was a black spruce tree, in the south a blue spruce\ntree, in the west a yellow spruce tree, and in the north a white shining\nspruce tree. Here dwelt four of the Tcik\u00c3\u00a8-cac-n\u00c3\u00a1tlehi (Maiden that\nBecomes a Bear). Their faces were white; their legs and forearms were\ncovered with shaggy hair; their hands were like those of human beings;\nbut their teeth were long and pointed. The first Tcik\u00c3\u00a8-cac-n\u00c3\u00a1tlehi, it\nis said, had twelve brothers. She learned the art of converting herself\ninto a bear from the coyote. She was a great warrior and invulnerable.\nWhen she went to war she took out and hid her vital organs, so that no\none could kill her; when the battle was over she put them back in their\nplaces again. The maidens showed him how to make four keth\u00c3\u00a0wns and told\nhim how to bury them in order to properly sacrifice them.\n\n47. From Tc\u00c3\u00b9ckai they went to Nin\u00c3\u00a0-qo\u00c2\u00a2ezg\u00c3\u00b2\u00c3\u00a7 (Valley Surrounded on All\nSides by Hills), near [\u00c2\u00a2]ep\u00c3\u00a9ntsa, where they found the house of the\nTsilk\u00c3\u00a8-\u00c2\u00a2ig\u00c3\u00acni (Holy Young Men), of whom there were four. There were, in\nthe dwelling, four rooms, which had not smooth walls, but looked like\nrooms in a cavern; yet the house was made of water. A number of plumed\narrows (k\u00c3\u00a1tso-yis\u00c3\u00a7\u00c3\u00a0n) were hanging on the walls, and each young man\n(standing one in the east, one in the south, one in the west, and one in\nthe north) held such an arrow in his extended right hand. No keth\u00c3\u00a0wn was\ngiven him; but he was bidden to observe well how the holy young warriors\nstood, that he might imitate them in the rites he should establish\namongst men.\n\n48. The next place they visited was Tse`\u00c3\u00a7a-isk\u00c3\u00a1gi (Rock that Bends\nBack), where they entered a house, striped within horizontally of many\ncolors, and found eight more of the Tsilk\u00c3\u00a8-\u00c2\u00a2ig\u00c3\u00acni (Holy Young Men). Two\nstood at each cardinal point and each one grasped a sapling which he\nheld over his upturned mouth, as if about to swallow it. One of the\nyoung men addressed him, saying \"Do thus. There are eight of us here;\nbut when you do this in the dance that you will teach your people you\nneed not have eight young men--six will be enough.\"\n\n49. From here they went to Tc\u00c3\u00a9tcel-hyits\u00c3\u00b2 (Big Oaks), to visit the home\nof [\u00c2\u00a2]igin-yos\u00c3\u00adni (yos\u00c3\u00adni is a species of squirrel). It was built of\nblack water-slime (\u00c3\u00a7ra\u00c3\u00a7l\u00c3\u00ad\u00c3\u00a7) and the door was of red sunbeams. On the\neast wall hung a big black log; on the south wall, a blue log; on the\nwest wall, a yellow log; and on the north wall, a white log; in which\nlogs the squirrels dwelt. Although they were squirrels, they were young\nmen and young women, and looked very much like one another. All had red\nand black stripes on their backs. These taught him how to make and bury\nthe keth\u00c3\u00a0wns sacred to themselves.\n\n50. Dsilnin\u00c3\u00a8la` (Last Mountain) is a conical, sharp pointed eminence,\nshaped like a Navajo hogan or lodge. It is black and has white streaks\nrunning down its sides. This was the next place they visited. Within the\nmountain was a house, whose door was of darkness and was guarded by\nTc\u00c3\u00a1pani (the Bat) and an animal called \u00c3\u0087ants\u00c3\u00b2 (of crepuscular or\nnocturnal habits). Here dwelt many young men and young women who were\nskunks (gol\u00c3\u00adji), and they taught the Navajo wanderer how to make and how\nto bury the keth\u00c3\u00a0wns which are sacred to the skunk.\n\n51. The next place to which they went was Dsil-nik\u00c3\u00ad\u00c2\u00a2i-\u00c3\u00a0gi (Mountain\nComes Down Steep), and here they found the place where Glo`dsilk\u00c3\u00a0\u00c3\u00af\n(Abert's squirrel, _Sciurus aberti_) and Glo`dsilj\u00c3\u00adni dwelt. When the\nfour entered, the squirrels said to them: \"What do you want here? You\nare always visiting where you are not welcome.\" The gods replied: \"Be\nnot angry with us. This is a Navajo who was a captive among the Ute, but\nhe has escaped and has suffered much. I`\u00c2\u00a2n\u00c3\u00ac` (the Lightning) has bidden\nus to take him to the homes of all the \u00c2\u00a2ig\u00c3\u00acni (holy ones, supernatural\nbeings); therefore we have brought him here.\" \"It is well,\" said the\nsquirrels; \"but he is hungry and must have some food.\" They brought him\npi\u00c3\u00b1on nuts, pine nuts, spruce nuts, and service berries; but the gods\ntold him not to partake of the nuts or he would be changed into a\nsquirrel, to eat only of the service berries. When he had finished his\nmeal, the squirrels showed him how to make two keth\u00c3\u00a0wns and how to bury\nthem.\n\n52. Now Niltci whispered: \"Let us go to Dsily\u00c3\u00a0-i\u00c3\u00a7\u00c3\u00adn\" (Four Doorways\nUnder a Mountain), where dwells [\u00c2\u00a2]as\u00c3\u00a0ni (the Porcupine). His house was\nin a black mountain. At the eastern doorway there was a black spruce\ntree for a door. On the other sides there were no doors; the entrances\nwere open. They found here four porcupine gods, two male and two female.\nThey were colored according to the four cardinal hues. The black one\nstood in the east, the blue one in the south, the yellow one in the\nwest, and the white one in the north. They instructed him concerning the\nketh\u00c3\u00a0wns of the porcupines, and they offered him food, which consisted\nof the inner bark of different kinds of trees. But again, prompted by\nNiltci, he refused the food, saying that he was not able to eat food of\nthat kind. \"It is well,\" said the porcupines, \"and now you may leave\nus.\"\n\n53. \"Off in this direction,\" whispered Niltci, pointing to the\nnortheast, \"is a place called Qo\u00c2\u00a2ests\u00c3\u00b2 (Where Yellow Streak Runs Down).\nLet us go thither.\" Here they entered a house of one room, made of black\nwater. The door was of wind. It was the home of Tcal-nin\u00c3\u00a9z (Long-Frog),\nof \u00c3\u0087okl\u00c3\u00adc (Water Snake), of Klick\u00c3\u00a0 (Arrow Snake), and of other serpents\nand animals of the water. It was called Ahy\u00c3\u00a8qo\u00c2\u00a2e\u00c3\u00a7i` (They Came\nTogether), because here the prophet of the dsily\u00c3\u00addje qa\u00c3\u00a7\u00c3\u00a0l visited the\nhome of the snakes and learned something of their mysteries. The\nceremonies sacred to these animals belong to another dance, that of the\nqoj\u00c3\u00b2ni-qa\u00c3\u00a7\u00c3\u00a0l (chant of terrestrial beauty); but in the mysteries learned\nin Ahy\u00c3\u00a8qo\u00c2\u00a2e\u00c3\u00a7i` the two ceremonies are one. Here he was instructed how to\nmake and to sacrifice four keth\u00c3\u00a0wns. To symbolize this visit of Dsilyi`\nNey\u00c3\u00a1ni and this union of the two ceremonies, the first sand picture is\nmade. (See Plate XV.)\n\n54. The next place they visited was A\u00c3\u00a7\u00c3\u00a0nkik\u00c3\u00a8, where there was a house\nbuilt of the white rock crystal, with a door made of all sorts of\nplants. It was called Tseg\u00c3\u00a0\u00c2\u00a2ini\u00c3\u00a7ini-behogan (House of Rock Crystal) and\nwas the home of Tcik\u00c3\u00a8-\u00c2\u00a2ig\u00c3\u00acni (Supernatural Young Woman, or Young Woman\nGoddess), who was the richest of all the \u00c2\u00a2ig\u00c3\u00acni. In the middle of the\nfloor stood a large crystal in the shape of a keth\u00c3\u00a0wn. Just as they were\nentering, Qastc\u00c3\u00a8\u00c3\u00abl\u00c3\u00a7i, who had disappeared from the Navajo's sight at the\nhouse of the bears, here rejoined him, and the party now numbered five.\nThe apartment, when they came into it, was very small, but Qastc\u00c3\u00a8\u00c3\u00abl\u00c3\u00a7i\nblew on the walls, which extended thereat until the room was one of\ngreat size. The goddess showed the Navajo how to make two keth\u00c3\u00a0wns and\ndirected him how to dispose of them.\n\n55. Thence they journeyed to Tsits\u00c3\u00a8-inty\u00c3\u00a8li (Broad Cherry Trees), where,\nin a house of cherries with a door of lightning, there lived four gods\nnamed Dsilyi` Ney\u00c3\u00a1ni (Reared Within the Mountains). The Navajo was\nsurprised to find that not only had they the same name as he had, but\nthat they looked just like him and had clothes exactly the same as his,\nHis companions said to him: \"These are the gods in whose beautiful form\nthe Butterfly goddess has molded you. These are the gods whose name you\nbear.\" The hosts bade their visitors be seated, and they ranged\nthemselves around the fire, one at each of the cardinal points. Each\nheld an arrow made of the cliff rose (_Cowania mexicana_) in his\nextended right hand. The head of the arrow was of stone, the fletching\nof eagle feathers, and the \"breath feather\" of the downy plume of the\nTsen\u00c3\u00a1hale (the Harpy of Navajo mythology). As they held the arrows they\nejaculated, \"ai`, ai`, ai`, ai`,\" as they who dance the k\u00c3\u00a1tso-yis\u00c3\u00a7\u00c3\u00a0u do\nin the ceremonies to this day, and after the fourth ai` each one\nswallowed his arrow, head foremost, until the fletching touched his\nlips. Then he withdrew the arrow and they said: \"Thus do we wish the\nNavajo to do in the dance which you will teach them; but they must take\ngood care not to break off the arrowheads when they swallow and withdraw\nthem.\" Such is the origin of the dance of the k\u00c3\u00a1tso-yis\u00c3\u00a7\u00c3\u00a0n, or great\nplumed arrow. As they bade him good-bye, one of them said to the Navajo:\n\"We look for you,\" i.e., \"We expect you to return to us,\" an intimation\nto him that when he left the earth he should return to the gods, to\ndwell among them forever.\n\n56. From this place they journeyed on until they reached A\u00c3\u00a7\u00c3\u00a0dsil (Leaf\nMountain), and found the house that was made of dew-drops\n([\u00c2\u00a2]a\u00c3\u00a7\u00c3\u00b2-behogan) and that had a door made of plants of many different\nkinds. This was the home of the Bits\u00c3\u00a8s-nin\u00c3\u00a9z (Long Bodies), who were\ngoddesses. When they rose, as the strangers entered, the plumes on their\nheads seemed to touch the heavens, they were so very tall. The goddesses\nsaid to Dsilyi` Ney\u00c3\u00a1ni, \"We give you no keth\u00c3\u00a0wn, but look at us well and\nremember how we appear, for in your ceremonies you must draw our\npicture; yet draw us not, as we now stand, in the east, the south, the\nwest, and the north; but draw us as if we all stood in the east.\" This\nis the origin of the second picture that is painted on the sand.\n(Plate XVI.)\n\n57. Leaving the House of Dew they proceeded to \u00c3\u0087onak\u00c3\u00a0\u00c3\u00af (White Water\nRunning Across). This was a stream which ran down the side of a hill and\nhad its source in a great spring. Immediately above this spring was the\nhome of Qastc\u00c3\u00a8\u00c3\u00abl\u00c3\u00a7i. The latter, as they approached his home, stopped at\nthe foot of the hill and four times ordered his companions to go in\nadvance; but four times they refused. After the last refusal Qastc\u00c3\u00a8\u00c3\u00abl\u00c3\u00a7i\nclapped his hands, uttered his cry of \"hu`hu`hu`hu`!\" and led the way.\nThe house was of corn pollen; the door was of daylight; the ceiling was\nsupported by four white spruce trees; rainbows ran in every direction\nand made the house shine within with their bright and beautiful colors.\nNeither keth\u00c3\u00a0wn nor ceremony was shown the Navajo here; but he was\nallowed to tarry four nights and was fed with an abundance of white corn\nmeal and corn pollen.\n\n58. Now Qastc\u00c3\u00a8\u00c3\u00abl\u00c3\u00a7i took him to a place called Lejp\u00c3\u00a1hi\u00c3\u00a7o (Brown Earth\nWater) and led him to the top of a high hill, from which they could see\nin the far distance G\u00c3\u00a1ngi\u00c3\u00a7o, where the prophet's family dwelt; for they\nhad moved away from the valley in [\u00c2\u00a2]ep\u00c3\u00a9ntsa, where he left them. Then\nthe yay showed him the shortest road to take and bade him return to his\npeople.\n\n59. When he got within sight of his house his people made him stop and\ntold him not to approach nearer until they had summoned a Navajo shaman.\nWhen the latter, whose name was Red Queue, came, ceremonies were\nperformed over the returned wanderer, and he was washed from head to\nfoot and dried with corn meal; for thus do the Navajo treat all who\nreturn to their homes from captivity with another tribe, in order that\nall alien substances and influences may be removed from them. When he\nhad been thus purified he entered the house and his people embraced him\nand wept over him. But to him the odors of the lodge were now\nintolerable and he soon left the house and sat outside. Seeing this, the\nshaman gave it as his opinion that the purification already made was not\nsufficient, and that it would be well to have a great dance over him. In\nthose days the Navajo had a healing dance in the dark corral; but it was\nimperfect, with few songs and no keth\u00c3\u00a0wns or sacrificial sticks. It was\nnot until Dsilyi` Ney\u00c3\u00a1ni recounted his revelations that it became the\ngreat dance it now is among the Navajo.\n\n60. It was agreed that before the dance began Dsilyi` Ney\u00c3\u00a1ni should be\nallowed four days and four nights in which to tell his story and that\nthe medicine man should send out a number of young men to collect the\nplants that were necessary for the coming ceremony. For four nights and\nfor four days he was busy in relating his adventures and instructing his\nhearers in all the mysteries he had learned in the homes of the \u00c2\u00a2ig\u00c3\u00acni.\nThen they built the medicine lodge and got all things ready for the new\nrites and for the purification of the one who had returned. The shaman\nselected from among the plants brought him by the young men such as he\nthought would best cleanse his patient of all the strange food he had\ntaken among the alien Indians and in the houses of the supernatural ones\nwhom he had visited. On the first day he gave him pine and spruce; on\nthe second day, big and little willows; on the third day, a plant called\nlitci and the aromatic sumac; on the fourth day, cedar and pi\u00c3\u00b1on. Of\nthese the prophet drank cold and hot infusions in the morning by the\nfire.\n\n61. During these four days the ceremonies which Dsilyi` Ney\u00c3\u00a1ni had\nintroduced were in progress. On the fifth day it was proposed they\nshould send out the ak\u00c3\u00a1ninili (meal sprinkler) or courier to invite\ntheir neighbors to the great dance. There were two couriers to be sent:\none was to go to the north, to a place called \u00c3\u0087\u00c3\u00b2gojil\u00c3\u00a1` (Much Grease\nWood), to invite some friendly bands of Ute, some distant bands of\nNavajo, and some Jicarilla who dwelt there; the other was to go to the\nsouth, to Tse`lak\u00c3\u00a0[-i]-sil\u00c3\u00a0 (Where Two White Rocks Lie), to ask the\nSouthern Apache, the White Mountain Apache, the Cohonino, and a tribe\ncalled [\u00c2\u00a2]ildj\u00c3\u00a8he, to attend. To the camp in the north it was a journey\nof two days and two nights, and it would take the fleetest runner the\nsame time to return. To the home of their neighbors in the south it was\nas far. As these long journeys must be made on foot and running, they\ncould not find a single young man in the camp who would volunteer for\nthe task. The men counseled about the difficulty all day and tried much\npersuasion on the youths, but none were found willing to make either\njourney.\n\n62. As night approached an old woman entered the medicine lodge and\nsaid: \"I will send my grandson as an ak\u00c3\u00a1ninili.\" This old woman's lodge\nwas not far from where the medicine lodge was built and all present knew\nher grandson well. Whenever they visited her lodge he was always lying\non the ground asleep; they never saw him go abroad to hunt, and they all\nsupposed him to be lazy and worthless; so when she made her offer they\nonly looked at one another and laughed. She waited awhile, and getting\nno response she again offered the services of her grandson, only to\nprovoke again laughter and significant looks. A third and a fourth time\nshe made her proposal, and then she said: \"Why do you not at least\nanswer me? I have said that I will let my grandson take your messages to\none of these camps and you laugh at me and thank me not. Why is this?\"\nHearing her words, the chief medicine man, who came from a distant camp\nand did not know her, asked the men who were present who the woman was\nand what sort of a young man her grandson was; but again the men laughed\nand did not answer him either. He turned to the old woman and said:\n\"Bring hither your grandson, that I may see him.\" The woman answered:\n\"It is already late; the night is falling and the way is long. It is of\nno use for you to see him to-night; let us wait until the morning.\"\n\"Very well,\" said the shaman; \"bring him at dawn to-morrow.\" She left\nthe lodge promising to do as she was bidden; and the moment she was gone\nthe long suppressed merriment of the men broke forth. They all laughed\ninordinately, made many jokes about the lazy grandson, and told the\nmedicine man that there was no use in sending such a person with the\nmessage when the best runners among them did not dare to undertake the\njourney. \"He is too weak and lazy to hunt,\" said they; \"he lives on\nseeds and never tastes flesh.\"\n\n63. As soon as there was light enough in the morning to discern objects,\na man who was looking out of the door of the medicine lodge cried out,\n\"He comes,\" and those inside laughed and waited. Presently Tl\u00c3\u00a0\u00c2\u00a2es\u00c3\u00a7\u00c3\u00acni\n(such was the name of the old woman's grandson) entered and sat down\nnear the fire. All looked at him in astonishment. When last they saw him\nhis hair was short and matted, as if it had not been combed or washed\nfor three years, and his form was lean and bent. Now he appeared with\nthick glossy locks that fell below his knee; his limbs were large and\nfirm looking; he held his head erect and walked like a youth of courage;\nand many said to one another, \"This cannot be the same man.\" In a little\nwhile another young man named Indsisk\u00c3\u00a0\u00c3\u00af (Radiating White Streaks), as\nfair and robust as the first, entered and sat down by the fire on the\nside opposite to where Tl\u00c3\u00a0\u00c2\u00a2es\u00c3\u00a7\u00c3\u00acni sat. The white earth and the charcoal\nfor painting the ak\u00c3\u00a1ninili were already prepared; so some of the young\nmen in the lodge, when they beheld this pair of fine couriers, arose\nwithout a word of debate and began to paint the latter and to adorn\ntheir persons for the journey. When the toilet was done, the medicine\nman sent the couriers forth with many messages and injunctions and told\nthem to blow on their whistles four times before they got out of hearing\nof the lodge. Tl\u00c3\u00a0\u00c2\u00a2es\u00c3\u00a7\u00c3\u00acni went to the north and Indsisk\u00c3\u00a0\u00c3\u00af to the south,\nand they walked so slowly that all the spectators again laughed and made\nmerry, and many said: \"They will never reach the camps whither we have\nsent them.\" They passed out of sight just before the sun rose. Those who\nremained in camp prepared to amuse themselves. They cleared the ground\nfor the game of n\u00c3\u00a1[n]joj, and brought out their sticks and hoops. Some\nsaid: \"We will have plenty of time for play before the couriers return.\"\nOthers said: \"At yonder tree we saw Tl\u00c3\u00a0\u00c2\u00a2es\u00c3\u00a7\u00c3\u00acni last. I suppose if we\nwent there now we would find him asleep under it.\"\n\n64. About the middle of the afternoon, while they were playing their\ngames, one looked to the north, and, at a distance, he saw one of the\nmessengers approaching them, and he cried out, \"Here comes Tl\u00c3\u00a0\u00c2\u00a2es\u00c3\u00a7\u00c3\u00acni;\nhe has wakened from his sleep and is coming back for something to eat.\"\nA moment later Indsisk\u00c3\u00a0\u00c3\u00af was announced as approaching from the south.\nThey both reached the door of the medicine lodge at the same time; but\nTl\u00c3\u00a0\u00c2\u00a2es\u00c3\u00a7\u00c3\u00acni entered first, handed his bag to the medicine man, and sat\ndown in the same place where he sat when he entered in the morning.\nIndsisk\u00c3\u00a0\u00c3\u00af followed and, handing his bag to the shaman, sat down opposite\nhis companion. Now, many who were without thronged into the lodge to\nenjoy the sport, and they laughed and whispered among themselves; but\nthe couriers were grave and silent, and, while the medicine man opened\nthe bags, they took off their ornaments and washed the paint from their\nbodies. In the bag of Tl\u00c3\u00a0\u00c2\u00a2es\u00c3\u00a7\u00c3\u00acni were found four ears of l\u00c3\u00a9jyip[)e]j\n(corn baked in the husk underground). They were still hot from the fire,\nand the shaman broke them into fragments and passed the pieces around.\nFrom the bag of Indsisk\u00c3\u00a0\u00c3\u00af two pieces of no\u00c3\u00a7\u00c3\u00a1` (the hard sugar of the\nmaguey), such as the Apache make, were taken. When the young men had\nfinished cleaning themselves, they passed out in silence, without a\nglance for any one.\n\n65. At nightfall they returned to the lodge, and entering, sat down in\nthe west, one on each side of the medicine man, and Tl\u00c3\u00a0\u00c2\u00a2es\u00c3\u00a7\u00c3\u00acni addressed\nhim, saying: \"When we came to the lodge this afternoon, we did not give\nyou an account of our journeys because the people who are with you are\nfools, who laughed when we came home from the long journey which they\nfeared to undertake; but now we have come to tell you our\nadventures. I,\" continued Tl\u00c3\u00a0\u00c2\u00a2es\u00c3\u00a7\u00c3\u00acni, \"went to the north. On my way I\nmet another messenger who was traveling from a distant camp to this one\nto call you all to a dance in a circle of branches of a different kind\nfrom ours. When he learned my errand he tried to prevail on me to return\nhither and put off our dance till another day, so that we might attend\ntheir ceremony and that they in turn might attend ours; but I refused,\nsaying our people were in haste to complete their dance. Then we\nexchanged bows and quivers as a sign to our people that we had met and\nthat what we would tell on our return was the truth. You observe that\nthe bow and quiver I have now are not those with which I left this\nmorning. We parted, and I kept on my way towards the north. It was yet\nearly in the day when I reached \u00c3\u0087\u00c3\u00b2gojil\u00c3\u00a1`, where the Jicarilla and\nfriendly Ute were encamped. There I sprinkled meal on the medicine man\nand gave him my message. When I arrived they were just opening a pit in\nwhich they had roasted corn, and they gave me the ears which I have\nbrought home. They promised to be here in our camp at the end of the\nthird day, which will be the night of our dance.\"\n\n66. When Tl\u00c3\u00a0\u00c2\u00a2es\u00c3\u00a7\u00c3\u00acni had done speaking, Indsisk\u00c3\u00a0\u00c3\u00af gave the following\naccount of himself: \"It was but a little while after sunrise when I\nreached Tse`lak\u00c3\u00a0\u00c3\u00af-sil\u00c3\u00a0 and entered the camps of the four tribes. In one\nthey were just taking some no\u00c3\u00a7\u00c3\u00a1` out of a pit, and they gave me those\npieces which I brought home. I entered the lodge of a medicine man in\neach tribe, scattered on him the sacred meal, and announced to him when\nour dance would take place. They all promised to be here with their\npeople on the end of the third day, which will be on the night we hold\nour ceremony.\"\n\n67. When the ak\u00c3\u00a1ninilis came to tell their adventures to the medicine\nman, they were beautifully attired. They wore earrings and necklaces of\nturquoise, coral, and rare shells. They had on embroidered blankets of a\nkind we see no longer, but the gods wore them in the ancient days. They\nrustled like dry leaves. The blanket of one was black and that of the\nother was white. When they came out of the medicine lodge they went\naround among the huts and inclosures of those who were assembled,\nvisiting the wives and the sweethearts of the silly men who had laughed\nat them in the morning; and everywhere the women smiled on the beautiful\nand well dressed youths. The next morning the men laughed and sneered at\nthem no more, nor whispered in their presence, but glanced at them with\nsulky or shamefaced looks. During the day the ak\u00c3\u00a1ninilis took part in\nthe game of n\u00c3\u00a1[n]joj with those who once jeered at them, and won many\narticles of great value.\n\n68. On the afternoon of the third day following the one on which the\nak\u00c3\u00a1ninilis made their journeys, a great cloud of dust was observed on\nthe northern horizon and a similar cloud was seen in the south. They\ngrew greater and came nearer, and then the invited Indians began to\narrive from both directions. They continued to come in groups until\nnightfall, when a great multitude had assembled to witness the dance.\nAfter the guests began to arrive the young men set to work to cut trees\nfor the corral, and when the sun had set the building of the dark circle\nof branches began. While the young men were making the circle the old\nmen were making speeches to the multitude, for the old men always love\nto talk when the young men are hard at work. It was the greatest corral\nthat has ever been built in the Navajo country. It was as broad as from\nCa\u00c3\u00b1on Bonito to \"the Haystacks\" (a distance of about six miles), yet the\nvisiting tribes were so numerous that they filled the circle full. In\nthe mean time the sounds of singing and of the drum were heard all\naround, for many different parties of dancers, who were to take part in\nthe night's entertainment, were rehearsing.\n\n69. There was some delay after the inclosure was finished before the\nfirst dancers made their appearance. A man entered the corral and made a\nspeech begging the ats\u00c3\u00a1le\u00c3\u00af, or first dancers, to hasten, as there were\nso many parties from a distance who wished to perform during the night.\nSoon after he had spoken, the two ats\u00c3\u00a1le\u00c3\u00af who led in the dance of the\ngreat plumed arrow entered, and after them came six more, and performed\nthis healing dance over Dsilyi` Ney\u00c3\u00a1ni as it is performed to this day.\n(See paragraph 131.) When this was concluded various groups from among\nthe strangers entered, one after another, and conducted their different\nal\u00c3\u00aclis, or shows, which the Navajo then learned and have since practiced\nwhen they sing their songs in the dark circle of branches.\n\n70. When the dance began in the evening there was one of the invited\ntribes which, it was noticed, had not arrived. This was the Beqai, or\nJicarilla. The Navajo asked the Ute where the missing ones were, and the\nUte answered that they had passed the Jicarilla on the way; that the\nlatter were coming, but had stopped to play a game of roulette, or\nn\u00c3\u00a1[n]joj, and were thus delayed. Shortly before dawn the Jicarilla came\nand entered the corral to exhibit their al\u00c3\u00acli or show. It was a dance of\nthe n\u00c3\u00a1[n]joj, for the wands and implements of the dance were the sticks\nand wheels used in playing that game.\n\n71. During the night a chief of the Navajo, while walking through the\ncrowd, observed the grandmother of Tl\u00c3\u00a0\u00c2\u00a2es\u00c3\u00a7\u00c3\u00acni sitting on the ground. He\napproached her and said: \"Your grandson and his friend have done a great\ndeed for us; they have made a long journey. Many doubted whether they\nhad really made it until we saw the multitude gathering in our camp from\nthe north and from the south in obedience to their summons. Now we know\nthat they have spoken the truth. Tell me, I beg you, how they did this\nwonderful thing.\" She answered: \"They are \u00c2\u00a2igini. My grandson for many\nyears has risen early every morning and run all around Ts\u00c3\u00b2tsil (Mount\nTaylor, or San Mateo) over and over again before sunrise. This is why\nthe people have never seen him abroad during the day, but have seen him\nasleep in his hog\u00c3\u00a1n. Around the base of Ts\u00c3\u00b2tsil are many tse`n\u00c3\u00a1`djihi\n(heaps of sacrificial stones). These were all made by my grandson; he\ndrops a stone on one of these piles every time he goes round the\nmountain.\"\n\n72. When day began to dawn there were yet several parties who came\nprepared to give exhibitions, but had not had a chance; still, at the\napproach of day the ceremonies had to cease. At this time, before the\nvisitors began to leave the corral, the Navajo chief who had spoken with\nthe grandmother arose and addressed the assembly. He told them all he\nknew about the swift couriers and all the grandmother had told him. He\nremarked that there were yet many who could not believe that the young\nmen had made the journey; so, to satisfy all, he proposed that within\ntwelve days they should have a race between the two fleet ak\u00c3\u00a1ninili\naround the base of Ts\u00c3\u00b2tsil, if all would agree to reassemble to witness\nit, and he begged them to invite their neighbors of the Pueblo and other\ntribes to come with them. Then other chiefs arose to speak. In the end\nthe proposition of the Navajo chief was agreed to. All promised to\nreturn within eleven days and decided that the race should take place on\nthe morning following. Then they dispersed to their homes.\n\n73. On the afternoon of the eleventh day, when they had reassembled\naccording to their promises, the Navajo chief arose and addressed them.\nHe invited the chiefs of the other tribes to come forward and complete\nthe arrangements for the race. So the headmen all came together at the\nplace where the Navajo was speaking, and, after some consultation, they\nagreed that the race should be around the peak of Ts\u00c3\u00b2tsil, but not\naround the entire range of mountains. The Navajo separated themselves\ninto one party and the alien tribes into another, the two parties\nstanding at a little distance from one another. The aliens were given\nthe first choice, and they chose Indsisk\u00c3\u00a0\u00c3\u00af; therefore Tl\u00c3\u00a0\u00c2\u00a2es\u00c3\u00a7\u00c3\u00acni fell to\nthe Navajo. Then the betting began. The stakes consisted of strings of\ncoral, turquoise, and shell beads, of vessels of shells as large as the\nearthen basins of the Zu\u00c3\u00b1i, of beautifully tanned buckskins, of dresses\nembroidered with colored porcupine quills, and of suits of armor made of\nseveral layers of buckskin. The warriors in those days wore such armor,\nbut they wear it no longer. The beads and shells were laid in one pile;\nthe buckskins, the embroidered dresses, and the armor in another; and\nthe piles were of vast size.\n\n74. The homes of these young men were at Ka\u00c3\u00a7-sak\u00c3\u00a0\u00c2\u00a2ts\u00c3\u00a9`\u00c3\u00a7qa (Lone Juniper\nStanding Between Cliffs), now Cobero Ca\u00c3\u00b1on. There is seen to day a rock\nshaped like a Navajo hog\u00c3\u00a1n. It stands near the wagon road and not far\nfrom the town of the Mexicans (Cobero). This rock was once the hut where\nTl\u00c3\u00a0\u00c2\u00a2es\u00c3\u00a7\u00c3\u00acni dwelt. Not far from it is another rock of similar appearance,\nwhich once was the home of Indsisk\u00c3\u00a0\u00c3\u00af. For this reason the runners were\nstarted at the Lone Juniper. They ran towards the west and five of the\nfleetest runners among the assembled Indians set out at the same time to\nsee how long they could keep up with them. By the time these five men\nhad reached the spur of the mountain opposite \u00c3\u0087\u00c3\u00b2sa\u00c3\u00a7o (Hot Spring, Ojo de\nlos Gallinos, San Rafael), the two champions were out of sight. Then the\nfive turned back; but before they could return to the Lone Juniper the\nrunners had got in and the race was decided. Tl\u00c3\u00a0\u00c2\u00a2es\u00c3\u00a7\u00c3\u00acni had won by about\ntwice the length of his own body, and all the wagered wealth of the\nother nations passed into the hands of the Navajo.\n\n75. When all was done the strangers were dissatisfied; they mourned over\ntheir losses and talked about the whole affair among themselves for a\nlong time. Finally they decided to give the Navajo another challenge if\nthe latter would agree to a longer racecourse, which should include all\nthe foothills of the San Mateo range. The Navajo accepted the challenge\nand agreed to have the race at the end of another twelve days. Early on\nthe eleventh day the strangers began to assemble from all quarters; they\ncontinued to arrive all day, and when night fell they were all in. Then\nthe headmen addressed them, explaining all the conditions of the\nchallenge and describing carefully the racecourse decided on. The\nbetting did not run as high this time as before. The Navajo bet only\nabout one-half of what they won on the former race. Again they started\nthe two runners, and in such time as you could just mark that the sun\nhad moved, they were back at the goal; but this time Indsisk\u00c3\u00a0\u00c3\u00af, the\nchampion of the alien races, won by about the same distance as he had\nlost on the previous occasion.\n\n76. Then the strangers were satisfied and said, \"We will try no more.\nMany of our goods are still with the Navajo; but we have done well to\nrescue what we have.\" One of the wise men among them said, \"Yes, you\nhave done well, for had you lost the second race you would have lost\nwith it the rain and the sunshine and all that makes life glad.\" It is\nbecause the Navajo won so much wealth on this occasion that they have\nbeen richer than the neighboring races ever since.\n\n77. The ceremony cured Dsilyi` Ney\u00c3\u00a1ni of all his strange feelings and\nnotions. The lodge of his people no longer smelled unpleasant to him.\nBut often he would say, \"I know I cannot be with you always, for the\nyays visit me nightly in my sleep. In my dreams I am once more among\nthem, and they beg me to return to them.\"\n\n78. From Lejp\u00c3\u00a1hi\u00c2\u00a2o the family moved to Dsildjoltc\u00c3\u00adn\u00c2\u00a2i (Mountain of\nHatred). Thence they went to Tsinbil\u00c3\u00a1hi (Woods on One Side), and from\nthere to Tse`yu\u00c3\u00a7\u00c3\u00a1hia` (Standing Rock Above). In this place they encamped\nbut one night, and next day they moved to [\u00c2\u00a2]ep\u00c3\u00a8-a\u00c3\u00a7a\u00c2\u00a2 (Sheep\nPromontory), and went on to [\u00c2\u00a2]ep\u00c3\u00a8-\u00c2\u00a2asi\u00c2\u00a2i (One Sheep Lying Down). Here\nagain they camped for the night. Next day they traveled by Tse`atc\u00c3\u00a0l\u00c3\u00a7ali\n(Rock Cracked in Two) to Tcoy\u00c3\u00a0jnask\u00c3\u00ad\u00c3\u00a7 (Hill Surrounded With Young Spruce\nTrees), to Nig\u00c3\u00a0qoka\u00c3\u00af (White Ground), and to Tse`yistci\u00c2\u00a2 (Dipping Rocks,\ni.e., dipping strata), where they stopped to rest for the night. On the\nfollowing day they journeyed to \u00c3\u0087osak\u00c3\u00a1zi (Cold Water), in which place\nthey encamped again.\n\n79. When the morning came, Dsilyi` Ney\u00c3\u00a1ni said to his younger brother,\n\"Let us go out and try to shoot some deer, so that we may make be\u00c3\u00a7a`\n(deer masks), such as we wore in [\u00c2\u00a2]ep\u00c3\u00a9ntsa, where we killed so many\ndeer.\" The brothers departed on the hunt and came to a place called\nDsil-l\u00c3\u00adjin (Black Mountains), and they sat down on the side of the\nmountains looking towards Ts\u00c3\u00b2tsil. As they sat there Dsilyi` Ney\u00c3\u00a1ni\nsaid, \"Younger brother, behold the \u00c2\u00a2ig\u00c3\u00acni!\" (holy ones); but the younger\nbrother could see no one. Then he spoke again, \"Farewell, younger\nbrother! From the holy places the gods come for me. You will never see\nme again; but when the showers pass and the thunder peals, 'There,' you\nwill say, 'is the voice of my elder brother,' and when the harvest\ncomes, of the beautiful birds and grasshoppers you will say 'There is\nthe ordering of my elder brother.'\"\n\n80. As he said these words he vanished. The younger brother looked all\naround, and seeing no one he started for his home. When he returned to\nhis people he told them of the departure of Dsilyi` Ney\u00c3\u00a1ni, and they\nmourned as for one dead.\n\n\n\n\nTHE CEREMONIES OF DSILY\u00c3\u008dDJE QA\u00c3\u0087\u00c3\u0080L.\n\n\n81. It has been my lot to see portions of these ceremonies at various\ntimes. The most complete view I had of them was during a visit made to a\nplace called Niqotlizi (Hard Earth), some twenty miles northwest from\nFort Wingate, New Mexico, and just within the southern boundary of the\nNavajo Reservation. This was the only occasion when I obtained full\naccess to the medicine lodge on the later days of the ceremonies and had\nan opportunity of observing the wonderful pictures on sand which are\nillustrated in color in the accompanying plates.\n\n82. On October 21, 1881, when I arrived at this place, the patient for\nwhose benefit the rites were celebrated and a few of her immediate\nrelations were the only people encamped here. They occupied a single\ntemporary shelter of brushwood, within a few paces of which I had a rude\nshelter erected for my own accommodation. The patient was a middleaged\nwoman, who apparently suffered from no ailment whatever; she was stout,\nruddy, cheerful, and did her full share of the household work every day;\nyet she was about to give away for these ceremonies sheep, horses, and\nother goods to the value of perhaps two hundred dollars. No ceremonies\nwhatever were in progress when I came. Everything, so the Indians said,\nwas waiting for the qa\u00c3\u00a7\u00c3\u00a0li. (Paragraph 2.) Some men were engaged in\nbuilding a corral for the sheep that were to be slaughtered for the\nguests, and some old women were grinding corn to feast the men who were\nto work in the medicine lodge, which had been completed six days before.\n\n83. This lodge was a simple conical structure of large, partly hewed\npi\u00c3\u00b1on logs, set on end and inclined at an angle of about forty-five\ndegrees, so as to join one another on top, where they formed the apex of\nthe lodge. The circle of logs was incomplete in the east, where the\nopenings for the door and the smoke hole were. A passage, or entry,\nabout five feet high and three feet wide, led from the body of the lodge\nto the outer doorway, where some blankets hung as porti\u00c3\u00a8res. The frame\nof logs was covered with sods and loose earth to keep out wind and rain.\nInternally, the lodge was eight feet in height under the apex of the\ncone and on an average twenty-five feet in diameter at the base. The\ndiameter was increased at the east (to allow for the entry) and at the\nnorth. The irregularity in the circumference in the north was at first\nconjectured to be a mere accident; but in the ceremonies of the first\nnight its use became apparent as affording a hiding place for the man\ndressed in evergreens. (Paragraph 96.)\n\n [Illustration:\n Bureau of Ethnology\n Fifth Annual Report Pl. X\n MEDICINE LODGE, VIEWED FROM THE SOUTH.]\n\n\n84. THE FIRST FOUR DAYS' ceremonies in this case had been performed\nduring the previous year. Such a division of the work is sometimes made,\nif more convenient for the patient and his friends, but usually all is\ndone in nine consecutive days. These first days have less of interest\nthan the others. Early each morning, before eating, all who desire, men\nand women, enter the medicine lodge, where, in a stifling atmosphere,\nseated around a fire of dry wood of four different kinds--cedar, big\nwillow, little willow, and spruce--they take the hot emetic infusion of\nfifteen different kinds of plants mixed together. A little sand is\nplaced in front of each to receive the ejected material. After the\nemetic has acted the fire is removed, deposited some paces to the north\nof the lodge, and allowed to die out. Each devotee's pile of sand is\nthen removed (beginning with that of the man who sat in the east and\ngoing round the circle) and deposited, one after another, in a line\nnorth of the sacred fire. Each succeeding day's deposits are placed\nfarther and farther north in a continuous line. Next all return to the\nlodge, which has been allowed to cool; the shaman spits on each some\nmedicine which has been mixed with hoar-frost and is supposed to cool.\nWhen all have left the lodge, a new fire of ordinary wood is kindled,\nand the keth\u00c3\u00a0wns, or sacrificial sticks, appropriate to the day are\nmade.\n\n\n85. FIFTH DAY. The chanter did not arrive until the afternoon of October\n23. His ceremonies in the medicine lodge began on the morning of the\n24th. The forenoon was devoted to the preparation and sacrifice of\ncertain keth\u00c3\u00a0wns (ke\u00c3\u00a7\u00c3\u00a0n)--the sacrificial sticks, to the origin of which\nso much of the foregoing myth is devoted--and of sacrificial cigarettes.\nAbout eight o'clock the sick woman entered the medicine lodge, followed\nby the chanter. While she sat on the ground, with her limbs extended, he\napplied some powdered substance from his medicine bag to the soles of\nher feet, to her knees, breasts, shoulders, cheeks, and head, in the\norder named, and then threw some of it towards the heavens through the\nsmoke hole. Before applying it to the head he placed some of it in her\nmouth to be swallowed. Then, kneeling on a sheep skin, with her face to\nthe east, and holding the bag of medicine in her hand, she recited a\nprayer, bit by bit, after the chanter. The prayer being finished, she\narose, put some of the medicine into her mouth, some on her head, and\ntook her seat in the south, while the shaman went on with the\npreparation of the sacrifices.\n\n86. An assistant daubed a nice straight branch of cherry with some\nmoistened herbaceous powder, after which he divided the branch into four\npieces with a flint knife. Two of the pieces were each about two inches\nlong and two each about four inches long. In each of the shorter ones he\nmade one slight gash and in each of the longer ones two gashes. The\nsticks were then painted, a shred of yucca leaf being used for the\nbrush, with rings of black, red, and white, disposed in a different\norder on each stick. The two cigarettes were made by filling sections of\nsome hollow stem with a mixture of some pulverized plants. Such\ncigarettes are intended, as the prayers indicate, to be smoked by the\ngods. (Paragraph 88.)\n\n87. While the assistants were painting the sticks and making the\ncigarettes the old chanter placed on a sheep skin, spread on the floor\nwoolly side down, other things pertaining to the sacrifice: five bundles\nof assorted feathers, five small pieces of cotton sheeting to wrap the\nsacrifices in, and two round flat stones, each about four inches in\ndiameter. The upper surfaces of these he painted, one blue and one\nblack, and he bordered each with a stripe of red. When the keth\u00c3\u00a0wns and\ncigarettes were ready, the qa\u00c3\u00a7\u00c3\u00a0li distributed them along with the\nbunches of plumes, on the five pieces of cotton cloth, which were then\nrolled up around their contents, making five bundles of sacrifices. On\nthe completion of this work there was prayer, song, and rattling; the\nmedicinal powder was applied to the body of the patient as before\n(paragraph 85); two of the little sacrificial bundles were placed in her\nright hand, and while she held them she again repeated a prayer,\nfollowing again phrase by phrase, or sentence by sentence, the words of\nthe priest. The latter, when the prayer was ended, took the sacrifices\nfrom her hand and pressed them to different parts of her body in the\norder previously observed, beginning with the soles of the feet and\ngoing upwards to the head, but on this occasion touching also the back,\nand touching it last. Each time after pressing the sacrifices to her\nbody he held them up to the smoke hole and blew on them in that\ndirection a quick puff, as if blowing away some evil influence which the\nsacrifices were supposed to draw from her body. Then the three remaining\nbundles were put in her hands and the rites observed with the former\nbundles were repeated in every respect, including the prayer, which was\nfollowed by singing and rattling. When the song had ceased some of the\nassistants took the bundles of sacrifices out of the lodge, no doubt to\nbury them according to the method proper for those particular keth\u00c3\u00a0wns.\nThe round painted stones were also carried out.\n\n88. The prayers which the woman repeated varied but little. They all\nsounded nearly alike. The night the shaman arrived he rehearsed some of\nthese prayers with the woman, at her own hog\u00c3\u00a1n, to make her familiar\nwith them before she repeated them, in the medicine lodge. The prayer\naddressed to Dsilyi` Ney\u00c3\u00a1ni, when she held in her hand the offering\nsacred to him, was as follows:\n\n Reared Within the Mountains!\n Lord of the Mountains!\n Young Man!\n Chieftain!\n I have made your sacrifice.\n I have prepared a smoke for you.\n My feet restore thou for me.\n My legs restore thou for me.\n My body restore thou for me.\n My mind restore thou for me.\n My voice restore thou for me.\n Restore all for me in beauty.\n Make beautiful all that is before me.\n Make beautiful all that is behind me.\n Make beautiful my words.\n It is done in beauty.\n It is done in beauty.\n It is done in beauty.\n It is done in beauty. (Paragraphs 261-4.)\n\n [Illustration:\n Bureau of Ethnology\n Fifth Annual Report Pl. XI\n MEDICINE LODGE, VIEWED FROM THE EAST.]\n\n89. The next part of the ceremonies (or, shall I say, the treatment?)\nwas a fumigation. The medicine man took from the fire a large glowing\ncoal, placed it beside the woman, and scattered on it some powdered\nsubstance which instantly gave forth a dense smoke and a strong\nfragrance that filled the lodge. The woman held her face over the coal\nand inhaled the fumes with deep inspirations. When the smoke no longer\nrose the coal was quenched with water and carried out of the lodge by\nthe chief, Manuelito, probably to be disposed of in some established\nmanner. Then the woman left the lodge and singing and rattling were\nresumed.\n\n90. While the rites just described were in progress some assistants were\nbusy with other matters. One made, from the spotted skin of a fawn, two\nbags in which the ak\u00c3\u00a1ninilis or couriers were to carry their meal on the\nmorrow's journey. Another brought in and hung over the doorway a bundle\nof dry, withered plants which he had just gathered. Glancing up at them\nI recognized the _Gutierrezia_ and the _Bouteloua_. The bundle may have\ncontained the other plants mentioned in the myth (paragraph 44). They\nwere hung up there till the next day, to be then used in a manner which\nwill be described (paragraph 101).\n\n91. The sheepskin on which the sacrifices had been placed was taken away\nand a blanket was spread on the ground to receive some more sacred\narticles from the bag of the chanter. These were five long notched\nwands, some tail feathers of the wild turkey, some small downy feathers\nof the eagle, and some native mineral pigments--yellow ocher,\na ferruginous black, and a native blue. With the pigments the assistants\npainted the notched wands; with the plumes the chanter trimmed them.\n(See Fig. 51 and Plate XI.) Then they were called \u00c3\u00a7obol\u00c3\u00a7\u00c3\u00a0, a word of\nobscure etymology, or in\u00c2\u00a2ia`, which signifies sticking up or standing\nerect. They are called in this paper \"plumed wands.\"\n\n92. While some were making the \u00c3\u00a7obol\u00c3\u00a7\u00c3\u00a0 others busied themselves\ngrinding, between stones, large quantities of pigments, coarser than\nthose referred to above, to be used in making the sand pictures or dry\npaintings of the ceremony. They made five colors: black, of charcoal;\nwhite, of white sandstone; red, of red sandstone; yellow, of yellow\nsandstone; and \"blue,\" of the black and white, mixed in proper\nproportions; of course this was a gray, but it was their only cheap\nsubstitute for the cerulean tint, and, combined with the other colors on\nthe sanded floor, in the dim light of the lodge, it could not easily be\ndistinguished from a true blue. It may be remarked in passing that the\nNavajo apply to many things which are gray the term they use for blue\n(\u00c3\u00a7ol\u00c3\u00adj); thus the gray fox is called m\u00c3\u00a0\u00c3\u00af-\u00c3\u00a7ol\u00c3\u00adj (blue coyote) and a gray\nsheep is called a blue sheep. Yet that they make a distinction between\nthese colors is, I think, fairly evident from the fact that in painting\nsmall articles, such as keth\u00c3\u00a0wns and masks, they use the more costly\narticles of turquoise, malachite, and indigo. These coarse pigments for\nthe dry paintings were put for convenience on curved pieces of pi\u00c3\u00b1on\nbark. From time to time, during this and the following days, as the\nheaps of colored powder diminished under the hands of the artists, more\nstones and charcoal were pulverized to replenish them.\n\n93. About noon they cleared off that portion of the floor of the lodge\nwhich lay west of the fire, and brought, in blankets, a quantity of dry\nsand, which they spread out over the cleared portion of the floor in a\nlayer of the nearly constant depth of three inches. They smoothed the\nsurface with the broad oaken battens used in weaving. Now for a time all\noperations were suspended in the lodge while the chanter went out to\nplant the \u00c3\u00a7obol\u00c3\u00a7\u00c3\u00a0, or plumed wands, in front of the medicine lodge, and\nto lay beside them the collars of beaver skins and the symbols for wings\nwhich the couriers were to wear next day. (Fig. 51.) These articles, it\nwas said, were placed outside as a sign to the gods that the holy\npictures were being drawn; but it is not improbable that they were\nintended also as a sign to uninitiated mortals. However that may be,\nthey were taken in as soon as the picture was finished. The great\npainting was begun about 1 o'clock p.m., was finished about 3, and was\nallowed to remain until the ceremonies at night were concluded. It will\nbe described later. (Paragraphs 160 et seq.)\n\n [Illustration: FIG. 51. The \u00c3\u00a7obol\u00c3\u00a7\u00c3\u00a0, or plumed wands, as seen from\n the door of the medicine lodge.]\n\n94. When the picture was completed food was brought in, and there was a\ngood deal of eating and sleeping and smoking done. Being informed that\nnothing more would be done until after nightfall, I went to my own\nshelter, to elaborate some of my more hasty sketches while matters were\nstill fresh in my mind. At 7 o'clock a messenger came to tell me that\nceremonies were about to be resumed. During my absence the principal\ncharacter in the night's performance--a man arrayed in evergreens--had\nbeen dressed.\n\n95. I found, on returning to the lodge, a number of spectators seated\naround close to the edge of the apartment. The fire burned in the\ncenter. The sick woman, with some companions, sat in the south. The\nqa\u00c3\u00a7\u00c3\u00a0li, with a few assistants who joined him in singing and shaking\nrattles, was seated at the north, at the place where the circumference\nof the lodge was enlarged. (Paragraph 83.) There was a space about two\nfeet wide and six feet long between them and the wall, or roof if you\nchoose so to call it, of the lodge. I was assigned a place in the west.\nThe sick woman was directed to move from the position she occupied in\nthe south, and sit, with her face to the east, at the junction of the\ntwo white serpents that cross one another on the picture. (Plate XV.)\n\n96. When she was seated the qa\u00c3\u00a7\u00c3\u00a0li began a song, accompanied by the\nusual rattling and drumming. At a certain part of the song the chanter\nwas seen to make a slight signal with his drumstick, a rapid stroke to\nthe rear, when instantly a mass of animate evergreens--a moving tree, it\nseemed--sprang out from the space behind the singers and rushed towards\nthe patient. A terrifying yell from the spectators greeted the\napparition, when the man in green, acting as if frightened by the noise,\nretreated as quickly as he came, and in a moment nothing could be seen\nin the space behind the singers but the shifting shadows cast by the\nfire. He was so thoroughly covered with spruce twigs that nothing of his\nform save his toes could be distinguished when he rushed out in the full\nglare of the fire. This scene was repeated three times, at due\nintervals.\n\n97. Some time after the third repetition, the chanter arose, without\ninterrupting his song, and proceeded to erase the picture with his\nrattle. He began with the mountain in the west (paragraph 162), which he\ncompletely leveled; next in order he erased the track of the bear; next,\nthe hole in the center; and then, one by one, the various other figures,\nending with the serpents on the outside. In erasing the serpents, he\nbegan with the figures in the east and followed the apparent course of\nthe sun, ending with the figures in the north. When the picture was\ncompletely obliterated, the sand on which it had been drawn was\ncollected, put in a blanket, and carried out of doors, to be thrown\naway.\n\n98. Then the sick woman was lifted by two other women and laid on her\nside where the picture had been, with her face to the east. While she\nlay there, the medicine man, amid much singing, walked around her,\ninscribed on the earth at her feet a straight line with his finger and\nerased it with his foot, inscribed at her head a cross and rubbed it out\nin the same manner, traced radiating lines in all directions from her\nbody and obliterated them, gave her a light massage, whistled over her\nfrom head to foot and all around her, and whistled towards the smoke\nhole, as if whistling something away. These acts were performed in the\norder in which they are recorded. His last operation on her was a severe\nmassage, in which he kneaded every part of her body forcibly and pulled\nher joints hard, whereat she groaned and made demonstrations of\nsuffering. This concluded, she rose. A blanket was spread on the ground\non the north of the fire, near where the man in evergreens was\nconcealed. At the last appearance of the man in evergreens the woman\nfell back apparently paralyzed and suffering from difficulty of\nbreathing, all of which was probably feigned, but was supposed to be a\nsign that the right remedy or ceremony for her ailment had been found\nand that none other need be tried. The medicine man now proceeded to\nrestore her to consciousness by drawing zigzag lines from her body east\nand west and straight lines north and south, like their symbols for the\nchain and sheet lightnings, by stepping over her in different\ndirections, and by rattling. When she had apparently recovered, he\npressed the plumed wands and the symbols for wings to different parts of\nher body, in the order and with the ceremonies described when referring\nto previous application made to her body.\n\n99. There were no more ceremonies that night. I remained in the medicine\nlodge until it was quite late. The men occupied their time in singing,\nrattling, gambling, and smoking. After a while some grew weary and lay\ndown to sleep. Being repeatedly assured that nothing more would happen\nuntil the whistle sounded in the morning, I left the lodge to roll\nmyself in my blankets. Yet frequently during the night, fearing I might\nhave been deceived, I stealthily arose and visited the medicine lodge,\nonly to find all slumbering soundly.\n\n\n100. SIXTH DAY. At five in the morning (Saturday, October 25) the\nwhistle sounded and I hastened to the medicine lodge. There was much to\nbe done; the couriers were to be dressed and sent on their way, and a\nlarge picture was to be painted; so the work had to begin early.\n\n [Illustration: FIG. 52. Ak\u00c3\u00a1ninili ready for the journey.]\n\n101. The first thing done was to burn to charcoal the bundle of plants\nwhich had been gathered on the previous morning and hung over the door\nof the lodge inside. (Paragraph 90.) The charcoal was used in painting\nthe limbs of the ak\u00c3\u00a1ninilis or couriers. A basin of water containing\nsoap root or amol\u00c3\u00ab (the root of _Yucca baccata_, and other species of\nyucca) was brought in, and after the medicine man had dabbed them with a\nlittle of the suds the ak\u00c3\u00a1ninilis-elect washed themselves with it from\nhead to foot, cleaning their hair well. When the bath was done, they\nwere dabbed by the qa\u00c3\u00a7\u00c3\u00a0li with some other mixture contained in a\nwaterproof wicker basin and were made to inhale the fragrant fumes of\nsome vegetable powder scattered on a live coal, which, as usual, was\n\"put out,\" in a double sense, when the fumigation was over. Then the\nyoung men were dressed and adorned to look like Dsilyi` Ney\u00c3\u00a1ni after his\ntoilet in the house of the butterflies. (Paragraph 44.) Their legs and\nforearms were painted black, to represent the storm cloud. The outer\naspects of these members were decorated with white zigzag streaks, to\nindicate the white lightning. Their faces were painted partly white and\nsmall white spots were scattered over their bodies. Downy eagle feathers\nwere fastened to their hair; necklaces of shell and coral were hung\naround their necks, and over these were laid collars of beaver skin,\nwith whistles attached, which had lain in front of the lodge the day\nbefore, near the plumed wands. (Paragraph 93, Fig. 51.) Small objects to\nrepresent wings were tied to their arms. Each was given one of the fawn\nskin bags (paragraph 90) with corn meal in it. In the hand of the\nak\u00c3\u00a1ninili who was to go to the south was placed one of the \u00c3\u00a7obol\u00c3\u00a7\u00c3\u00a0, or\nplumed wands, whose stem was painted black, the color of the north, as a\nsign to all he might meet that he was a duly authorized messenger from a\nmedicine lodge in the north. In the hand of the other ak\u00c3\u00a1ninili was\nplaced a blue shafted wand, to show that he came from the south. Thus\nequipped they were all ready for the journey. (Fig. 52.)\n\n102. The chanter gave them his messages, telling them where to go, what\nplaces they were to visit, what other chanters they were to see, what\ndancers they were to invite, and what gifts they were authorized to\noffer to the visiting performers for their trouble. Having given these\nspecial instructions, he closed with the general instructions, which are\nalways given to the ak\u00c3\u00a1ninili, as follows:\n\nThese [pointing to the eagle feathers on the head] will make for you a\nmeans of rising as you progress.\n\nThese [pointing to the wing symbols on the arm] will bear you onward.\n\nThis [pointing to the collar of beaver skin] will be a means of\nrecognition for you. For this reason it hangs around your neck.\n\nSprinkle meal across a little valley, across a big arroyo.\n\nAcross the roots of a tree sprinkle meal and then you may step over.\n\nSprinkle meal across a flat rock.\n\nThen the plumed wand. For this purpose you carry it, that they will\nrecognize you as coming from a holy place.\n\n103. The ak\u00c3\u00a1ninili on his journey scatters meal before him as directed\nin these charges. He also scatters it on the medicine men whom he\nvisits, and for this reason he is called ak\u00c3\u00a1ninili, which signifies meal\nsprinkler.\n\n104. When the last word of the instructions was uttered, the couriers\ndeparted, one to the north and one to the south. It was not later than\n7 o'clock when they left. As soon as they were gone, the work of\npainting the picture appropriate to the day was begun. It was much more\nelaborate than the painting of the previous day. Although a dozen men\nworked on it, it was not finished until two o'clock. About the time it\nwas done, the ak\u00c3\u00a1ninili from the south returned. He was carefully\ndivested of all his ornaments. The white paint was scraped carefully\nfrom his body and preserved in the medicine bags of those who scraped it\noff. Then he was led out of the lodge.\n\n105. When the picture was finished, the shaman, having applied pollen in\nthree places to each god, stuck around it in the ground, at regular\nintervals, the three plumed wands which had stood before the door of the\nlodge all day and the wand which the ak\u00c3\u00a1ninili from the south had just\nbrought back with him. This wand he placed at the south of the picture,\nand laid beside it the collar, wings, and plumes which the ak\u00c3\u00a1ninili had\nworn. The fifth, or north, wand was still absent with the courier who\nwent to the north.\n\n106. All was ready now for the treatment of the sick woman. She was sent\nfor, and a crier went to the door of the lodge to announce that song and\nceremony were to begin. Accompanied by another woman, she entered,\ncarrying a basket with corn meal in it. This she sprinkled lightly over\nthe picture and then handed it to some of the assistants, who finished\nthe work she had begun by strewing the meal plentifully on the figures.\nShe sat on the form of the god in the east, facing the door, with her\nfeet extended, and her companion sat on the figure of the cornstalk in\nthe southeast. (Plate XVI.) In the mean time the medicine man had made a\ncold infusion in an earthen bowl and placed it on the hands of the\nrainbow figure (paragraph 169), laying over it a brush or sprinkler made\nof feathers, with a handle of colored yarn. When the women were seated,\nthe chanter dipped his brush in the solution; sprinkled the picture\nplentifully; touched each divine figure with the moistened brush in\nthree places-brow, mouth, and chest; administered the infusion to the\nwomen, in two alternate draughts to each; drained the bowl himself; and\nhanded it to the bystanders, that they might finish the dregs and let\nnone of the precious stuff go to waste. Next came the fumigation. The\nwoman whom we have designated as the companion rose from her seat on the\npicture and sat on the ground beside the door. The principal patient\nretained her seat on the eastern god. Near each a live coal was laid on\nthe ground. On the coal a strong scented but rather fragrant mixture was\nthrown, and as the fumes arose the women waved them towards their faces\nand breathed them in as before. The coal was extinguished and carefully\nremoved, as on previous occasions. The application of the sacred dust to\nthe body of the patient followed. The shaman moistened his hands with\nsaliva and pressed them to the feet of all the gods. Some of the powder,\nof course, stuck to his palms. This he applied to the feet of the\npatient. Thus he took dust from the knees, abdomens, chests, shoulders,\nand heads of the figures and applied it to corresponding parts of the\npatient's form, making a strong massage with each application.\n\n107. When the patient had departed many of the spectators advanced to\nthe picture and gathered the corn pollen (paragraphs 105 and 112), now\nrendered doubly sacred, and put it in their medicine bags. Some took\nportions of the remaining dust from the figures, after the manner of the\nshaman, and applied it to ailing portions of their persons. If the\ndevotee had disease in his legs, he took dust from the legs of the\nfigures; if in his head, the dust was taken from the heads of the\nfigures, and so on.\n\n108. By the time they were all done the picture was badly marred; yet\nits general form and some of the details were quite distinguishable.\nThen it became the province of the chanter to completely obliterate it.\nHe began with the white god in the east and took in turn the figures in\nthe southeast (corn), south, southwest, west, center, northwest, north,\nand northeast. Next, the figure of the rainbow was erased from foot to\nhead, and, on his way, the chanter knocked down, with rather vicious\nblows, the plumed wands which stood up around the picture. When he came\nto the round figure in the center he dug up a cup which had been buried\nthere. He erased the picture with a long slender wand and sang in the\nmeantime, to the accompaniment of the rattling of his assistants,\na plaintive chant in a minor key, which was perhaps the most melodious\nIndian song I ever heard. All was over at half past 2 in the afternoon.\n\n109. Later in the day it was announced that the other ak\u00c3\u00a1ninili was\napproaching from the north. He could then be observed about a mile away\nin an open plain. As he advanced the sound of his whistle was heard. At\nexactly half past 4 he entered the medicine lodge, where the chanter\nmotioned him to a seat in the south. Singing and rattling were at once\nbegun and the ak\u00c3\u00a1ninili was divested of his trappings in the following\norder: head plumes, beaver collar, necklace, right wing, left wing,\nbelt, sash, moccasins. The white paint was removed and preserved as on\nthe former occasion. He was led out of the lodge, where he was well\nwashed from head to foot in a hot decoction of the detergent amol\u00c3\u00ab and\ndried with corn meal. Two large blood blisters were to be seen on the\ninner aspects of his thighs, brought on by the friction of his\nbreechcloth in running. He said that he had run constantly when not in\nsight from our camp, had traveled a long way since morning, and was very\ntired. It seems to be the custom with the ak\u00c3\u00a1ninilis to walk slowly when\nnear camp and to run when out of sight, probably to follow the mythic\nexamples of Tl\u00c3\u00a0\u00c2\u00a2es\u00c3\u00a7\u00c3\u00acni and Indsisk\u00c3\u00a0\u00c3\u00af. (Paragraph 63.)\n\n110. With the toilet of the ak\u00c3\u00a1ninili the ceremonies of the day ended.\nHe returned to the lodge to relate his adventures and get some food.\nDuring the day visitors arrived occasionally from distant camps. In the\nafternoon there were several young men present, who busied themselves in\ngrubbing and clearing the ground where the corral was to be built and\nthe great dance of the last night was to be held. I remained in the\nlodge until it was quite late, and I frequently rose during the night to\nsee if anything was going on; but the night passed without event, like\nthe previous one.\n\n\n111. SEVENTH DAY. The painting of the picture and the treatment of the\nsick woman were the only works performed on this day (Sunday,\nOctober 26). The whistle sounded from the lodge at 6 a.m., but already\nthe plumed wands and the beaver collars had been placed before the door\nof the medicine lodge and the sand for the groundwork of the picture had\nbeen brought in. As the picture (Plate XVII) was to be larger than those\nwhich preceded it, the fire was moved quite near to the door; the heated\nearth which lay under the fire in its former position was dug up and\nreplaced with cold earth, probably for the comfort of the artists.\n\n112. The work of the painters was begun soon after 6 a.m. and was not\ncompleted until about 2 p.m. About a dozen men were engaged on it, and\nit occupied them, as we have seen, about eight hours. As usual, the\nqa\u00c3\u00a7\u00c3\u00a0li did very little of the manual labor; but he constantly watched\nthe work and frequently criticised and corrected it. When the painting\nwas done, it became his duty to apply the sacred corn pollen to the\nbrow, mouth, and chest of each of the gods and to set up the bounding\n\u00c3\u00a7obol\u00c3\u00a7\u00c3\u00a0 or plumed wands. After this he placed a bowl of water on the\nleft hand of the white god--the form second from the north--threw into\nit some powdered substance to make a cold decoction, and laid the\nsprinkler on top of it. (Paragraph 106.)\n\n113. The whistle was blown. The herald announced that all was ready. The\nsick woman and her companion entered, and one after the other cast meal\nupon the floor. The former took off her moccasins and sat on the ground\nnear the door while a song was sung. Then she sat on the form of the\nwhite god, her companion sat on the form of the blue god, and the\nsinging and rattling were resumed. Without interrupting his song the\nchanter sprinkled the picture with the infusion, applied the moistened\nsprinkler to the breast, head, and brow of each of the gods in the\nfollowing order: white, blue, yellow, black, and sat down to finish his\nchant. He administered the decoctions to his patient in two draughts, to\nher companion in two draughts, to himself (honest physician!) in the\nsame manner, and gave as before (paragraph 106) the dregs to the\nbystanders. He applied the dust from different parts of the divine\nfigures to the sick woman, in much the same manner as on the previous\nday, and while doing this he obliterated the pictures of the little\nanimals over the head of the white god. The fumigation of both women was\nrepeated with exactly the same rites as on the second day, and the fumes\nhad precisely the same odor on this occasion as on that. When the coals\nwere extinguished and taken out, the chanter said to the women, \"ka\u00c3\u00a7\"\n(now), whereat they arose and left the lodge.\n\n114. As soon as they were gone the work of obliteration began. The\nfigures of the gods were rubbed out in the usual order (white, blue,\nyellow, black, rainbow), the erasure in each case proceeding from foot\nto head. The plumed wands fell as before, simultaneously with the\ndestruction of the rainbow. The sand was carried out at half past\n2 o'clock and no further rites were performed during the day.\n\n\n115. EIGHTH DAY. The picture painted on Monday (October 27) was of a\nsimple character, and hence did not occupy much time. The work was begun\nat 7 a.m. and was finished at 10 a.m. Of the four shorter or interior\narrows (Plate XVIII), that which stands second from the north was\nregarded as the arrow of the east and was begun first. On this arrow the\nsick woman was placed, sitting with her face to the east, when she came\nto be treated and fumigated. The bowl of infusion was laid on the point\nof the arrow immediately to her left, regarded as the arrow of the\nnorth. The medicine man put the pollen on the base, on the red cross\nlines near the center, and on the white tips. All the ceremonies which\ntook place between the completion and the obliteration of the picture\n(the planting of the five plumed wands, the sprinkling of the picture\nwith meal, the sprinkling and administration of the infusion, the\napplication of the colored dust to the person of the patient, the\nfumigation of the two women, the whistling, the singing, and rattling)\nwere essentially the same as those observed on the previous day. In\ntaking the dust from the picture, however, the shaman applied his hands\nonly to the bases of the arrows. The ceremony of obliteration was also a\nrepetition of the rites of the previous day.\n\n [Illustration: FIG. 53. The great wood pile.]\n\n116. The building of the great stack of wood (Fig. 53) which was to\nfurnish the fire in the center of the corral on the last night went on\nsimultaneously with the painting of the picture. Both tasks were begun\nand ended about the same time. The wood in the big pile was dead, long\nseasoned juniper and cedar, fuel of the most inflammable character. The\npile was about twelve feet high and sixty paces in circumference. Large\nquantities of this dry wood were also brought and placed outside the\nspace allotted to the corral, to replenish the fires when needed.\n\n117. In the afternoon there were no ceremonies in the medicine lodge.\nThe qa\u00c3\u00a7\u00c3\u00a0li and his assistants took a half holiday, and not without\ndeserving it, for they had wrought well for three days and they had a\nlong day's work and a long night's work still before them. A large\nnumber of people had by this time assembled, and from time to time more\narrived. Throughout the sparse grove which surrounded us, little\ntemporary corrals and huts of boughs were going up in every direction.\nIn more secret spots in the rugged walls of a ca\u00c3\u00b1on, about half a mile\nfrom the medicine lodge, other shelters were erected, where visiting\nperformers were to prepare themselves on the last night. Many young men\nwere busy in the afternoon cutting down the trees and lopping off the\nbranches which were to form the great corral (the iln\u00c3\u00a1sjin, the dark\ncircle of branches) on the next day. Some of the visiting women were\nbusy grinding meal and attending to different household duties; others\nplayed cards or engaged in the more aboriginal pastime of \u00c3\u00a1z\u00c2\u00a2il\u00c3\u00a7il,\na game played with three sticks and forty stones, the latter for\ncounters.\n\n118. The friends of the sick woman prepared the alk\u00c3\u00a0n, a great corn cake\nbaked in the earth, the manufacture of which gave evidence of the\nantiquity of the process. The batter was mixed in one large hole in the\nground lined with fresh sheepskin. It was baked in another hole in which\na fire had been burning for many hours, until the surrounding earth was\nwell heated. The fire was removed; the hole lined with corn husks; the\nbatter ladled in and covered with more cornhusks; hot earth and hot\ncoals were spread overall. The cake was not dug up until the following\nday, and was designed chiefly for the special entertainment of those who\nwere at work in the medicine lodge.\n\n\n119. NINTH DAY (UNTIL SUNSET). On Tuesday (October 28) the work in the\nlodge consisted in preparing certain properties to be used in the\nceremonies of the night. These were the wands to be used in the first\ndance, the k\u00c3\u00a1tso-yis\u00c3\u00a7\u00c3\u00a0n or great plumed arrows, and the trees which the\ndancers pretended to swallow.\n\n120. The wand of the nahik\u00c3\u00a0\u00c3\u00af was made by paring down a straight slender\nstick of aromatic sumac, about three feet long, to the general thickness\nof less than half an inch, but leaving a head or button at one end.\nA ring was fashioned from a transverse slice of some hollow or pithy\nplant, so that it would slide freely up and down the slender wand, but\nwould nob pass over the head. Eagle down was secured to the wooden head\nand also to the ring. In the dance (paragraph 129) the eagle down on the\nstick is burned off in the fire while the ring is held in the palm of\nthe hand. When the time comes for the wand to grow white again, as the\nname nahik\u00c3\u00a0\u00c3\u00af expresses it, the ring is allowed to leave the palm and\nslide to the other end of the stick.\n\n121. The great plumed arrows were deceptions somewhat similar in\ncharacter to the wands. One-half of the arrow was made of a slender hard\ntwig of cliff rose; the other half was formed of some pithy suffruticose\nherb which I could not determine satisfactorily, as I saw only the cut\nsections and was not permitted to handle these. The pith was removed so\nas to allow the wooden part to move into the herby part with a\ntelescopic mechanism. The herbaceous portion was so covered with\nfeathers that nothing could be seen of its surface. A large stone\narrowhead was attached to the wooden shaft. When the actor pretended to\nswallow this he merely held the stone point firmly between his teeth and\nforced the upper or plumed shaft down on the lower or wooden shaft. It\nwas an excellent deception, and presented to the ordinary observer all\nthe appearance of genuine arrow swallowing.\n\n122. The pi\u00c3\u00b1on saplings, which the dancers also pretended to swallow,\nhad no deceptive arrangement. They were slender little trees trimmed at\nthe butt into a broad, thin, wedge shaped point, which was carefully\nsmoothed by rubbing it with sandstone, so that no offensive splinters\nshould present themselves to the lips of the dancers. The smooth end was\npainted red, probably to make the spectators, at night, by the uncertain\nfirelight, suppose that the dissemblers had torn their throats in their\ngreat efforts. Sometimes the saplings have all their branches removed,\nand are then trimmed with cross pieces and circles of evergreen sprays.\nIn most cases, however, I have seen the sapling used in its natural\ncondition.\n\n123. As each set of implements was completed there was a ceremony with\nsinging and rattling, the men who were to use them at night partook of\npowdered medicines on their extended tongues, from the hands of the\nchanter, and then practiced themselves in the use of the implements.\nAlthough they well knew the deceptive nature of these articles and fully\nunderstood the frauds they were preparing to perpetrate on the public,\nthese young men seemed to view the whole work with high reverence and\ntreat it with the greatest seriousness. For instance, when, in the\nsecrecy of the lodge, they went through the motions of swallowing the\ntrees they showed indubitable signs of fear: all looked anxious, some\ntrembled quite perceptibly, and one looked as pale as a live Indian can\nlook. They probably dreaded the displeasure of the gods if all were not\ndone well.\n\n\n124. LAST NIGHT. Just after sunset the old chanter posted himself some\npaces to the east of the great woodpile, on the spot where the gate of\nthe corral was to be, and began a song. Simultaneous with the beginning\nof the song was the commencement of the building of the dark circle. All\nthe young and middleaged men in camp assisted. They dragged the branches\nfrom where they had been cut down in the neighboring woods and put them\nin position in the circle with great celerity. The work was all done in\nless than an hour, during which time the chanter ceased not for an\ninstant his song and rattle. When the fence was finished to his\nsatisfaction he stopped his song and the labors of the workmen ceased\nwith the sound. When finished the corral averaged about forty paces in\ndiameter, and the fence was about eight feet high, with an opening left\nin the east about ten feet wide.\n\n125. The moment the dark circle of branches was finished it inclosed\nsacred ground. Any dog who dared to enter was chased out with shouts and\nmissiles. The man or woman who came must, on the first occasion, pass\naround to the left, i.e., to the south of the great woodpile. No one\nwas allowed to peep through the fence or look over the edge of if to\nwitness the ceremonies. That part of the auditorium was reserved for the\nspirits of the bears and other ancestral animal gods. No horse might be\nled into the inclosure until after sunrise next morning, when the fence\nwas razed and all became common soil once more.\n\n126. When the night began to fall many of the visitors moved all their\ngoods into the corral and lighted there a number of small fires close to\nthe fence, temporarily abandoning their huts and shelters outside. Those\nwho did not move in left watchers to protect their property; for there\nare thieves among the Navajo. The woods around the corral were lighted\nup in various directions by the fires of those who had not taken their\nproperty into the great inclosure and of parties who were practicing\ndances and shows of an exoteric character.\n\n127. The nocturnal performances of _this_ evening (Tuesday, October 28,\n1884) were as meager as any I have seen within the dark circle of\nbranches. The best show I ever witnessed in the circle was one which\ntook place at Keam's Ca\u00c3\u00b1on, Arizona, on the 5th of November, 1882. For\nthis reason I will make the notes taken on the latter occasion the basis\nof my description of the \"corral dance,\" adding as I proceed such\ncomments as may be justified by subsequent observation and information.\n\n128. At 8 o'clock a band of musicians which I will call the orchestra\nentered, sat down beside one of the small fires in the west, and began\nto make various vocal and instrumental noises of a musical character,\nwhich continued with scarcely any interruption until the close of the\ndance in the morning. At the moment the music began the great central\nfire was lighted, and the conflagration spread so rapidly through the\nentire pile that in a few moments it was enveloped in great flames.\nA storm of sparks flew upward to the height of a hundred feet or more,\nand the descending ashes fell in the corral like a light shower of snow.\nThe heat was soon so intense that in the remotest parts of the inclosure\nit was necessary for one to screen his face when he looked towards the\nfire. And now all was ready to test the endurance of the dancers who\nmust expose, or seem to expose (paragraph 149), their naked breasts to\nthe torrid glow.\n\n [Illustration:\n Bureau of Ethnology\n Fifth Annual Report Pl. XII\n DANCE OF NAHIK\u00c3\u0080\u00c3\u008f.]\n\n129. _First dance_ (Plate XII). When the fire gave out its most intense\nheat, a warning whistle was heard in the outer darkness, and a dozen\nforms, lithe and lean, dressed only in the narrow white breechcloth and\nmoccasins, and daubed with white earth until they seemed a group of\nliving marbles, came bounding through the entrance, yelping like wolves\nand slowly moving around the fire. As they advanced in single file they\nthrew their bodies into divers attitudes--some graceful, some strained\nand difficult, some menacing. Now they faced the east, now the south,\nthe west, the north, bearing aloft their slender wands tipped with eagle\ndown, holding and waving them with surprising effects. Their course\naround the fire was to the left, i.e., from the east to the west, by\nway of the south, and back again to the east by way of the north,\na course taken by all the dancers of the night, the order never being\nreversed. When they had encircled the fire twice they began to thrust\ntheir wands toward it, and it soon became evident that their object was\nto burn off the tips of eagle down; but owing to the intensity of the\nheat it was difficult to accomplish this, or at least they acted well\nthe part of striving against such difficulty. One would dash wildly\ntowards the fire and retreat; another would lie as close to the ground\nas a frightened lizard and endeavor to wriggle himself up to the fire;\nothers sought to catch on their wands the sparks flying in the air. One\napproached the flaming mass, suddenly threw himself on his back with his\nhead to the fire, and swiftly thrust his wand into the flames. Many were\nthe unsuccessful attempts; but, at length, one by one, they all\nsucceeded in burning the downy balls from the ends of their wands. As\neach accomplished this feat it became his next duty to restore the ball\nof down. The mechanism of this trick has been described (paragraph 120),\nbut the dancer feigned to produce the wonderful result by merely waving\nhis wand up and down as he continued to run around the fire. When he\nsucceeded he held his wand up in triumph, yelped, and rushed out of the\ncorral. The last man pretended to have great difficulty in restoring the\ndown. When at last he gave his triumphant yell and departed it was ten\nminutes to 9. The dance had lasted twenty minutes.\n\n130. In other repetitions of this ceremony the writer has witnessed more\nof burlesque than on this occasion. Sometimes the performers have worn\nimmense false mustaches, exaggerated imitations of spectacles and of\nother belongings of their white neighbors. Sometimes the dance has\nassumed a character which will not be described in this place\n(paragraph 146). It is called nahik\u00c3\u00a0\u00c3\u00af-alil. The former word signifies\n\"it becomes white again\" and refers to the reappearance of the eagle\ndown. The show is said to have been introduced among the Navajo at the\ngreat corral dance mentioned in the myth (paragraphs 69-72) by a tribe\nfrom the south named \u00c2\u00a2ildj\u00c3\u00a8he. It is no essential part of the rites of\nthe dark circle, yet I have never known it to be omitted, probably\nbecause it is a most suitable dance for the time when the fire is the\nhottest.\n\n [Illustration: FIG. 54. Dancer holding up the great plumed arrow.]\n\n [Illustration: FIG. 55. Dancer \"swallowing\" the great plumed arrow.]\n\n131. _Second dance._ After an interval of three-quarters of an hour, the\ndance of the k\u00c3\u00a1tso-yis\u00c3\u00a7\u00c3\u00a0n, the great plumed arrow, the potent healing\nceremony of the night, began. There were but two performers. They were\ndressed and arrayed much like the ak\u00c3\u00a1ninili, but they bore no meal bags,\nwore no beaver collars, and the parts of their bodies that were not\npainted black--legs and forearms--were daubed with white earth. Instead\nof the wand of the ak\u00c3\u00a1ninili, each bore in his hand one of the great\nplumed arrows. While they were making the usual circuits around the\nfire, the patient (a man on this occasion) was placed sitting on a\nbuffalo robe in front of the orchestra. They halted before the patient;\neach dancer seized his arrow between his thumb and forefinger about\neight inches from the tip, held the arrow up to view, giving a\ncoyote-like yelp, as if to say, \"So far will I swallow it\" (Fig. 54),\nand then appeared to thrust the arrow, slowly and painfully, down his\nthroat (Fig. 55) as far as indicated. While the arrows seemed still to\nbe stuck in their throats, they danced a chass\u00c3\u00a9, right and left, with\nshort, shuffling steps. Then they withdrew the arrows, and held them up\nto view as before, with triumphant yelps, as if to say, \"So far have I\nswallowed it.\" Sympathizers in the audience yelped in response. The next\nthing to be done was to apply the arrows. One of the dancers advanced to\nthe patient, and to the soles of the feet of the latter he pressed the\nmagic weapon with its point to the right, and again with its point to\nthe left. In a similar manner he treated the knees, hands, abdomen,\nback, shoulders, crown, and mouth in the order named, giving three\ncoyote-like yelps after each application. When the first dancer had\ncompleted the work, the other took his place and went through exactly\nthe same performance. This finished, the sick man and the buffalo robe\nwere removed. The bearers of the arrows danced once more around the fire\nand departed.\n\n132. The plumed arrow is frequently referred to in the songs of this\nrite. It seems to be the most revered implement and the act in which it\nappears the most revered alili of the night. All the other shows may be\nomitted at will, but the dance of the k\u00c3\u00a1tso-yis\u00c3\u00a7\u00c3\u00a0n, it is said, must\nnever be neglected. I have witnessed other performances where the arrow\nswallowers reappeared with their numbers increased to six or eight. The\nadditional dancers all pretended to swallow arrows, but they did not\napply them to the patient. The origin of this alili is well accounted\nfor in the myth (paragraphs 47, 55, and 69), and the peculiar\nsignificance of the injunction not to break the arrow is easily\nunderstood when we know how the arrow is made.\n\n133. _Third dance._ At 10 o'clock the sound of the whistle again called\nthe spectators to attention and a line of twenty-three dancers came in\nsight. The one who led the procession bore in his hand a whizzer\n(Fig. 56) such as schoolboys use, a stick tied to the end of a string;\nthis he constantly whirled, producing a sound like that of a rain storm.\nAfter him came one who represented a character, the Y\u00c3\u00a9baka (anglicized,\nYaybaka), from the great nine days' ceremony of the kl\u00c3\u00a9dji-qa\u00c3\u00a7\u00c3\u00a0l, or\nnight chant, and lie wore a blue buckskin mask that belongs to the\ncharacter referred to. From time to time he gave the peculiar hoot or\ncall of the Y\u00c3\u00a0ybichy, \"hu`hu`hu`hu\" (paragraph 32). After him followed\neight wand bearers. They were dressed like the bearers of the great\nplumed arrows; but instead of an arrow each bore a wand made of grass,\ncactus, and eagle plumes. The rest of the band were choristers in\nordinary dress. As they were all proceeding round the fire for the\nfourth time they halted in the west, the choristers safe and the\nstanding wand bearers formed a double row of four. Then the Yaybaka\nbegan to hoot, the orchestra to play, the choristers to sing, the\nwhizzer to make his mimic storm, and the wand bearers to dance. The\nlatter, keeping perfect time with the orchestra, went through a series\nof figures not unlike those of a modern quadrille. In our terpsichorean\nnomenclature the \"calls\" might have thus been given: \"Forward and back.\nChassez twice. Face partners. Forward and back. Forward and bow. Forward\nand embrace. Forward and wave wands at partners,\" &c. When several of\nthese evolutions had been performed in a graceful and orderly manner,\nthe choristers rose, and all went singing out at the east.\n\n134. Three times more the same band returned. In the third and fourth\nacts the wands were exchanged for great pi\u00c3\u00b1on poles (eight to ten feet\nlong), portions of which they pretended to swallow, as their\npredecessors had done with the arrows. (Paragraph 48.) That the simple\nand devoted Pueblo Indian does actually, in dances of this character,\nthrust a stick far down his gullet, to the great danger of health and\neven of life, there is little reason to doubt; but the wily Navajo\nattempts no such prodigies of deglutition. A careful observation of\ntheir movements on the first occasion convinced me that the stick never\npassed below the fauces, and subsequent experience in the medicine lodge\nonly strengthened the conviction (paragraph 121).\n\n [Illustration: FIG. 56. The whizzer.]\n\n135. The instrument designated above as the whizzer is a thin, flat,\npointed piece of wood, painted black and sparkling with the specular\niron ore which is sprinkled on the surface; three small pieces of\nturquoise are inlaid in the wood to represent eyes and mouth. One\nwhizzer which I examined was nine inches long, one and three-fourths\ninches broad, and about a quarter of an inch thick in the thickest part.\n(Fig. 56.) To it was attached a string about two feet long, by means of\nwhich the centrifugal motion was imparted to it. It is called by the\nNavajo ts\u00c3\u00adn-\u00c2\u00a2e`n\u00c3\u00ad`, or groaning stick. It is used among many tribes of\nthe southwest in their ceremonies. The Navajo chanters say that the\nsacred groaning stick may only be made of the wood of a pine tree which\nhas been struck by lightning.\n\n136. In the _Fourth dance_ there were about thirty choristers, in\nordinary dress, bearing pi\u00c3\u00b1on wands; there was a man who shook a rattle,\nanother who whirled the groaning stick, and there were three principal\ndancers, wearing fancy masks and representing characters from the rites\nof the kl\u00c3\u00a8dji qa\u00c3\u00a7\u00c3\u00a0l or dance of the \"Y\u00c3\u00a0ybichy.\" These three danced a\nlively and graceful jig, in perfect time to the music, with many bows,\nwaving of wands, simultaneous evolutions, and other pretty motions which\nmight have graced the spectacular drama of a metropolitan theater. Three\ntimes they left the corral for a moment, and returning varied the dance,\nand always varied to improve. The wands they bore were large light\nframes of reeds adorned with large eagle plumes.\n\n137. After this there was an interval of nearly an hour, which passed\nslowly with those in the corral. Some smoked and gossiped; some listened\nto the never ceasing din of the orchestra or joined in the chant; some\nbrought in wood and replenished the waning fires; some, wrapped in their\nserapea, stretched themselves on the ground to catch short naps.\n\n138. _Fifth dance._ It was after midnight when the blowing of a hoarse\nbuffalo horn announced the approach of those who were to perform the\nfifth dance, the tc\u00c3\u00b2hanoai alili or sun show. There were twenty-four\nchoristers and a rattler. There were two character dancers, who were\narrayed, like so many others, in little clothing and much paint. Their\nheads and arms were adorned with plumes of the war eagle, their necks\nwith rich necklaces of genuine coral, their waists with valuable silver\nstudded belts, and their loins with bright sashes of crimson silk. One\nbore on his back a round disk, nine inches in diameter, decorated with\nradiating eagle plumes to represent the sun. The other carried a disk,\nsix and a half inches in diameter, similarly ornamented, to symbolize\nthe moon. Each bore a skeleton wand of reeds that reminded one of the\nframe of a great kite; it was ornamented with pendant eagle plumes that\nswayed with every motion of the dancer. While the whole party was\npassing round the fire in the usual manner wands were waved and heads\nbowed towards the flames. When it stopped in the west the choristers sat\nand sang and the rattler stood and rattled, while the bearers of the sun\nand the moon danced at a lively rate for just three minutes. Then the\nchoristers rose and all sang and danced themselves out of sight.\nA second performance of this dance came between the first and second\nrepetitions of the next show.\n\n139. I have recorded one story (but have heard of another) accounting\nfor the origin of this dance; it is as follows: When Dsilyi` Ney\u00c3\u00a1ni\nvisited the mountain of Bistc\u00c3\u00a0gi, the home of Ests\u00c3\u00a0n \u00c2\u00a2ig\u00c3\u00acni, these\ndivine beings had for ornaments on their walls the sun and the moon.\nWhen the great mythic dance was given they were among the guests. They\nbrought their wall decorations, and when the time for their alili came,\nthey wore the sun and the moon on their backs when they danced.\n\n140. The _Sixth dance_, that of the standing arcs, was both picturesque\nand ingenious. The principal performers were eight in number, as usual\nwith scanty clothing. Their hair fell loose and long over back and\nshoulders and each bore in front of him, held by both hands, a wooden\narc, ornamented with eagle plumes. The ends of the arc (which was a full\nsemicircle) showed tufts of pi\u00c3\u00b1on twigs, and they were evidently joined\ntogether by a slender string, which was invisible to the audience.\nBesides the eight principal actors, there was a rattler, a bearer of the\ngroaning stick, and a chorus. While all were making the fourth circuit\nof the fire, frequent shouts of \"\u00c3\u0087\u00c3\u00b2he! \u00c3\u0087\u00c3\u00b2he!\" (Englished,\nTh\u00c3\u00b2hay--\"Stand! stand!\" or \"Stay! stay!\") were heard, the significance\nof which soon became apparent. When they stopped in the west, the eight\ncharacter dancers first went through various quadrille-like figures,\nsuch as were witnessed in the third dance, and then knelt in two rows\nthat faced one another. At a word from the rattler the man who was\nnearest to him (whom I will call No. 1) arose, advanced to the man who\nknelt opposite to him (No. 2) with rapid, shuffling steps, and amid a\nchorus of \"Th\u00c3\u00b2hay! Th\u00c3\u00b2hay!\" placed his arc with caution upon the head of\nthe latter. Although it was held in position by the friction of the\npi\u00c3\u00b1on tufts at each ear and by the pressure of the ends of the arc, now\ndrawn closer by the subtending string, it had the appearance of standing\non the head without material support, and it is probable that many of\nthe uninitiated believed that only the magic influence of the\noft-repeated word \"Th\u00c3\u00b2hay\" kept it in position. When the arc was secured\nin its place, No. 1 retreated with shuffling steps to his former\nposition and fell on his knees again. Immediately No. 2 advanced and\nplaced the arc which he held in his hand on the head of No. 1. Thus each\nin turn placed his arc on the head of the one who knelt opposite to him\nuntil all wore their beautiful halo-like headdresses. Then, holding\ntheir heads rigidly erect, lest their arcs should fall, the eight\nkneeling figures began a splendid, well timed chant, which was\naccentuated by the clapping of hands and joined in by the chorus. When\nthe chant was done the rattler addressed the arc bearers, warning them\nto be careful; so they cautiously arose from their knees and shuffled\nwith stiffened spines out of the corral, preceded by the choristers.\nThis dance was repeated after the second performance of the fifth dance.\n\n141. _Seventh dance._ The arc bearers had scarcely disappeared when\nanother troupe entered the circle, the buffalo horn announcing their\ncoming. A man with a whizzer led the procession. The choristers, in\nordinary dress, were thirteen in number. The principal dancers were but\ntwo; they wore the usual sash and belt; the uncovered skin was painted\nwhite; they had on long blue woolen stockings of Navajo make and\nmoccasins. Each bore a slender wand of two triangles of reeds adorned at\nthe corners with pendant plumes. They saluted the fire as they danced\naround it. They halted in the west, where the choristers sat down, and\nthe two wand bearers danced for three minutes in a lively and graceful\nmanner, to the music of the whizzer, the rattle, the choristers, and the\ndrum of the orchestra. These returned twice more, making some variation\nin their performance each time. In the second act the rattler brought in\nunder his arm a basket containing yucca leaves, and a prayer was said to\nthe sun. It is possible that this dance was but a preliminary part of\nthe eighth dance, but it must be described as a separate alili.\n\n142. _Eighth dance._ In this there were sixteen performers, in ordinary\nNavajo dress. One of these bore the whizzer and led the procession;\nanother, who came in the center of the line, carried a hewn plank, or\npuncheon, about 12 feet long and 4 inches broad, painted with spots and\ndecorated with tufts of pi\u00c3\u00b1on branchlets and with eagle plumes;\nimmediately behind the bearer of the plank walked a man who had in a\nbasket an effigy of the sun, formed of a small round mirror and a number\nof radiating scarlet plumes. Having walked around the fire as usual, the\nwhole party gathered in the west in a close circle, which completely\nexcluded from the sight of the audience the operations of the actors.\nSinging, rattling, and cries of \"Th\u00c3\u00b2hay!\" were heard. In a few minutes\nthe circle opened and the hewn plank, standing upright on a small Navajo\nblanket, without any apparent prop or support, was disclosed to view. At\nthe base of the plank was the basket holding the figure of the sun.\nSinging was continued and so were the uproarious cries of\n\"Th\u00c3\u00b2hay\"--cries anxious, cries appealing, cries commanding--while the\nbearer of the rattle stood facing the pole and rattling vigorously at\nit. At length, seemingly in obedience to all this clamor, the solar\nimage left the basket and slowly, falteringly, totteringly, ascended the\nplank to within a few inches of the top. Here it stopped a moment and\nthen descended in the same manner in which it rose. Once more was it\nmade to rise and set, when the circle of dancers again closed, the\nplank, sun, and basket were taken in custody, and the dancers departed.\nTaking into consideration the limited knowledge and rude implements of\nthe originators (for this alili is not of modern origin), this was a\nwell performed trick. The means used for supporting the pole and pulling\nup the sun could not be detected. The dancers formed a semicircle nearly\nten feet distant from the pole and the light of the central fire shone\nbrightly upon all.\n\n143. _Ninth dance._ It was after 1 o'clock in the morning when the dance\nof the hoshk\u00c3\u00a0wn (_Yucca baccata_) began. (Fig. 57. See paragraph 3.)\nThe ceremony was conducted in the first part by twenty-two persons in\nordinary dress. One bore, exposed to view, a natural root of yucca,\ncrowned with its cluster of root leaves, which remain green all winter.\nThe rest bore in their hands wands of pi\u00c3\u00b1on. What other properties they\nmay have had concealed under their blankets the reader will soon be able\nto conjecture. On their third journey around the fire they halted in the\nwest and formed a close circle for the purpose of concealing their\noperations, such as was made in the eighth dance. After a minute spent\nin singing and many repetitions of \"Th\u00c3\u00b2hay,\" the circle opened,\ndisclosing to our view the yucca root planted in the sand. Again the\ncircle closed; again the song, the rattle, and the chorus of \"Th\u00c3\u00b2hay\"\nwere heard, and when the circle was opened the second time an excellent\ncounterfeit of the small budding flower stalk was seen amid the fascicle\nof leaves. A third time the dancers formed their ring of occultation;\nafter the song and din had continued for a few seconds the circle parted\nfor the third time, when, all out of season, the great panicle of creamy\nyucca flowers gleamed in the firelight. The previous transformations of\nthe yucca had been greeted with approving shouts and laughter; the\nblossoms were hailed with storms of applause. For the fourth and last\ntime the circle closed, and when again it opened the blossoms had\ndisappeared and the great, dark green fruit hung in abundance from the\npedicels. When the last transformation was completed the dancers went\nonce more around the fire and departed, leaving the fruitful yucca\nbehind them.\n\n [Illustration: FIG. 57. Yucca baccata.]\n\n144. In a moment after they had disappeared the form of one personating\nan aged, stupid, short sighted, decrepit man was seen to emerge slowly\nfrom among the crowd of spectators in the east. He was dressed in an old\nand woefully ragged suit and wore a high, pointed hat. His face was\nwhitened and he bore a short, crooked, wooden bow and a few crooked, ill\nmade arrows. His mere appearance provoked the \"stoic\" audience to\nscreams of laughter, and his subsequent \"low comedy business,\" which\nexcelled much that I have seen on the civilized stage, failed not to\nmeet with uproarious demonstrations of approval. Slowly advancing as he\nenacted his part, he in time reached the place where the yucca stood,\nand, in his imbecile totterings, he at length stumbled on the plant and\npretended to have his flesh lacerated by the sharp leaves. He gave a\ntremulous cry of pain, rubbed saliva on the part supposed to be wounded,\nand muttered his complaints in a weak and shaking voice. He pretended\nthen to seek for the plant, and was three times wounded in his efforts\nto find it. At length, kneeling on the ground, with his face buried in\nthe leaves, he feigned to discover it, and rejoiced with querulous\nextravagance over his success. When he had marked the spot and the way\nback to it with an exaggerated burlesque of the Indian methods of doing\nthese things, he went off to find his \"old woman\" and bring her to pick\nthe fruit. Soon he returned with a tall, stalwart man, dressed to\nrepresent a hideous, absurd-looking old granny. The latter acted his\npart throughout the rest of the drama with a skill fully equal to that\nof his comrade.\n\n145. There were scenes in this drama which may not be told in this\nconnection. It will suffice to say here that when the yucca fruit was\npicked and put in the basket the old man helped the \"woman\" to shoulder\nher load and the pair left the corral. The hack\u00c3\u00a0n-in\u00c3\u00a7\u00c3\u00a1` does not\ninvariably appear in the corral dance. I have attended one ceremony\nwhere it was omitted. I have heard two descriptions of the dance which\ndiffered very much from the one given above.\n\n146. Many facts concerning not only the hack\u00c3\u00a0n in\u00c3\u00a7\u00c3\u00a1`, but other parts of\nthe mountain chant, have not been allowed to appear in this essay.\nRecognized scientists may learn of them by addressing the author through\nthe Director of the Bureau of Ethnology.\n\n147. _Tenth dance._ At twenty minutes past three an uninteresting\nperformance called the \"bear dance\" began. A man entered on all fours;\nhis face was painted white; he wore around his loins and over his\nshoulders pieces of some dark pelt which may have been bear skin, but\nlooked more like the skin of a black sheep. The fire had now burned low\nand the light was dim. He was accompanied by two attendants, one of whom\ncarried a rattle. He went twice around the ring, imitating the lumbering\ngait of the bear. He occasionally made a clumsy lunge sidewise at some\nof the spectators, as though he would attack them; but on these\noccasions the man with the rattle headed him off and rattling in his\nface directed him back to the usual course around the fire. This show\nlasted five minutes.\n\n148. The _Eleventh dance_, was the fire dance, or fire play, which was\nthe most picturesque and startling of all. Some time before the actors\nentered, we heard, mingled with the blowing of the buffalo horn, strange\nsounds, much like the call of the sand-hill crane; they will, for\nconvenience, be called trumpeting. These sounds continued to grow louder\nand come nearer until they were heard at the opening in the east, and in\na second after, ten men, having no more clothing on than the performers\nin the first dance, entered. Every man except the leader bore a long\nthick bundle of shredded cedar bark in each hand and one had two extra\nbundles on his shoulders for the later use of the leader. The latter\ncarried four small fagots of the same material in his hands. Four times\nthey all danced around the fire, waving their bundles of bark towards\nit. They halted in the east; the leader advanced towards the central\nfire, lighted one of his fagots, and trumpeting loudly threw it to the\neast over the fence of the corral. He performed a similar act at the\nsouth, at the west, and at the north; but before the northern brand was\nthrown he lighted with it the bark bundles of his comrades. As each\nbrand disappeared over the fence some of the spectators blew into their\nhands and made a motion as if tossing some substance after the departing\nflame. When the fascicles were all lighted the whole band began a wild\nrace around the fire. At first they kept close together and spat upon\none another some substance of supposed medicinal virtue. Soon they\nscattered and ran apparently without concert, the rapid racing causing\nthe brands to throw out long brilliant streamers of flame over the hands\nand arms of the dancers. Then they proceeded to apply the brands to\ntheir own nude bodies and to the bodies of their comrades in front of\nthem, no man ever once turning round; at times the dancer struck his\nvictim vigorous blows with his flaming wand; again he seized the flame\nas if it were a sponge and, keeping close to the one pursued, rubbed the\nback of the latter for several moments, as if he were bathing him. In\nthe mean time the sufferer would perhaps catch up with some one in front\nof him and in turn bathe him in flame. At times when a dancer found no\none in front of him he proceeded to sponge his own back, and might keep\nthis up while making two or three circuits around the fire or until he\ncaught up with some one else. At each application of the blaze the loud\ntrumpeting was heard, and it often seemed as if a great flock of cranes\nwas winging its way overhead southward through the darkness. If a brand\nbecame extinguished it was lighted again in the central fire; but when\nit was so far consumed as to be no longer held conveniently in the hand,\nthe dancer dropped it and rushed, trumpeting, out of the corral. Thus,\none by one, they all departed. When they were gone many of the\nspectators came forward, picked up some of the fallen fragments of cedar\nbark, lighted them, and bathed their hands in the flames as a charm\nagainst the evil effects of fire.\n\n [Illustration:\n Bureau of Ethnology\n Fifth Annual Report Pl. XIII\n FIRE DANCE.]\n\n149. Did these dancers, next day, hide sore and blistered backs under\ntheir serapes? I think not, for I have seen and conversed with some of\nthe performers immediately after the fire show, and they seemed happy\nand had nothing to complain of. Did the medicine they spat on one\nanother save them? Certainly not, although the Indians claim it is a\ntrue prophylactic against burns and call it az\u00c3\u00a8-sak\u00c3\u00a1zi or cold medicine.\nBut it is probable that the cedar bark ignites at a low temperature, and\nmore than probable that the coating of white earth with which their\nbodies were covered is an excellent non-conductor. However, the thought\nthat their bodies might have been thus ingeniously protected lessened\nlittle, if any, the effect produced on the spectator. I have seen many\nfire scenes on the stage, many acts of fire eating and fire handling by\ncivilized jugglers, and many fire dances by other Indian tribes, but\nnothing quite comparable to this in all its scenic effects.\n\n150. The closing ceremonies I did not witness on this occasion, but I\nsaw them at subsequent dances. Shortly before sunrise an assistant\npassed around the fire four times and sprinkled a little water on the\nmass of smoldering embers, while the medicine man chanted the\nappropriate song. Later, three gaps were torn in the circle of\nbranches--one in the south, one in the west, and one in the\nnorth--making, with the original gate in the east, four entrances to the\ncorral. (See Plate XIV.) Just after sunrise the entire circle of\nbranches was razed, but the branches were not carried away. The traveler\nthrough the Navajo country often encounters withered remains of these\ncircles. In the ceremony of October, 1884, the chanter, having another\nengagement which was pressing, packed up his sacred utensils and left\nsoon after sunrise. The patient, it was said, was not permitted to sleep\nuntil after sunset.\n\n151. _Other dances._ In subsequent dances I saw exhibitions which did\nnot occur in the ceremony of November 5, 1882, just described, and I\nhave learned of other shows produced on the last night, which I have\nnever had an opportunity to witness. All the alilis may be modified.\nI have rarely seen two performances of the same dance which were just\nalike.\n\n152. On two occasions I have witnessed a very pretty dance, in which an\neagle plume was stuck upright in a basket and by means of some well\nhidden mechanism caused to dance in good time to the song, the beat of\nthe drum, and the motions of the single Indian who danced at the same\ntime; not only this, but the feather followed the motions of the Indian:\nif he danced toward the north, the feather leaned to the north while\nmaking its rhythmical motions; if he moved to the south, it bent its\nwhite head in the same direction, and so on. On one occasion it was a\nlittle boy, five years old, son of the chief Manuelito, who danced with\nthe eagle plume. He was dressed and painted much like the ak\u00c3\u00a1ninili, or\nthe arrow swallowers (Figs. 54, 55), on a diminutive scale. The sash of\nscarlet velvet around his hips was beautifully trimmed with feathers.\nThey said he had been several weeks in training for the dance, and he\ncertainly went through his varied motions with great skill. I have\nrarely seen a terpsichorean spectacle that struck my fancy more than\nthat of the little Indian child and his partner, the eagle plume.\n\n153. It might be thought that the word \"th\u00c3\u00b2hay,\" so often used to make\ninanimate objects pay attention, was one of very sacred import. So it\nis, no doubt; yet I have seen it broadly burlesqued. It was on the\noccasion of the last \"chant\" which I attended. A number of boys, from\ntwelve to fifteen years of age they seemed, led by a pleasant looking\nold man with a skeptical twinkle in his eye, came into the dark circle.\nOne of the party carried a deep Indian basket, from the top of which a\nnumber of spruce twigs protruded. They formed what has been designated\nas the ring of occultation, and while doing so they shouted and screamed\nand puffed the talismanic \"th\u00c3\u00b2hay\" in a way that left no doubt of their\nintention to ridicule. Their extravagant motions added to the\nsignificance of their intonation. When the ring opened the boys sat on\nthe ground and began to sing and beat a drum. The old man sat at a\ndistance of about three paces west of the basket. Presently the nose of\na little weasel (the image being probably a stuffed skin) appeared among\nthe spruce boughs. All the timid, inquiring motions of the little animal\nwere well mimicked: the nose was thrust forward and pulled back, the\nwhole head would emerge and retreat, and at rare times the shoulders\nwould be seen for a moment, to be quickly drawn in among the screening\nspruce twigs. All these motions were made in perfect time to the singing\nand drumming. The old man who pulled the actuating strings made no\nsecret of his manipulations. The play was intended for a farce, and as\nsuch the spectators enjoyed it.\n\n\n\n\nTHE GREAT PICTURES OF DSILY\u00c3\u008dDJE QA\u00c3\u0087\u00c3\u0080L.\n\n\n154. A description of the four great pictures drawn in these ceremonies\nhas been deferred until all might be described together. Their relations\nto one another rendered this the most desirable course to pursue. The\npreparation of the ground and of the colors, the application of the\nsacred pollen, and some other matters have been already considered.\n\n155. The men who do the greater part of the actual work of painting,\nunder the guidance of the chanter, have been initiated, but need not be\nskilled medicine men or even aspirants to the craft of the shaman.\nA certain ceremony of initiation has been performed on them four times,\neach time during the course of a different dance, before they are\nadmitted into the lodge during the progress of the work or allowed to\nassist in it. The medicine man receives a good present in horses for his\nwork; the assistants get nothing but their food. This, however, is\nabundant. Three times a day the person for whose benefit the dance is\nperformed sends in enough mush, corn cake, soup, and roasted mutton to\nsatisfy to the utmost the appetites of all in the lodge. There are some\nyoung men who live well all winter by going around the country from\ndance to dance and assisting in the work of the lodge.\n\n [Illustration:\n Bureau of Ethnology\n Fifth Annual Report Pl. XIV\n THE DARK CIRCLE OF BRANCHES AT SUNRISE.]\n\n156. The pictures are drawn according to an exact system. The shaman is\nfrequently seen correcting the workmen and making them erase and revise\ntheir work. In certain well defined instances the artist is allowed to\nindulge his individual fancy. This is the case with the gaudy\nembroidered pouches which the gods carry at the waist. Within reasonable\nbounds the artist may give his god just as handsome a pouch as he\nwishes. Some parts of the figures, on the other hand, are measured by\npalms and spans, and not a line of the sacred design can be varied.\nStraight and parallel lines are drawn by aid of a tightened cord. The\nmode of applying the colored powder is peculiar. The artist has his bark\ntrays laid on the sand where they are convenient of access. He takes a\nsmall quantity of the powder in his closed palm and allows it to pass\nout between his thumb and forefinger, while the former is moved across\nthe latter. When he makes a mistake he does not brush away the pigment.\nHe obliterates it by pouring sand on it, and then draws the corrected\ndesign on the new surface. The forms of the gods do not appear as I have\nrepresented them in the first coat of color. The naked figures of these\nmythical beings are first completely and accurately drawn and then the\nclothing is put on. Even in the pictures of the \"Long-bodies\"\n(Plate XVII), which are drawn 9 feet in length, the naked body is first\nmade in its appropriate color--white for the east, blue for the south,\nyellow for the west, and black for the north--and then the four red\nshirts are painted on from thigh to axilla, as shown in the picture.\n\n157. The drawings are, as a rule, begun as much towards the center as\nthe nature of the figure will permit, due regard being paid to the order\nof precedence of the points of the compass, the figure in the east being\nbegun first, that in the south next, that in the west third in order,\nand that in the north fourth. The periphery is finished last of all. The\nreason for thus working from within outwards is that the men employed on\nthe picture disturb the smooth surface of the sand with their feet. If\nthey proceed in the order described they can smooth the sand as they\nadvance and need not cross the finished portions of the picture.\n\n158. I have learned of seventeen great healing dances of the Navajo in\nwhich pictures of this character are drawn. There are said to be, with\nfew exceptions--only one exception that I am positively aware of--four\npictures appropriate to each dance. Some of the dances are practiced\nsomewhat differently by different schools or orders among the medicine\nmen, and in these divers forms the pictures, although agreeing in\ngeneral design, vary somewhat in detail. Thus there are, on an average,\nprobably more than four designs, belonging to each of the seventeen\nceremonies, whose names I have obtained. If there were but four to each,\nthis would give us sixty-eight such paintings known to the medicine men\nof the tribe, and thus we may form some conception of the great number\nof these sacred pictures which they possess. But I have reason to\nbelieve, from many things I have heard, that besides these seventeen\ngreat nine days' ceremonies to which I refer, there are many minor\nceremonies, with their appropriate pictures; so that the number is\nprobably greater than that which I give.\n\n159. These pictures, the medicine men aver, are transmitted from teacher\nto pupil in each order and for each ceremony unaltered from year to year\nand from generation to generation. That such is strictly the case I\ncannot believe. There are no standard pictures on hand anywhere. No\npermanent design for reference is ever in existence, and there is, so\nfar as I can learn, no final authority in the tribe to settle any\ndisputes that may arise. Few of these great ceremonies can be performed\nin the summer months. Most of the figures are therefore carried over\nfrom winter to winter in the memories of fallible men. But this much I\ndo credit, that any innovations which may creep into their work are\nunintentional and that if changes occur they are wrought very slowly.\nThe shamans and their faithful followers believe, or profess to believe,\nthat the direst vengeance of the gods would visit them if these rites\nwere varied in the least in picture, prayer, song, or ceremonial. The\nmere fact that there are different schools among the medicine men may be\nregarded as an evidence that changes have occurred.\n\n\n160. FIRST PICTURE. The picture of the first day (Plate XV) is said to\nrepresent the visit of Dsilyi` Ney\u00c3\u00a1ni to the home of the snakes at\nQo\u00c2\u00a2ests\u00c3\u00b2. (Paragraph 53.)\n\n [Illustration:\n Bureau of Ethnology\n Fifth Annual Report Pl. XV\n FIRST DRY-PAINTING]\n\n161. In the center of the picture was a circular concavity, about six\ninches in diameter, intended to represent water, presumably the house of\nwater mentioned in the myth. In all the other pictures where water was\nrepresented a small bowl was actually sunk in the ground and filled with\nwater, which water was afterwards sprinkled with powdered charcoal to\ngive the impression of a flat, dry surface. Why the bowl of water was\nomitted in this picture I do not know, but a medicine man of a different\nfraternity from that of the one who drew the picture informed me that\nwith men of his school the bowl filled with water was used in the snake\npicture as well as in the others. Closely surrounding this central\ndepression are four parallelograms about four inches by ten inches in\nthe original pictures. The half nearer the center is red; the outer half\nis blue; they are bordered with narrow lines of white. The same figures\nare repeated in other paintings. They appear in this drawing, and\nfrequently in others, as something on which the gods seem to stand. They\nare the ca`bitl\u00c3\u00b2l, or rafts of sunbeam, the favorite vessels on which\nthe divine ones navigate the upper deep. In the Navajo myths, when a god\nhas a particularly long and speedy journey to make, he takes two\nsunbeams and, placing them side by side, is borne off in a twinkling\nwhither he wills. Red is the color proper to sunlight in their\nsymbolism, but the red and blue together represent sunbeams in the\nmorning and evening skies when they show an alternation of blue and red.\nIt will be seen later that the sunbeam shafts, the halo, and the rainbow\nare represented by the same colors. In form, however, the halo is\ncircular, and the rainbow is distinguished by its curvature, and it is\nusually anthropomorphic, while the sunbeam and the halo are not.\nExternal to these sunbeam rafts, and represented as standing on them,\nare the figures of eight serpents, two white ones in the east, two blue\nones in the south, two yellow ones in the west, and two black ones in\nthe north. These snakes cross one another (in pairs) so as to form four\nfigures like the letter +X+. In drawing these +X+'s the snake which\nappears to be beneath is made first complete in every respect, and then\nthe other snake is drawn over it in conformity with their realistic laws\nof art before referred to. The neck, in all cases, is blue, crossed with\nfour bands of red. The necks of the gods in all the pictures, it will be\nobserved, are made thus, but the bars in the manlike figures run\ntransversely, while those in the snake-like run diagonally. Three rows\nof +V+-shaped figures, four in each row, are seen on the backs of the\nsnakes; these are simply to represent mottlings. Outside of these eight\nsnakes are four more of much greater length; they form a frame or\nboundary to the picture, except in the west, where the mountain of\nDsily\u00c3\u00a0-i\u00c3\u00a7\u00c3\u00adn lies beyond them. There is a white snake in the east, lying\nfrom north to south and bounding the picture in the east; a blue snake,\nof similar size and shape, in the south; a yellow one in the west, and a\nblack one in the north. They seem as if following one another around the\npicture in the direction of the sun's apparent course, the head of the\neast snake approximating the tail of the south snake, and so on.\n\n162. In the northeast is seen the yay, Niltci, who accompanied the\nNavajo prophet to the home of the snakes. In the extreme west is a black\ncircular figure representing the mountain of Dsily\u00c3\u00a0-i\u00c3\u00a7\u00c3\u00adn. In the\noriginal picture the mountain was in relief--which I have not attempted\nto represent--a little mound of about ten or twelve inches high. The\ndescription of the mountain given in the myth is duly symbolized in the\npicture, the halo added. The green spot in the center is designed to\nrepresent a twig of spruce which was stuck in the mound of sand to\nindicate the spruce tree door. From the summit of the mountain to the\nmiddle of the central waters is drawn a wide line in corn meal, with\nfour footprints, depicted at intervals, in the same material. This\nrepresents the track of a bear. Immediately south of this track is the\nfigure of an animal drawn in gray pigment. This is the grizzly himself,\nwhich here, I have reason to believe, is used as a symbol of the Navajo\nprophet. The bear, in the sacred language of the shamans, is\nappropriately called Dsilyi` Ney\u00c3\u00a1ni, since he is truly reared within the\nmountains. His track, being represented by a streak of meal, has\nreference to the same thing as the name ak\u00c3\u00a1ninili and the practice of\nthe couriers (paragraph 102), who are dressed to represent the prophet,\nthrowing corn meal in front of them when they travel.\n\n\n163. The SECOND PICTURE is said to be a representation of the painting,\nwhich the prophet saw in the home of the bears in the Carrizo Mountains\n(paragraph 40). In the center of this figure is the bowl of water\ncovered with black powder, to which I referred before. The edge of the\nbowl is adorned with sunbeams, and external to it are the four\nca`bitlol, or sunbeam rafts, on which seem to stand four gods, or yays.\n\n164. The divine forms are shaped alike but colored differently. They lie\nwith heads extended outward, one to each of the four cardinal points of\nthe compass, the faces looking forward, the arms half extended on either\nside, with the hands raised to a level with the shoulders. They wear\naround their loins skirts of red sunlight, adorned with sunbeams. They\nhave ear pendants, bracelets, and armlets, blue and red (of turquoise\nand coral), the prehistoric and emblematic jewels of the Navajo. Their\nforearms and legs are black, showing in each a zigzag mark to represent\nlightning on the surface of the black rain clouds. In the north god\nthese colors are, for artistic reasons, reversed. Each bears, attached\nto his right hand with a string, a rattle, a charm, and a basket. The\nrattle is of the shape of those used by the medicine men in this\nparticular dance, made of raw hide and painted to symbolize the rain\ncloud and lightning. The left hand is empty; but beside each one is a\nhighly conventionalized picture of a plant. The left hand remains empty,\nas it were, to grasp this plant, to indicate that the plant at the left\nhand belongs to the god whose corresponding hand is unoccupied and\nextended towards it. The proprietorship of each god in his own\nparticular plant is further indicated by making the plant the same color\nas the god. The body of the eastern god is white; so is the stalk of\ncorn at his left, in the southeast. The body of the southern god is\nblue; so is the beanstalk beside him, in the southwest. The body of the\nwestern god is yellow; so is his pumpkin vine, in the northwest. The\nbody of the north god is black; so is the tobacco plant, which is under\nhis special protection, in the northeast.\n\n165. Each of the four sacred plants is represented as growing from five\nwhite roots in the central waters and spreading outwards to the\nperiphery of the picture. The gods form one cross whose limbs are\ndirected to the four cardinal points; the plants form another cross\nhaving a common center with the first named cross, but whose limbs\nextend to the intermediate points of the compass.\n\n166. On the head of each yay is an eagle plume lying horizontally and\npointing to the right. A similar arrangement of four plumes, all\npointing in one direction (contrary to the sun's apparent course), may\nbe observed on the baskets carried by the gods.\n\n [Illustration:\n Bureau of Ethnology\n Fifth Annual Report Pl. XVI\n SECOND DRY PAINTING]\n\n167. The gods are represented with beautiful embroidered pouches, each\nof a different pattern. In old days the most beautiful things in art the\nNavajo knew of were the porcupine quill embroideries of the northern\nraces. The art of garnishing with quills, and later with beads, seems\nnever to have been practiced to any extent by the Navajo women. They\nobtained embroideries of the Ute and other northern tribes, and their\nancient legends abound in allusions to the great esteem in which they\nheld them. (See, for instance, paragraphs 32, 34.) Hence, to represent\nthe grandeur and potency of their gods, they adorn them with these\nbeautiful and much coveted articles.\n\n168. Surrounding the picture on about three-fourths of its circumference\nis the anthropomorphic rainbow or rainbow deity. It consists of two long\nstripes, each about two inches wide in the original picture, one of\nblue, one of red, bordered and separated by narrow lines of white. At\nthe southeastern end of the bow is a representation of the body below\nthe waist, such as the other gods have, consisting of pouch, skirt,\nlegs, and feet. At the northeastern end we have head, neck, and arms.\nThe head of the rainbow is rectangular, while the heads of the other\nforms in this picture are round. In the pictures of the Y\u00c3\u00a0ybichy dance\nwe frequently observe the same difference in the heads. Some are\nrectangular, some are round; the former are females, the latter males;\nand whenever any of these gods are represented, by characters, in a\ndance, those who enact the females wear square stiff masks, like our\ndominoes, while those who enact the males wear roundish, baglike masks,\nof soft skin, that completely envelop the head. The rainbow god in all\nthese pictures wears the rectangular mask. Iris, therefore, is with the\nNavajo as well as with the Greeks a goddess.\n\n169. All the other gods bear something in their hands, while the hands\nof the rainbow are empty. This is not without intention. When the person\nfor whose benefit the rites are performed is brought in to be prayed and\nsung over, the sacred potion is brewed in a bowl, which is placed on the\noutstretched hands of the rainbow while the ceremony is in progress and\nonly taken from these hands when the draught is to be administered.\nTherefore the hands are disengaged, that they may hold the gourd and its\ncontents when the time comes (paragraph 106).\n\n170. In the east, where the picture is not inclosed by the rainbow, we\nsee the forms of two birds standing with wings outstretched, facing one\nanother, their beaks close together. These represent certain birds of\nblue plumage called by the Navajo \u00c3\u00a7\u00c3\u00b2li (_Sialia arctica_). This bluebird\nis of the color of the south and of the upper regions. He is the herald\nof the morning. His call of \"\u00c3\u00a7\u00c3\u00b2li \u00c3\u00a7\u00c3\u00b2li\" is the first that is heard when\nthe gray dawn approaches. Therefore is he sacred, and his feathers form\na component part of nearly all the plume sticks used in the worship of\nthis people. Two bluebirds, it is said, stand guard at the door of the\nhouse wherein these gods dwell; hence they are represented in the east\nof the picture.\n\n171. Here is an appropriate occasion to speak of a part of Navajo\nsymbolism in color to which reference has already several times been\nmade. In the majority of cases the east is represented by white, the\nsouth by blue, the west by yellow, the north by black; the upper world\nby blue and the lower by a mixture of white and black in spots. The\ncolors of the south and west seem to be permanent: the south is always\nblue and the west is always yellow, as far as I can learn; but the\ncolors of the east and north are interchangeable. The cases are rare\nwhere white is assigned to the north and black to the east; but such\ncases occur, and perhaps in each instance merit special study. Again,\nblack represents the male and blue the female.\n\n\n172. The THIRD PICTURE commemorates the visit of Dsilyi` Ney\u00c3\u00a1ni to\n\u00c3\u0087a\u00c3\u00a7\u00c3\u00b2`-behogan, or \"Lodge of Dew\" (paragraph 56). To indicate the great\nheight of the Bits\u00c3\u00a8s-nin\u00c3\u00a9z the figures are twice the length of any in\nthe other pictures, except the rainbows, and each is clothed in four\ngarments, one above the other, for no one garment, they say, can be made\nlong enough to cover such giant forms. Their heads all point to the\neast, instead of pointing in different directions, as in the other\npictures. The Navajo relate, as already told (paragraph 56), that this\nis in obedience to a divine mandate; but probably there is a more\npractical reason, which is this: if they had the cruciform arrangement\nthere would not be room on, the floor of the lodge for the figures and\nat the same time for the shaman, assistants, and spectators. Economy of\nspace is essential; but, although drawn nearly parallel to one another,\nthe proper order of the cardinal points is not lost sight of. The form\nimmediately north of the center of the picture is done first, in white,\nand represents the east. That immediately next to it on the south comes\nsecond in order, is painted in blue, and represents the south. The one\nnext below that is in yellow, and depicts the goddess who stood in the\nwest of the House of Dew-Drops. The figure in the extreme north is drawn\nlast of all, in black, and belongs to the north. As I have stated\nbefore, these bodies are first made naked and afterwards clothed. The\nexposed chests, arms, and thighs display the colors of which the entire\nbodies were originally composed. The gl\u00c3\u00b2\u00c3\u00af (weasel, _Putorius_) is sacred\nto these goddesses. Two of these creatures are shown in the east,\nguarding the entrance to the lodge. The appendages at the sides of the\nheads of the goddesses represent the gl\u00c3\u00b2\u00c3\u00af-bitc\u00c3\u00a0, or headdresses of gl\u00c3\u00b2\u00c3\u00af\nskins of different colors which these mythic personages are said to\nwear. Each one bears attached to her right hand a rattle and a charm, or\nplume stick, such as the gods in the second picture carry; but, instead\nof the basket shown before, we see a conventionalized representation of\na branch of choke cherry in blossom; this consists of five diverging\nstems in blue, five roots, and five cruciform blossoms in white. The\nchoke cherry is a sacred tree, a mountain plant; its wood is used in\nmaking certain sacrificial plume sticks and certain implements of the\ndance; it is often mentioned in the songs of this particular rite. Some\nother adjuncts of this picture--the red robes embroidered with sunbeams,\nthe arms and legs clothed with clouds and lightning, the pendants from\nthe arms, the blue and red armlets, bracelets, and garters--have already\nbeen described when speaking of the second picture. The object in the\nleft hand is a wand of spruce.\n\n [Illustration:\n Bureau of Ethnology\n Fifth Annual Report Pl. XVII\n THIRD DRY-PAINTING]\n\n173. The rainbow which incloses the picture on three sides is not the\nanthropomorphic rainbow. It has no head, neck, arms, or lower\nextremities. Five white eagle plumes adorn its southeastern extremity.\nFive tail plumes of some blue bird decorate the bend in the southwest.\nThe plumes of the red shafted flicker (_Colaptes auratus_ var.\n_mexicanus_) are near the bend in the northwest and the tail of the\nmagpie terminates the northeastern extremity. Throughout the myth, it\nwill be remembered, not only is the House of Dew-Drops spoken of as\nadorned with hangings and festoons of rainbows, but many of the holy\ndwellings are thus embellished.\n\n\n174. The FOURTH PICTURE represents the k\u00c3\u00a1tso-yis\u00c3\u00a7\u00c3\u00a0n, or great plumed\narrows. These arrows are the especial great mystery, the potent healing\ncharm of this dance. The picture is supposed to be a fac simile of a\nrepresentation of these weapons, shown to the prophet when he visited\nthe abode of the Tsilk\u00c3\u00a8-\u00c2\u00a2igini, or young men gods, where he first saw\nthe arrows (paragraph 47). There are eight arrows. Four are in the\ncenter, lying parallel to one another--two pointing east and two others,\nalternate, pointing west. The picture is bordered by the other four,\nwhich have the same relative positions and directions as the bounding\nserpents in the first picture. The shafts are all of the same white\ntint, no attention being paid to the colors of the cardinal points; yet\nin drawing and erasing the picture the cardinal points are duly honored.\nAmong the central arrows, the second from the top, or north margin of\nthe design, is that of the east; it is drawn and erased first. The next\nbelow it is the arrow of the south; the third is that of the west. The\none on top belongs to the north; it is drawn and erased last. The heads\nare painted red to represent the red stone points used; the fringed\nmargins show the irregularities of their edges. The plumes at the butt\nare indicated, as are also the strings by which the plumes are tied on\nand the notches to receive the bowstring.\n\n175. The ground of this picture is crossed with nebulous black streaks.\nThese were originally present in all the pictures. I have omitted them\nin all but this, lest they might obscure the details of the reduced\ncopies. It has been explained to me (although in the myth it is\nexpressly stated only in one case, paragraph 40) that all these pictures\nwere drawn by the gods upon the clouds and thus were shown to the Navajo\nprophet. Men cannot paint on the clouds, but according to the divine\nmandate they do the best they can on sand, and then sprinkle the sand\nwith charcoal, in the manner indicated, to represent the cloudy scrolls\nwhereon the primal designs of the celestial artists were painted.\n\n\nSACRIFICES OF DSILY\u00c3\u008dDJE QAC\u00c3\u0080L.\n\n176. The sacrifices made to the gods during these ceremonies consist of\nnothing more than a few sticks and feathers, with the occasional\naddition of strings and beads--a form of sacrificial offering common\namong various tribes of the Southwest, including the sedentary Indians,\nof the pueblos. During the six days' work in the medicine lodge and the\ncorral, I saw but one lot of these sticks prepared (paragraphs 86, 87);\nbut I think this lot represented two sets, i.e., sacrifices to two\ndifferent mythical beings. It is, however, indicated in the myth that a\nconsiderable number of these sacrifices, called by the Navajo ke\u00c3\u00a7\u00c3\u00a0n\n(Englished, keth\u00c3\u00a0wn), belong to the mountain chant and may properly be\noffered during its celebration. I have seen among the Navajo a few\nvarieties of these devotional offerings and I have obtained descriptions\nof many. Although I cannot rely on the minute accuracy of these\ndescriptions, I will present them for such value as they may possess in\nillustrating the general character of this system of worship, a system\nwhich might profitably occupy for years the best labors of an earnest\nstudent to elucidate.\n\n177. Fig. 58 represents a keth\u00c3\u00a0wn belonging, not to the mountain chant,\nbut to the kl\u00c3\u00a8dji-qa\u00c3\u00a7\u00c3\u00a0l, or chant of the night. It is sacred to the\nYouth and the Maiden of the Rock Crystal, divine beings who dwell in\nTsisn\u00c3\u00a0tcini, a great mountain north of the Pueblo of Jemez. The original\nis in the National Museum at Washington. It consists of two sticks\ncoated with white earth and joined by a cotton string a yard long, which\nis tied to each stick by a clove hitch. A black bead is on the center of\nthe string; a turkey feather and an eagle feather are secured with the\nclove hitch to one of the sticks.\n\n [Illustration: FIG. 58. Sacrificial sticks (ke\u00c3\u00a7\u00c3\u00a0n).]\n\n [Illustration: FIG. 59. The talking keth\u00c3\u00a0wn (ke\u00c3\u00a7an-yalc\u00c3\u00ac`).]\n\n178. Fig. 59 depicts a keth\u00c3\u00a0wn pertaining also to the kl\u00c3\u00a8dji-qa\u00c3\u00a7\u00c3\u00a0l. It\nis called ke\u00c3\u00a7\u00c3\u00a0n-yal\u00c3\u00a7i`, or talking keth\u00c3\u00a0wn. The sticks are willow. The\none to the left is painted black, to represent a male character\n(Qastc\u00c3\u00a8baka) in the myth and ceremony of kl\u00c3\u00a8dji-qa\u00c3\u00a7\u00c3\u00a0l. The other stick\nis painted blue, to denote a female character (Qastc\u00c3\u00a8ba\u00c3\u00a4d) in the same\nrites. The blue stick has a diagonal facet at the top to indicate the\nsquare topped female mask (paragraph 168). The naturally round end of\nthe black stick sufficiently indicates the round male mask. The cord\nwrapped around the two sticks is similar to that described in the\nparagraph immediately preceding. About the middle of the cord is a long\nwhite shell bead, shown in the cut. The breast feathers of the turkey\nand the downy feathers of the eagle are attached to the sticks. This\nketh\u00c3\u00a0wn I saw once in the possession of a Navajo qa\u00c3\u00a7\u00c3\u00a0li. I was permitted\nto sketch it, but could not purchase it. The interpretation given of its\nsymbolism is that of the qa\u00c3\u00a7\u00c3\u00a0li who owned it. In the myth of\nkl\u00c3\u00a8dji-qa\u00c3\u00a7\u00c3\u00a0l it is said that the beneficent god Qastc\u00c3\u00a8\u00c3\u00abl\u00c3\u00a7i used this\nketh\u00c3\u00a0wn when he removed from the prophet Co the evil spell which had\nbeen cast on the latter by the wind god.\n\n [Illustration:\n Bureau of Ethnology\n Fifth Annual Report Pl. XVIII\n FOURTH DRY-PAINTING]\n\n179. In Schoolcraft's Archives of Aboriginal Knowledge, Philadelphia,\n1860, Vol. III, page 306, is a cut illustrating an article undoubtedly\nof a similar nature to that shown in Fig. 59. It is a sacrificial plume\nstick of the Moki. The Moki interpreter explained to Mr. Schoolcraft\nthat it contained a message from the Indians to the President and the\nparticulars of this message are fully set forth in his text. At first I\ndoubted if the object could have any other purpose than a sacrificial\none and was inclined to discredit the statement of the Moki interpreter.\nBut on learning that the Navajo had a similar arrangement of sticks and\nfeathers, which was called by the significant name of ke\u00c3\u00a7\u00c3\u00a0nyal\u00c3\u00a7i`, or\ntalking keth\u00c3\u00a0wn, I was more inclined to believe that some of these\nketh\u00c3\u00a0wns may answer a double purpose and be used to convey messages, or\nat least serve as mnemonic aids to envoys.\n\n180. The cac-bike\u00c3\u00a7\u00c3\u00a0n (bear keth\u00c3\u00a0wn) spoken of in the myth consisted of\ntwo sticks, each a span long, one painted black (male), the other\npainted blue (female). Each had red and blue bands at the ends and in\nthe middle. There were no feathers or beads. (Paragraph 40.)\n\n181. The gl\u00c3\u00b2\u00c3\u00af-bike\u00c3\u00a7\u00c3\u00a0n, or sacrifices to the weasels, were four in\nnumber, two yellow and two white. In preparing the sticks one end was\nalways to be held to the north, the other towards the south. At each end\na narrow circle of red and a narrow circle of blue were painted; the red\nbeing to the north, i.e., outside of the blue at one end and inside of\nit at the other. The weasel men directed that the sticks should be\nburied in the ground in the same direction in which they were held when\nbeing made, lying from north to south with the outer red ring at the\nnorth. (Paragraph 41.)\n\n182. Four sticks pertained to the klicts\u00c3\u00b2-bike\u00c3\u00a7\u00c3\u00a0n: one was black, with\nfour white deer tracks painted on it; another was blue, with four yellow\ndeer tracks; a third was white, with four black deer tracks; the fourth\nwas yellow, with four blue deer tracks. The Great Serpent said to the\nNavajo prophet: \"There are certain moles who, when they dig in the\nground, scatter the earth in a long winding heap like the form of a\ncrawling snake. In such a heap of earth will you bury these keth\u00c3\u00a0wns.\"\n(Paragraph 42.)\n\n183. There are two sticks belonging to the keth\u00c3\u00a0wn of the lightning god\n(i\u00c2\u00a2n\u00c3\u00ac`-bike\u00c3\u00a7\u00c3\u00a0n). One is black, with a white zigzag stripe from end to\nend; the other blue, with a yellow zigzag stripe from end to end.\n(Paragraph 43.)\n\n184. The Ests\u00c3\u00a0n-\u00c2\u00a2ig\u00c3\u00acni, or Holy Women, showed the prophet but one\nketh\u00c3\u00a0wn stick. It was painted white and decorated with three pairs of\ncircular bands, red and blue, the blue in each case being next to the\nbody of the painter while he holds the stick in decorating it. This\nketh\u00c3\u00a0wn must be buried at the base of a young spruce tree, with the\nfirst blue circle next to the tree. (Paragraph 45.)\n\n185. Pour sticks were shown by the Tcik\u00c3\u00a8-cac-n\u00c3\u00a1tlehi. They were black,\nsprinkled with specular iron ore to make them shine; decorated with\nthree pairs of bands, red and blue, applied as in the keth\u00c3\u00a0wns of the\nEsts\u00c3\u00a0n-\u00c2\u00a2ig\u00c3\u00acni; and buried under a young pi\u00c3\u00b1on, with the first blue band\nor circle next to the tree. (Paragraph 46.)\n\n186. The two keth\u00c3\u00a0wns seen by Dsilyi` Ney\u00c3\u00a1ni at Big Oaks, the home of\nthe \u00c2\u00a2igin-yos\u00c3\u00adni, were both banded at the ends with blue and red and had\nmarks to symbolize the givers. One was white, with two pairs of stripes,\nred and blue, running lengthwise. The other was yellow, with many\nstripes of black and yellow running lengthwise. (Paragraph 49.)\n\n187. At Last Mountain, the home of the skunks, two keth\u00c3\u00a0wns, evidently\nintended to symbolize these animals, were shown to the prophet and his\ndivine companions. Both the sticks were black: one had three white\nlongitudinal stripes on one side; the other had three longitudinal rows\nof white spots, three spots in each row, on one side. (Paragraph 50.)\n\n188. The two sticks shown by the squirrels, Glo`dsilk\u00c3\u00a0\u00c3\u00af and\nGlo`dsilj\u00c3\u00adni, were painted blue, sprinkled with specular iron ore, and\nsurrounded at the ends with red and blue bands. One was to be planted at\nthe base of a pine tree and one at the base of a spruce tree.\n\n189. At Dsily\u00c3\u00a0-i\u00c3\u00a7\u00c3\u00adn the porcupines exhibited two keth\u00c3\u00a0wns. They were\nvery short, being equal in length to the middle joint of the little\nfinger. One was black and one was blue. Each had red and blue terminal\nbands and each had a number of white dots on one side to represent\nporcupine quills. \"Bury them,\" said \u00c2\u00a2as\u00c3\u00a0ni, \"under a pi\u00c3\u00b1on tree.\"\n(Paragraph 52.)\n\n190. At Qo\u00c2\u00a2est\u00c3\u00b2 four keth\u00c3\u00a0wns, rather elaborately decorated, were shown.\nTwo were half white and half black, the black part having white spots\nand the white part having black spots on it. The other two were half\nblue and half yellow, the yellow being spotted with blue and the blue\nwith yellow. There were red and blue rings at the ends. (Paragraph 53.)\n\n191. The T\u00c3\u00a7ik\u00c3\u00a8-\u00c2\u00a2ig\u00c3\u00acni showed their visitors two keth\u00c3\u00a0wns, one black and\none blue. Each was a span long and was surrounded with three pairs of\nbands, blue and red, put on in the manner observed in making the\nketh\u00c3\u00a0wns of the Ests\u00c3\u00a0n-\u00c2\u00a2ig\u00c3\u00acni. (Paragraph 184.) To the center of the\nblack keth\u00c3\u00a0wn five blue feathers were tied. To the center of the blue\nketh\u00c3\u00a0wn five yellow feathers were fastened. Five black beads were\ninterred with the black stick--one tied to the center, one stuck in the\nend, and three laid loose in the ground. Five blue turquoise beads were\nsimilarly buried with the blue stick. Such keth\u00c3\u00a0wns must be buried at\nthe foot of a spruce tree, with the heads towards the mountains of\n\u00c2\u00a2ep\u00c3\u00a9ntsa. By \"head\" is meant the end held the farther from the body of\nthe painter when the paint is applied, the end having the red band at\nits extremity. (Paragraph 54.)\n\n\n\n\nORIGINAL TEXTS AND TRANSLATIONS OF SONGS, &C.\n\n\n192. The songs of the dsily\u00c3\u00addje qa\u00c3\u00a7\u00c3\u00a0l are very numerous and their\nrecitation is governed by many rules, a few of which only have been\ndiscovered by the writer.\n\n193. A list has been recorded of thirteen sets of songs which may\nproperly be sung at night in the medicine lodge, when the ceremonies of\nthe day are done, and in the corral on the last night, when there is no\nspecial song in progress pertaining to a particular alili or dance. The\nlist which follows exhibits the order in which these songs may be sung\non any particular night. For example, if the singers begin with a song\nfrom set III, they cannot follow immediately with a song from sets I\nor II, but mast select from some of the following sets, as set IV or V.\nAgain, in each set the songs have a certain order of sequence which must\nnot be reversed. For convenience these will be called\n\nSONGS OF SEQUENCE.\n\n --------+-------------------+------------------------------+-----------\n Order. | Indian name | English name of set. | Number in\n | of set. | | each set.\n --------+-------------------+------------------------------+-----------\n I. | Ats\u00c3\u00a1tle\u00c3\u00af Bigin | Songs of the First Dancers | 16\n II. | Tsints\u00c3\u00b2 Bigin | Songs of the Great Stick, | 12\n | | or Plumed Wand |\n III. | [\u00c2\u00a2]ep\u00c3\u00a8 Bigin | Songs of the Mountain Sheep | 12\n IV. | I`\u00c2\u00a2n\u00c3\u00ac Bigin | Songs of the Lightning | 12\n V. | Tsilk\u00c3\u00a8-\u00c2\u00a2ig\u00c3\u00acni | Songs of the Holy Young Men | 12\n | Bigin | |\n VI. | Tcik\u00c3\u00a8-cac-n\u00c3\u00a1tlehi | Songs of Young | 16\n | Bigin | Women Who Become Bears |\n VII. | Dsilyi` Ney\u00c3\u00a1ni | Songs of Reared Within | 8\n | Bigin | the Mountains |\n VIII. | Ts\u00c3\u00a1hagin | Awl songs | 8\n IX. | Nahik\u00c3\u00af-gin | Whitening songs | 8\n X. | [\u00c2\u00a2]as\u00c3\u00a0ni Bigin | Songs of the Porcupines | 7\n XI. | Nanis\u00c3\u00a8 Bigin | Songs of the Plants | 8\n XII. | Tsin\u00c2\u00a2il\u00c3\u00a7\u00c3\u00b2\u00c3\u00af Bigin | Songs of the Exploding Stick | 26\n XIII. | Yik\u00c3\u00a0\u00c3\u00af-gin | Daylight songs | 16\n | + +-----------\n | Total | 161\n --------+--------------------------------------------------+-----------\n\n\n194. Besides those referred to in the above list, there are more which\nare appropriate to different acts in the ceremony, such as the songs\nsung at the obliteration of the pictures, at the building of the corral,\nat the departure of the ak\u00c3\u00a1ninili, &c.\n\n195. In some cases a number of songs in the same set are nearly alike;\nthe addition or substitution of one verse, or even of one word, may be\nthe only difference. Such songs usually follow one another in immediate\nsuccession; often, on the other hand, we find a great variety in subject\nand in style.\n\n196. Some songs are self-explanatory or readily understood, but the\ngreater number cannot be comprehended without a full knowledge of the\nmythology and of the symbolism to which they refer; they merely hint at\nmythic conceptions. Many contain archaic expressions, for which the\nshaman can assign a meaning, but whose etymology cannot now be learned;\nand some embody obsolete words whose meaning is lost even to the\npriesthood. There are many vocables known to be meaningless and recited\nmerely to fill out the rhythm or to give a dignified length to the song.\nFor the same reasons a meaningless syllable is often added or a\nsignificant syllable duplicated.\n\n197. Other poetical licenses are taken, such as the omission of a\nsyllable, the change of accent, the substitution of one vowel for\nanother. The most familiar words are often distorted beyond recognition.\nFor these various reasons the task of noting and translating these songs\nis one of considerable difficulty.\n\n198. FIRST SONG OF THE FIRST DANCERS.\n\n Qani\u00c3\u00a8 qa\u00c3\u00b2 ya\u00c3\u00a8, qani\u00c3\u00a8 qa\u00c3\u00b2 ya\u00c3\u00a8\n Qani\u00c3\u00a8 i\u00c3\u00a8 oay\u00c3\u00a8 oay\u00c3\u00a8.\n\n 1. Qadjin\u00c3\u00a4\u00c3\u00aca qa\u00c3\u00b2 ya\u00c3\u00a8,\n 2. Ka\u00c3\u00a7 dsil \u00c2\u00a2ilhy\u00c3\u00adli qa\u00c3\u00b2 ya\u00c3\u00a8,\n 3. `\u00c3\u0087altso\u00c3\u00af ts\u00c3\u00a8\u00c3\u00ab qa\u00c3\u00b2 ya\u00c3\u00a8,\n 4. Cija cig\u00c3\u00a8lgo qa\u00c3\u00b2 ya\u00c3\u00a8.\n N\u00c3\u00a1hi \u00c3\u00acni \u00c3\u00a8hi oay\u00c3\u00a8, n\u00c3\u00a1hi ini \u00c3\u00a8hi o\u00c3\u00b6h\u00c3\u00a8.\n 5. Niqoyastc\u00c3\u00a0dje qa\u00c3\u00b2 ya\u00c3\u00a8,\n 6. Ka\u00c3\u00a7 dsil \u00c3\u00a7ol\u00c3\u00adji qa\u00c3\u00b2 ya\u00c3\u00a8,\n 7. Kini bits\u00c3\u00a8\u00c3\u00ab qa\u00c3\u00b2 ya\u00c3\u00a8,\n 8. Cija cig\u00c3\u00a8lgo qa\u00c3\u00b2 ya\u00c3\u00a8.\n N\u00c3\u00a1hi \u00c3\u00acni, etc.\n 9. Qadjin\u00c3\u00a4\u00c3\u00aca qa\u00c3\u00b2 ya\u00c3\u00a8,\n 10. Ka\u00c3\u00a7 dsil lits\u00c3\u00b2\u00c3\u00af qa\u00c3\u00b2 ya\u00c3\u00a8,\n 11. Bitselits\u00c3\u00b2\u00c3\u00af qa\u00c3\u00b2 ya\u00c3\u00a8,\n 12. Cija cig\u00c3\u00a8lgo qa\u00c3\u00b2 ya\u00c3\u00a8.\n N\u00c3\u00a1hi \u00c3\u00acni, etc.\n 13. Niqoyastc\u00c3\u00a0dje qa\u00c3\u00b2 ya\u00c3\u00a8,\n 14. Ka\u00c3\u00a7 dsil lak\u00c3\u00a0ie qa\u00c3\u00b2 ya\u00c3\u00a8,\n 15. A`a`i ts\u00c3\u00a8e qa\u00c3\u00b2 ya\u00c3\u00a8,\n 16. Cija cig\u00c3\u00a8lgo qa\u00c3\u00b2 ya\u00c3\u00a8.\n N\u00c3\u00a1hi \u00c3\u00acni, etc.\n\n199. _Translation._--1, 9. Qadjin\u00c3\u00a0\u00c3\u00af, \"Place-where-they-came-up,\"\na locality in the San Juan Mountains where, according to their\nmythology, the Navajo emerged from the lower world to this. 5, 13.\nNiqoyastc\u00c3\u00a0dje, another name for Qadjin\u00c3\u00a0\u00c3\u00af. 2, 6, 10, 14. Ka\u00c3\u00a7, now; dsil,\nmountain; \u00c2\u00a2ilhy\u00c3\u00adli, black; \u00c3\u00a7ol\u00c3\u00adji, blue; lits\u00c3\u00b2\u00c3\u00af, yellow; lak\u00c3\u00a0ie, white.\nThese verses refer to four mountains surrounding Qadjin\u00c3\u00a0\u00c3\u00af, which are\ndesignated by colors only to indicate their topographical positions.\n3, 7, 11, 15. `\u00c3\u0087altso\u00c3\u00af = a\u00c3\u00a7a lits\u00c3\u00b2\u00c3\u00af, \"yellow wing,\" a large bird of\nprey; kini, hen hawk; bitselits\u00c3\u00b2\u00c3\u00af, \"yellow tail,\" a bird of undetermined\nspecies; a`a`i, magpie; tse, a tail; bitse, its tail. 4, 8, 12, 16.\nCija, my treasure; cig\u00c3\u00a8l, my desideratum, my ultimatum, the only thing I\nwill accept. When supposed to be said by a god, as in this song, it\nmeans the particular sacrifice which is appropriate to him. In this case\nprobably the feathers spoken of are \"cig\u00c3\u00a8l\" and the mountains \"cija.\"\nThe refrain \"qa\u00c3\u00b2 ya\u00c3\u00a8\" is a poetic modification of qaa`, it looms up, or\nsticks up, said of some lofty object visible in the distance, whose base\ncannot be seen.\n\n200. _Free translation._\n\n Place-whence-they-came-up looms up,\n Now the black mountain looms up,\n The tail of the \"yellow wing\" looms up,\n My treasure, my sacrifice, loom up.\n\n Land-where-they-moved-out looms up,\n Now the blue mountain looms up,\n The tail of the hen-hawk looms up,\n My treasure, my sacrifice, loom up.\n\n Place-whence-they-came-up looms up,\n Now the yellow mountain looms up,\n The tail that is yellow looms up,\n My treasure, my sacrifice, loom up.\n\n Land-where-they-moved-out looms up,\n Now the white mountain looms up,\n The tail of the magpie looms up,\n My treasure, my sacrifice, loom up.\n\n201. FIRST SONG OF THE MOUNTAIN SHEEP.\n\n 1. Y\u00c3\u00acki \u00c2\u00a2asiz\u00c3\u00acni,\n 2. Ka\u00c3\u00a7 Tsilk\u00c3\u00a8-\u00c2\u00a2ig\u00c3\u00acni,\n 3. Ka\u00c3\u00a7 k\u00c3\u00a1tso-yis\u00c3\u00a7\u00c3\u00a0ni,\n 4. Ts\u00c3\u00ad\u00c2\u00a2a ba\u00c3\u00a4l\u00c3\u00acli,\n 5. B\u00c3\u00adja-ye\u00c2\u00a2ig\u00c3\u00adngo.\n 6. Ka\u00c3\u00a7 Tcik\u00c3\u00a8 \u00c2\u00a2ig\u00c3\u00acni,\n 7. K\u00c3\u00a1tsoye yis\u00c3\u00a7\u00c3\u00a0ni,\n 8. Y\u00c3\u00acki \u00c2\u00a2asiz\u00c3\u00acni,\n 9. Ts\u00c3\u00ad\u00c2\u00a2a ba\u00c3\u00a4l\u00c3\u00acli,\n 10. B\u00c3\u00adja-ye\u00c2\u00a2ig\u00c3\u00adngo.\n\n202. _Translation._--1, 8. Y\u00c3\u00acki, upon it; \u00c2\u00a2asizin, he stands on high.\n2, 6. Ka\u00c3\u00a7, now; tsilk\u00c3\u00a8, young man; tcik\u00c3\u00a8, young woman; \u00c2\u00a2ig\u00c3\u00acni, holy.\n3. K\u00c3\u00a1tso-yis\u00c3\u00a7\u00c3\u00a0n, the great plumed arrow; k\u00c3\u00a1tsoye yis\u00c3\u00a7\u00c3\u00a0n, with the great\nplumed arrow. 4, 9. Ts\u00c3\u00ad\u00c2\u00a2a, truly, verily; ba\u00c3\u00a4l\u00c3\u00acli, an alili, a show,\na rite, or implement used in a dance for him. 5, 10. B\u00c3\u00adja, his treasure,\nhis special property, his peculiar belonging; ye, with, a prefix forming\nnouns which denote the means; \u00c2\u00a2ig\u00c3\u00adngo, positively holy or supernatural.\nB\u00c3\u00adja-ye\u00c2\u00a2ig\u00c3\u00adngo might be translated \"charm\" or \"talisman.\"\n\n203. _Free translation._\n\n He stands high upon it;\n Now the Holy Young Man [Young Woman, in second stanza],\n With the great plumed arrow,\n Verily his own sacred implement,\n His treasure, by virtue of which he is truly holy.\n\n204. A reference to the myth, and the description of the ceremonies will\nprobably be sufficient to give the reader an understanding of this song.\nThis set of songs, it is said, was first sung by the black sheep which\nstood on the rock as a sign to the Navajo fugitive; hence the name. (See\nparagraphs 35, 47, 48, 54.)\n\n205. SIXTH SONG OF THE MOUNTAIN SHEEP.\n\n Bina\u00c3\u00a7o\u00c3\u00b6l\u00c3\u00a1e [four times] o\u00c3\u00a4y\u00c3\u00a8he o\u00c3\u00b6h\u00c3\u00a8.\n\n 1. Ka\u00c3\u00a7 Tsilk\u00c3\u00a8-\u00c2\u00a2ig\u00c3\u00acni,\n 2. Ca`bitl\u00c3\u00b2li y\u00c3\u00a8\u00c3\u00ab,\n 3. Ts\u00c3\u00ad\u00c2\u00a2a bial\u00c3\u00acli,\n 4. B\u00c3\u00adja ye\u00c2\u00a2ig\u00c3\u00adngo,\n 5. Bina\u00c3\u00a7o\u00c3\u00b6l\u00c3\u00a1e o\u00c3\u00a4y\u00c3\u00a8he o\u00c3\u00b6h\u00c3\u00a8.\n 6. Ka\u00c3\u00a7 Tcik\u00c3\u00a8-\u00c2\u00a2ig\u00c3\u00acni,\n 7. Natsil\u00c3\u00ad\u00c3\u00a7i y\u00c3\u00a8\u00c3\u00ab,\n 8. Ts\u00c3\u00ad\u00c2\u00a2a bial\u00c3\u00acli,\n 9. B\u00c3\u00adja ye\u00c2\u00a2ig\u00c3\u00adngo,\n 10. Bina\u00c3\u00a7o\u00c3\u00b6l\u00c3\u00a1e o\u00c3\u00a4y\u00c3\u00a8he o\u00c3\u00b6h\u00c3\u00a8.\n\n206. _Translation._--1, 6. Ka\u00c3\u00a7, now; tsilk\u00c3\u00a8, young man; tcik\u00c3\u00a8, young\nwoman; \u00c2\u00a2ig\u00c3\u00acni holy one, god or goddess. 2. Ca`bitl\u00c3\u00b2l, sunbeam, sunbeams;\nye, with. 3, 8. Tsi\u00c2\u00a2a, verily; bial\u00c3\u00acli (paragraph 3), his dance or\nsacred implement. 4, 9. B\u00c3\u00adja, his special property, his treasure;\nye\u00c2\u00a2ig\u00c3\u00adngo, that by means of which he is \u00c2\u00a2ig\u00c3\u00adn, i.e., holy or\nsupernatural. 5, 10. Bina\u00c3\u00a7\u00c3\u00b2la, it is encircled. 7. Natsili\u00c3\u00a7, the\nrainbow.\n\n207. _Free translation._\n\n Now the Holy Young Man,\n With the sunbeam,\n Verily his own sacred implement,\n His treasure which makes him holy,\n Is encircled.\n\n Now the Holy Young Woman,\n With the rainbow,\n Verily her own sacred implement,\n Her treasure which makes her holy,\n Is encircled.\n\n208. Which is to say that the great plumed arrows which they bear are\nadorned with sunbeams and rainbows. They \"shine in glory.\" (See\nreferences in paragraph 204)\n\n209. TWELFTH SONG OF THE MOUNTAIN SHEEP.\n\n 1. Nayun\u00c3\u00a1ni tc\u00c3\u00a8nia,\n 2. Ka\u00c3\u00a7 bi\u00c3\u00a7\u00c3\u00a8\u00c3\u00afltsos tc\u00c3\u00a8nia,\n 3. Biqol\u00c3\u00a7\u00c3\u00a8go, tc\u00c3\u00a8nia.\n 4. Nayun\u00c3\u00a1ni tc\u00c3\u00a8nia,\n 5. Ka\u00c3\u00a7 bi\u00c3\u00a7\u00c3\u00a8nack\u00c3\u00b2ji tc\u00c3\u00a8nia,\n 6. Biqol\u00c3\u00a7\u00c3\u00a8go, tc\u00c3\u00a8nia.\n\n210. _Translation._--1, 4. Nayun\u00c3\u00a1ni, again on the other side, i.e.,\nacross two valleys. 2. Bi\u00c3\u00a7\u00c3\u00a8, his horns; iltsos, slender; bi\u00c3\u00a7\u00c3\u00a8\u00c3\u00afltsos,\nslender horns, i.e., the deer, by metonomy. 3, 6. Biqol\u00c3\u00a7\u00c3\u00a8go, it is\nbecoming to him. 5. Bi\u00c3\u00a7\u00c3\u00a8, his horns; nack\u00c3\u00b2j, turgid, filled out,\nstuffed; bi\u00c3\u00a7\u00c3\u00a8nack\u00c3\u00b2ji, turgid horns--metonymically, the mountain sheep,\n_Ovis montana_. The refrain, tc\u00c3\u00a8nia, he appears, he comes in sight.\n\n211. _Free translation._\n\n Far beyond he appears;\n Now \"Slender Horn\" appears.\n His antlers are becoming. He appears.\n Far beyond he appears;\n Now \"Turgid Horn\" appears.\n His horns are becoming. He appears.\n\n212. This song, it is said, refers to the time when the prophet saw the\nvision of the black sheep on the rock. (Paragraph 35.) The reason for\nintroducing the deer into the song is not obvious.\n\n213. FIRST SONG OF THE THUNDER.\n\n 1. \u00c3\u0087\u00c3\u00b2na! \u00c3\u0087\u00c3\u00b2na! A`[-a][-i]y\u00c3\u00a8he o\u00c3\u00b6h\u00c3\u00a8 [repeat],\n 2. Y\u00c3\u00b9\u00c3\u00a7ako\u00c3\u00b6 ani`;\n 3. I`\u00c2\u00a2ni`dji\u00c3\u00ab ani`;\n 4. Kos \u00c2\u00a2ilhy\u00c3\u00adl biy\u00c3\u00ac`dje,\n 5. Nabiz\u00c3\u00a0\u00c3\u00a7 qol\u00c3\u00a8go,\n 6. \u00c3\u0087\u00c3\u00b2na! \u00c3\u0087\u00c3\u00b2na! A`[-a][-i]y\u00c3\u00a8he o\u00c3\u00b6h\u00c3\u00a8\n 7. \u00c3\u0087\u00c3\u00b2na! \u00c3\u0087\u00c3\u00b2na! A`[-a][-i]y\u00c3\u00a8he o\u00c3\u00b6h\u00c3\u00a8 [repeat],\n 8. Y\u00c3\u00b9yako\u00c3\u00b6 ani`;\n 9. Anil\u00c3\u00a7\u00c3\u00a0ni ani`;\n 10. N\u00c3\u00a1nise bicq\u00c3\u00a0ko,\n 11. Nabiza\u00c3\u00a7 qol\u00c3\u00a8go,\n 12. \u00c3\u0087\u00c3\u00b2na! \u00c3\u0087\u00c3\u00b2na! A`[-a][-i]y\u00c3\u00a8he o\u00c3\u00b6h\u00c3\u00a8.\n\n214. _Translation._--1, 6, 7, 12. \u00c3\u0087\u00c3\u00b2na, an imitation of the thunder, not\na word. 2, 8. Y\u00c3\u00b9\u00c3\u00a7ako, above; y\u00c3\u00b9yako, below; ani`, any sound, the sound\nof the voice. 3. I`\u00c2\u00a2ni`dji pertaining to the thunder. 4. Kos, cloud;\n\u00c2\u00a2ilhy\u00c3\u00adl, black, dark; biy\u00c3\u00ac`dje, within, or toward within it. 5, 11.\nNabiza\u00c3\u00a7 qol\u00c3\u00a8go, again and again sounds his moving voice. 9. Anil\u00c3\u00a7\u00c3\u00a0ni,\na general name for large meadow grasshoppers. 10. N\u00c3\u00a1nise, plants in\ngeneral; bi\u00c3\u00a7q\u00c3\u00a0ko, in among them.\n\n215. _Free translation._\n\n Thonah! Thonah!\n There is a voice above,\n The voice of the thunder.\n Within the dark cloud,\n Again and again it sounds,\n Thonah! Thonah!\n\n Thonah! Thonah!\n There is a voice below,\n The voice of the grasshopper.\n Among the plants,\n Again and again it sounds,\n Thonah! Thonah!\n\n216. TWELFTH SONG OF THE THUNDER.\n\n A\u00c3\u00afena.\n Beqoj\u00c3\u00b2nigo ani`i [four times] o\u00c3\u00b6h\u00c3\u00a8.\n\n 1. Y\u00c3\u00b9\u00c3\u00a7ako\u00c3\u00b6 ani`i;\n 2. I`\u00c2\u00a2ni`dji\u00c3\u00ab ani`i;\n 3. Kos \u00c2\u00a2ilhy\u00c3\u00adl biy\u00c3\u00ac`dje,\n 4. N\u00c3\u00a0biza\u00c3\u00a7 qol\u00c3\u00a8go,\n 5. Beqoj\u00c3\u00b2nigo ani`i, o\u00c3\u00b6h\u00c3\u00a8.\n 6. Y\u00c3\u00b9yako\u00c3\u00b6 ani`i;\n 7. Anil\u00c3\u00a7\u00c3\u00a0ni ani`i;\n 8. N\u00c3\u00a1nise bi\u00c3\u00a7q\u00c3\u00a0ko,\n 9. N\u00c3\u00a0biza\u00c3\u00a7 qol\u00c3\u00a8go,\n 10. Beqoj\u00c3\u00b2nigo ani`i, o\u00c3\u00b6h\u00c3\u00a8.\n\n217. _Translation._--A\u00c3\u00afena, a meaningless beginning to many songs, which\nmay be omitted. 1. Y\u00c3\u00b9\u00c3\u00a7ako, above. 2. I`\u00c2\u00a2ni`dji, pertaining to the\nthunder. 3. Kos, cloud; \u00c2\u00a2ilhy\u00c3\u00adl, dark; biy\u00c3\u00ac`dje, within it. 4, 9.\nN\u00c3\u00a0biza\u00c3\u00a7, his voice again, his voice repeated; qol\u00c3\u00a8go, sounds along,\nsounds moving. 5, 10. (Be, a prefix forming nouns of the cause or\ninstrument; qoj\u00c3\u00b2ni, local or terrestrial beauty; go, a suffix to\nqualifying words); beqoj\u00c3\u00b2nigo, productive of terrestrial beauty; ani`,\na voice, a sound. 6. Y\u00c3\u00b9yako, below. 7. Anil\u00c3\u00a7ani, grasshopper. 8. N\u00c3\u00a1nise,\nplants; bi\u00c3\u00a7q\u00c3\u00a0ko, in among them.\n\n218. _Free translation._\n\n The voice that beautifies the land!\n The voice above,\n The voice of the thunder\n Within the dark cloud\n Again and again it sounds,\n The voice that beautifies the land.\n\n The voice that beautifies the land!\n The voice below;\n The voice of the grasshopper\n Among the plants\n Again and again it sounds,\n The voice that beautifies the land.\n\n219. FIRST SONG OF THE HOLY YOUNG MEN, OR YOUNG MEN GODS.\n\n 1. O\u00c3\u00b6c `\u00c3\u00a7qa nag[-a][-i]\u00c3\u00ab,\n 2. Ka\u00c3\u00a7 Tsilk\u00c3\u00a8-\u00c2\u00a2ig\u00c3\u00acni,\n 3. Dsil \u00c2\u00a2ilhy\u00c3\u00adl biy\u00c3\u00a0gi,\n 4. Biy\u00c3\u00a0ji na\u00c3\u00afl\u00c3\u00a8.\n 5. Aie `\u00c3\u00a7qa nag[-a][-i]\u00c3\u00ab,\n 6. Ka\u00c3\u00a7 Tcik\u00c3\u00a8-\u00c2\u00a2igini,\n 7. Dsil \u00c3\u00a7ol\u00c3\u00adj biy\u00c3\u00a0gi,\n 8. Biy\u00c3\u00a0ji na\u00c3\u00afl\u00c3\u00a8.\n\n220. _Translation._--1, 5. `\u00c3\u0087qa = bi\u00c3\u00a7qa, amid or among them; nagai,\nthat, there. 2. Ka\u00c3\u00a7, now; Tsilk\u00c3\u00a8-\u00c2\u00a2ig\u00c3\u00acni, Holy Young Man; Tcik\u00c3\u00a8-\u00c2\u00a2ig\u00c3\u00acni,\nHoly Young Woman. 3, 7. Dsil, mountain; \u00c2\u00a2ilhy\u00c3\u00adl, black; \u00c3\u00a7ol\u00c3\u00adj, blue;\nbiy\u00c3\u00a0gi, at the foot of, at the base of. 4, 8. Biy\u00c3\u00a0ji, his child; na\u00c3\u00afl\u00c3\u00a8,\nhe lays down, he leaves.\n\n221. _Free translation._\n\n There amid [the mountains],\n Now the Holy Young Man,\n At the foot of the black mountain,\n Lays down his child.\n\n There amid [the mountains],\n Now the Holy Young Woman,\n At the foot of the blue mountain,\n Lays down her child.\n\n222. The characters of Tsilk\u00c3\u00a8-\u00c2\u00a2ig\u00c3\u00acni and Tcik\u00c3\u00a8-\u00c2\u00a2ig\u00c3\u00acni are in the myth.\nThe black mountain, pertains to the male, the blue to the female.\nAlthough not told with the rest of the myth, it was subsequently related\nto the writer that Tsilk\u00c3\u00a8-\u00c2\u00a2ig\u00c3\u00acni said to the prophet, \"Whoever learns\nour songs will thenceforth be our child.\" The above song, it is said,\nhas some reference to this promise; but a fuller explanation, no doubt,\nremains to be discovered.\n\n223. SIXTH SONG OF THE HOLY YOUNG MEN.\n\n A\u00c3\u00afena.\n Alts\u00c3\u00a0ci\u00c3\u00ab \u00c2\u00a2ig\u00c3\u00acni o\u00c3\u00b6h\u00c3\u00a8.\n\n 1. Alts\u00c3\u00a0ci\u00c3\u00ab \u00c2\u00a2ig\u00c3\u00acni, alts\u00c3\u00a0ci\u00c3\u00ab \u00c2\u00a2ig\u00c3\u00acni, alts\u00c3\u00a0ci\u00c3\u00ab \u00c2\u00a2ig\u00c3\u00acni o\u00c3\u00b6h\u00c3\u00a8.\n 2. Ka\u00c3\u00a7 Tsilk\u00c3\u00a8-\u00c2\u00a2ig\u00c3\u00acni, bak\u00c3\u00a0gi\u00c3\u00ab \u00c2\u00a2ig\u00c3\u00acni,\n 3. Dsil \u00c2\u00a2ilhy\u00c3\u00adli e\u00c3\u00a4, bak\u00c3\u00a0gi\u00c3\u00ab \u00c2\u00a2ig\u00c3\u00acni,\n 4. Tsintso\u00c3\u00af \u00c2\u00a2ilhy\u00c3\u00adli e\u00c3\u00a4 bak\u00c3\u00a0gi\u00c3\u00ab \u00c2\u00a2ig\u00c3\u00acni,\n 5. Ts\u00c3\u00ad\u00c2\u00a2a bial\u00c3\u00acli, b\u00c3\u00adja ye\u00c2\u00a2ig\u00c3\u00adngo, bak\u00c3\u00a0gi\u00c3\u00ab \u00c2\u00a2ig\u00c3\u00acni, o\u00c3\u00b6h\u00c3\u00a8.\n\n Alts\u00c3\u00a0ci\u00c3\u00ab \u00c2\u00a2ig\u00c3\u00acni o\u00c3\u00b6h\u00c3\u00a8.\n\n 6. Alts\u00c3\u00a0ci\u00c3\u00ab \u00c2\u00a2ig\u00c3\u00acni, alts\u00c3\u00a0ci\u00c3\u00ab \u00c2\u00a2ig\u00c3\u00acni, alts\u00c3\u00a0ci\u00c3\u00ab \u00c2\u00a2ig\u00c3\u00acni o\u00c3\u00b6h\u00c3\u00a8.\n 7. Ka\u00c3\u00a7 Tcik\u00c3\u00a8-\u00c2\u00a2ig\u00c3\u00acni, bak\u00c3\u00a0gi\u00c3\u00ab \u00c2\u00a2ig\u00c3\u00acni,\n 8. Dsil \u00c3\u00a7ol\u00c3\u00adji c\u00c3\u00ab, bak\u00c3\u00a0gi\u00c3\u00ab \u00c2\u00a2ig\u00c3\u00acni,\n 9. Tsintso\u00c3\u00af \u00c3\u00a7ol\u00c3\u00adji, bak\u00c3\u00a0gi\u00c3\u00ab \u00c2\u00a2ig\u00c3\u00acni,\n 10. Ts\u00c3\u00ad\u00c2\u00a2a bial\u00c3\u00acli, b\u00c3\u00adja ye\u00c2\u00a2ig\u00c3\u00adngo, bak\u00c3\u00a0gi\u00c3\u00ab \u00c2\u00a2ig\u00c3\u00acni, o\u00c3\u00b6h\u00c3\u00a8.\n\n224. _Translation._-- 1, 6. Alts\u00c3\u00a0ci\u00c3\u00ab, on each side; \u00c2\u00a2ig\u00c3\u00acni, a holy one,\na god. 2, 7. Ka\u00c3\u00a7, now; tsilk\u00c3\u00a8, young man; tcik\u00c3\u00a8, young woman; bak\u00c3\u00a0gi, on\nthe summit, on top of it. 3, 8. Dsil, mountain; \u00c2\u00a2ilhy\u00c3\u00adl, dark, black;\n\u00c3\u00a7ol\u00c3\u00adji, blue. 4, 9. Tsintso\u00c3\u00af, great stick, a notched stick used as a\nmusical instrument in the dance. 5, 10. Ts\u00c3\u00ad\u00c2\u00a2a bial\u00c3\u00acli, truly his dance\nimplement; b\u00c3\u00adja ye\u00c2\u00a2ig\u00c3\u00adngo, his holy treasure, his talisman, his charm,\nhis magic wand.\n\n225. _Free translation._\n\n There's a god on each side.\n Now the Holy Young Man\n Is the god on top of the black mountain,\n With his black notched stick,\n The implement of his dance, his magic wand.\n\n There's a god on each side.\n Now the Holy Young Woman\n Is the god on top of the blue mountain,\n With her blue notched stick,\n The implement of her dance, her magic wand.\n\n226. This song is said to refer to that part of the myth where it is\nrelated that the prophet, flying from the Ute, climbed a hill which was\ntransformed into a mountain. (Paragraph 38.) Each mountain was supposed\nto have a holy one on it, who could, by means of his notched stick,\nproduce the metamorphosis. The mountains were not necessarily colored\nblack and blue, but are thus described to indicate that they lay north\nand south of the prophet's path. (Paragraph 171.)\n\n\n227. TWELFTH SONG OF THE HOLY YOUNG MEN.\n\n E[-a][-i]\u00c3\u00a8a q\u00c3\u00a0la \u00c3\u00a9la yain\u00c3\u00a1he, o\u00c3\u00b6h\u00c3\u00a8.\n E[-a][-i]\u00c3\u00a8a q\u00c3\u00a0la \u00c3\u00a9la yainoo\u00c3\u00b2 yaa\u00c3\u00a0 yoo\u00c3\u00b2 [three times],\n E[-a][-i]\u00c3\u00a8a q\u00c3\u00a0la \u00c3\u00a9la yain\u00c3\u00a0, q\u00c3\u00a0la \u00c3\u00a8la qain\u00c3\u00a0he o\u00c3\u00b6h\u00c3\u00a8.\n\n 1. Dsil ilhy\u00c3\u00adli inl\u00c3\u00b2oo\u00c3\u00b2 yaa\u00c3\u00a0 yoo\u00c3\u00b2,\n 2. Tsintso\u00c3\u00af \u00c2\u00a2ilhy\u00c3\u00adli inl\u00c3\u00b2oo\u00c3\u00b2 yaa\u00c3\u00a0 yee\u00c3\u00a8.\n 3. Ci cig\u00c3\u00a8lgo yain\u00c3\u00a0,\n Qala \u00c3\u00a9la qain\u00c3\u00a0he o\u00c3\u00b6h\u00c3\u00a8.\n\n 4. Dsil \u00c3\u00a7ol\u00c3\u00adji inl\u00c3\u00b2oo\u00c3\u00b2 yaa\u00c3\u00a0 yoo\u00c3\u00b2,\n 5. Tsintso\u00c3\u00af \u00c2\u00a2ilhy\u00c3\u00adli inl\u00c3\u00b2oo\u00c3\u00b2 yaa\u00c3\u00a0 yee\u00c3\u00a8,\n 6. Ci cig\u00c3\u00a8lgo yain\u00c3\u00a0,\n Qala \u00c3\u00a9la qain\u00c3\u00a0he o\u00c3\u00b6h\u00c3\u00a8.\n\n228. _Translation._--1, 4. Dsil, mountain; \u00c3\u00a7ilhy\u00c3\u00adl, black; \u00c3\u00a7ol\u00c3\u00adj, blue.\n2, 5. Tsints\u00c3\u00b2, a notched stick used in ceremonies to make music; inlo\n(inla`), they lie there (two long hard things lie). 3, 6. Cig\u00c3\u00a8l, my\nultimatum, my desideratum (said of the peculiar sacrifice which belongs\nto each god), something I (the god) will have and accept nothing in\nplace of it, my special sacrifice.\n\n229. _Free translation._\n\n There lie the black mountains;\n There lie the black sticks;\n There lie my sacrifices.\n\n There lie the blue mountains;\n There lie the blue sticks;\n There lie my sacrifices.\n\n230. This is supposed to be a part of the instructions which the Holy\nYoung Men and Holy Young Women gave to the prophet. The tsintso is made\nof cherry, which grows only on high mountains in the Navajo country. The\nsticks are painted black and blue. (See paragraph 171.) The song alludes\nto all these facts.\n\n231. EIGHTH SONG OF THE YOUNG WOMEN WHO BECOME BEARS.\n\n \u00c3\u0087o\u00c2\u00a2ig\u00c3\u00acni\u00c2\u00a2a oy\u00c3\u00a0he, o\u00c3\u00b6h\u00c3\u00a8,\n \u00c3\u0087o\u00c2\u00a2ig\u00c3\u00acni\u00c2\u00a2a oy\u00c3\u00a0 oy\u00c3\u00a0 ooy\u00c3\u00a0ya\n H[-a][-i]y\u00c3\u00a0ya h[-a][-i]y\u00c3\u00a0ya h[-a][-i]y\u00c3\u00a0he, o\u00c3\u00b6h\u00c3\u00a8.\n\n 1. Ka\u00c3\u00a7 Tsilk\u00c3\u00a8-\u00c2\u00a2ig\u00c3\u00acni\u00c3\u00ab \u00c3\u00a7o\u00c2\u00a2ig\u00c3\u00acn\u00c2\u00a2a h[-a][-i]y\u00c3\u00a0he, o\u00c3\u00b6h\u00c3\u00a8,\n 2. Bitsints\u00c3\u00b2i\u00c3\u00ab i\u00c3\u00ab \u00c3\u00a7o\u00c2\u00a2ig\u00c3\u00acn\u00c2\u00a2a h[-a][-i]y\u00c3\u00a0he o\u00c3\u00b6he,\n 3. Ts\u00c3\u00ad\u00c2\u00a2a bial\u00c3\u00acli\u00c3\u00ab b\u00c3\u00adja-ye\u00c2\u00a2ig\u00c3\u00acni\u00c3\u00ab, oy\u00c3\u00a0 oy\u00c3\u00a0, oy\u00c3\u00a0ya,\n H[-a][-i]y\u00c3\u00a0ya h[-a][-i]y\u00c3\u00a0ya h[-a][-i]y\u00c3\u00a0he, o\u00c3\u00b6h\u00c3\u00a8.\n\n \u00c3\u0087o\u00c2\u00a2ig\u00c3\u00acni\u00c2\u00a2a oy\u00c3\u00a0he, o\u00c3\u00b6h\u00c3\u00a8,\n \u00c3\u0087o\u00c2\u00a2ig\u00c3\u00acni\u00c2\u00a2a oy\u00c3\u00a0 oy\u00c3\u00a0 ooy\u00c3\u00a0ya,\n H[-a][-i]y\u00c3\u00a0ya h[-a][-i]y\u00c3\u00a0ya h[-a][-i]y\u00c3\u00a0he, o\u00c3\u00b6h\u00c3\u00a8.\n\n 4. Ka\u00c3\u00a7 Tcik\u00c3\u00a8-\u00c2\u00a2ig\u00c3\u00acni\u00c3\u00ab \u00c3\u00a7o\u00c2\u00a2ig\u00c3\u00acn\u00c2\u00a2a h[-a][-i]y\u00c3\u00a0he, o\u00c3\u00b6h\u00c3\u00a8,\n 5. Bitsints\u00c3\u00b2i\u00c3\u00ab i\u00c3\u00ab \u00c3\u00a7o\u00c2\u00a2igin\u00c2\u00a2a h[-a][-i]y\u00c3\u00a0he o\u00c3\u00b6h\u00c3\u00a8,\n 6. Ts\u00c3\u00ad\u00c2\u00a2a bial\u00c3\u00acli\u00c3\u00ab b\u00c3\u00adja-ye\u00c2\u00a2ig\u00c3\u00acni\u00c3\u00ab, oy\u00c3\u00a0 oy\u00c3\u00a0, oy\u00c3\u00a0ya,\n H[-a][-i]y\u00c3\u00a0ya h[-a][-i]y\u00c3\u00a0ya h[-a][-i]y\u00c3\u00a0he, o\u00c3\u00b6h\u00c3\u00a8.\n\n232. _Translation._-- \u00c3\u0087o\u00c2\u00a2ig\u00c3\u00acni\u00c2\u00a2a, \u00c3\u00a7o\u00c2\u00a2ig\u00c3\u00acni\u00c2\u00a2a, he is not a god; it is not\nholy; it is not divine. 1, 4. Ka\u00c3\u00a7, now; tsilk\u00c3\u00a8, young man; tcik\u00c3\u00a8, young\nwoman; \u00c2\u00a2ig\u00c3\u00acni, holy, supernatural. 2, 4. Bitsints\u00c3\u00b2i, his great notched\nstick. 3, 6. Ts\u00c3\u00ad\u00c2\u00a2a, verily; bial\u00c3\u00acli, his implement of the dance or rite;\nb\u00c3\u00adja-ye\u00c2\u00a2ig\u00c3\u00acni, his treasure which makes holy; his magic wand.\n\n233. _Free translation._\n\n The Holy Young Man is not divine;\n His great notched stick is not holy;\n His magic wand is not holy.\n\n The Holy Young Woman is not divine;\n Her great notched stick is not holy;\n Her magic wand is not holy.\n\n234. This is supposed to refer to an altercation between these two gods,\nin which they tried to belittle each other.\n\n235. I have another song of this series, in which the idea is conveyed\nthat their powers depend on their magic wands or notched sticks.\n\n236. ONE OF THE AWL SONGS.\n\n \u00c3\u0092we \u00c3\u00b2we \u00c3\u00b2we y\u00c3\u00a0ni y\u00c3\u00a0\u00c3\u00af ow\u00c3\u00a0[n] na a [repeat three times],\n \u00c3\u0092we \u00c3\u00b2we \u00c3\u00acni \u00c3\u00a1he o\u00c3\u00b6h\u00c3\u00a8.\n\n 1. `Ke-cac-natl\u00c3\u00a8hi natcag\u00c3\u00a0hi,\n 2. Ka\u00c3\u00a7 dsil \u00c2\u00a2ilhy\u00c3\u00adli bak\u00c3\u00a0gi natcag\u00c3\u00a0hi,\n 3. Ka\u00c3\u00a7 ni` inz\u00c3\u00a0\u00c3\u00a7 in\u00c3\u00a7\u00c3\u00ac \u00c3\u00a7oholn\u00c3\u00ac\u00c2\u00a2a \u00c3\u00b2na,\n 4. Ka\u00c3\u00a7 ni` inz\u00c3\u00a0\u00c3\u00a7 in\u00c3\u00a7\u00c3\u00ac \u00c3\u00a7oni\u00c3\u00b2\u00c2\u00a2a \u00c3\u00b2na.\n 5. Tcik\u00c3\u00a8-\u00c2\u00a2ig\u00c3\u00acni natcag\u00c3\u00a0hi,\n 6. Dsil \u00c3\u00a7ol\u00c3\u00adji bak\u00c3\u00a0gi natcag\u00c3\u00a0hi,\n 7. Ka\u00c3\u00a7 ni` inz\u00c3\u00a0\u00c3\u00a7 in\u00c3\u00a7\u00c3\u00ac, \u00c3\u00a7oholn\u00c3\u00ac\u00c2\u00a2a \u00c3\u00b2na,\n 8. Ka\u00c3\u00a7 ni` inz\u00c3\u00a0\u00c3\u00a7 in\u00c3\u00a7\u00c3\u00ac, \u00c3\u00a7oni\u00c3\u00b2\u00c2\u00a2a \u00c3\u00b2na.\n\n237. _Translation._--1. Ke, an abbreviation of tcik\u00c3\u00a8; Tcik\u00c3\u00a8-cac-natl\u00c3\u00a8hi,\nmaiden who becomes a bear; natcag\u00c3\u00a0`, she travels far, she walks or\nwanders far around. 2. Ka\u00c3\u00a7, now; dsil \u00c2\u00a2ilhy\u00c3\u00adl, black mountain; bak\u00c3\u00a0gi,\non top of. 3, 4, 7, 8. Ni`, earth, land; inz\u00c3\u00a0\u00c3\u00a7, distant; in\u00c3\u00a7\u00c3\u00ac, it lies,\nit stretches; \u00c3\u00a7oholn\u00c3\u00ac\u00c2\u00a2a, seems not to be; \u00c3\u00a7oni\u00c3\u00b2\u00c2\u00a2a, not obscure or dim\nlike a faint distance. 6. Dsil \u00c3\u00a7ol\u00c3\u00adji bak\u00c3\u00a0gi, on top of the blue\nmountains.\n\n238. _Free translation._\n\n The Maid Who Becomes a Bear walks far around\n On the black mountains, she walks far around.\n Far spreads the land. It seems not far [to her].\n Far spreads the land. It seems not dim [to her].\n\n The Holy Young Woman walks far around\n On the blue mountains, she walks far around.\n Far spreads the land. It seems not far [to her].\n Far spreads the land. It seems not dim [to her].\n\n239. FIRST SONG OF THE EXPLODING STICK.\n\n A\u00c3\u00afena.\n A\u00c3\u00afey\u00c3\u00a0 [-a][-i]a a\u00c3\u00afeya i\u00c3\u00a8 e\u00c3\u00a8 ie\u00c3\u00a8e [three times] i\u00c3\u00ab la[n].\n\n 1. `Ke-cac-n\u00c3\u00a1tl\u00c3\u00a8hi dsilyi` \u00c2\u00a2i\u00c2\u00a2\u00c3\u00adlko[n] i\u00c3\u00ab na[n],\n 2. Dsilyi` \u00c2\u00a2olk\u00c3\u00b2lko[n]; dsil beko[n]n\u00c3\u00ac\u00c3\u00a7e i\u00c3\u00ab na[n],\n I\u00c3\u00ab na[n] yah\u00c3\u00a0 h[-a][-i]\u00c3\u00a0 i\u00c3\u00ab na[n] a\u00c3\u00af.\n 3. \u00c3\u0087abas\u00c3\u00a7\u00c3\u00acni \u00c3\u00a7o`yi` \u00c2\u00a2i\u00c2\u00a2\u00c3\u00adlko[n] i\u00c3\u00ab na[n],\n 4. \u00c3\u0087o`yi \u00c2\u00a2olk\u00c3\u00b2lko[n]; \u00c3\u00a7o`beko[n]n\u00c3\u00ac\u00c3\u00a7e i\u00c3\u00ab na[n],\n I\u00c3\u00ab na[n] yah\u00c3\u00a0 h[-a][-i]\u00c3\u00a0 i\u00c3\u00ab na[n] a\u00c3\u00af.\n\n240. _Translation._--1, 3. `Ke-cac-natl\u00c3\u00a8hi = Tcik\u00c3\u00a8-cac-n\u00c3\u00a1tlehi, Young\nWoman Who Becomes a Bear; \u00c3\u0087abas\u00c3\u00a7in, the Otter; \u00c2\u00a2i\u00c2\u00a2\u00c3\u00adlko[n], he or she\nset on fire in many places. 2, 4. Dsil, mountains; dsilyi`, in the\nmountains; \u00c3\u00a7o`, water, waters; \u00c3\u00a7o`yi`, in the waters; \u00c2\u00a2olkolko[n], he\nset on fire as he went along; beko[n]n\u00c3\u00ac\u00c3\u00a7e, its fires in a line, its\nstring of fires.\n\n241. _Free translation._\n\n Young Woman Who Becomes a Bear set fire in the mountains\n In many places; as she journeyed on\n There was a line of burning mountains.\n\n The Otter set fire in the waters\n In many places; as he journeyed on\n There was a line of burning waters.\n\n242. It is related that in the ancient days, during a year of great\ndrought, these holy ones, on their way to a council of the gods, set\nfire to the mountains and the waters. The smoke arose in great clouds,\nfrom which rain descended on the parched land. The song alludes to this\nlegend.\n\n243. LAST SONG OF THE EXPLODING STICK.\n\n Hi\u00c3\u00a8 iee\u00c3\u00a8 na[-a][-i]\u00c3\u00a0 [-a][-i]\u00c3\u00a0 i a ai a[n] a[n] [twice] ie.\n\n 1. Tcik\u00c3\u00a8-cac-n\u00c3\u00a1tlehi\u00c3\u00ab \u00c2\u00a2ig\u00c3\u00acni qayik\u00c3\u00a0lgo; b\u00c3\u00a0niya [-a][-i]\u00c3\u00a8.\n 2. Dsil aga \u00c2\u00a2az\u00c3\u00a0gi\u00c3\u00ab \u00c2\u00a2ig\u00c3\u00acni qayik\u00c3\u00a0lgo; b\u00c3\u00a0niya [-a][-i]\u00c3\u00a8.\n 3. Ts\u00c3\u00ad\u00c2\u00a2a ci cig\u00c3\u00a8liye \u00c2\u00a2ig\u00c3\u00acni qayik\u00c3\u00a0lgo; b\u00c3\u00a0niya [-a][-i]\u00c3\u00a8.\n 4. Y\u00c3\u00a0ne \u00c2\u00a2o\u00c3\u00b6l\u00c3\u00a0nego\u00c3\u00b6 \u00c2\u00a2isitsa\u00c3\u00a0ye.\n Hi\u00c3\u00a8 iee\u00c3\u00a8 na[-a][-i]\u00c3\u00a0, etc.\n\n 5. Ka\u00c3\u00a7 Tcik\u00c3\u00a8-\u00c2\u00a2ig\u00c3\u00acni \u00c2\u00a2ig\u00c3\u00acni qayik\u00c3\u00a0lgo; b\u00c3\u00a0niya [-a][-i]\u00c3\u00a8.\n 6. Kos aga \u00c2\u00a2az\u00c3\u00a0gi\u00c3\u00ab \u00c2\u00a2ig\u00c3\u00acni qayik\u00c3\u00a0lgo; b\u00c3\u00a0niya [-a][-i]\u00c3\u00a8.\n 7. Ts\u00c3\u00ad\u00c2\u00a2a ci cig\u00c3\u00a8liye \u00c2\u00a2ig\u00c3\u00acni qayik\u00c3\u00a0lgo; b\u00c3\u00a0niya [-a][-i]\u00c3\u00a8.\n 8. Y\u00c3\u00a0ne \u00c2\u00a2o\u00c3\u00b6l\u00c3\u00a0nego\u00c3\u00b6 \u00c2\u00a2isitsa\u00c3\u00a0ye.\n Hi\u00c3\u00a8 iee\u00c3\u00a8 na[-a][-i]\u00c3\u00a0, etc.\n\n244. _Translation._--1, 5. Tcik\u00c3\u00a8-cac-n\u00c3\u00a1tlehi, Young Woman Who Becomes a\nBear; Tcik\u00c3\u00a8- \u00c2\u00a2ig\u00c3\u00acni, Holy Young Woman, or young woman goddess; \u00c2\u00a2ig\u00c3\u00acni\nqayik\u00c3\u00a0l, she journeyed seeking the gods; b\u00c3\u00a0niya, she found them, she met\nthem. 2, 6. Dsil, mountains; kos, clouds; aga, peak, summit; \u00c2\u00a2az\u00c3\u00a0`, many\npointing upwards; (dsil aga \u00c2\u00a2az\u00c3\u00a0gi, on many mountain peaks). 3, 7.\nTs\u00c3\u00ad\u00c2\u00a2a, truly or true; cig\u00c3\u00a8l, my desideratum, my special sacrifice. 4, 8.\n[\u00c2\u00a2]o\u00c3\u00b6l\u00c3\u00a0ne = \u00c2\u00a2o\u00c3\u00b6l\u00c3\u00a0\u00c2\u00a2a, some one does not believe it; \u00c2\u00a2isits\u00c3\u00a0, I have\nheard; y\u00c3\u00a0ne and other vocables are meaningless.\n\n245. _Free translation._\n\n Maid Who Becomes a Bear sought the gods and found them;\n On the high mountain peaks she sought the gods and found them;\n Truly with my sacrifice she sought the gods and found them.\n Somebody doubts it, so I have heard.\n\n Holy Young Woman sought the gods and found them;\n On the summits of the clouds she sought the gods and found them;\n Truly with my sacrifice she sought the gods and found them.\n Somebody doubts it, so I have heard.\n\n246. These songs are accompanied, in beating the drum, with a peculiar\nsharp strike like a sudden outburst or explosion. Hence, they say, the\nname, Tsin\u00c2\u00a2il\u00c3\u00a7\u00c3\u00b2\u00c3\u00af Bigin.\n\n247. FIRST DAYLIGHT SONG.\n\n \u00c3\u0087ahiz\u00c2\u00a2\u00c3\u00acle, \u00c3\u00a7ahiz\u00c2\u00a2\u00c3\u00acle, ya ah[-a][-i]\u00c3\u00a0 la[n] [four times].\n\n 1. Ka\u00c3\u00a7 Yik[-a][-i]-acik\u00c3\u00a8 \u00c3\u00a7ahiz\u00c2\u00a2\u00c3\u00acle, ya ah[-a][-i]\u00c3\u00a0 la[n],\n 2. Qa\u00c3\u00afyolkal\u00c2\u00a2e \u00c3\u00a7ahiz\u00c2\u00a2\u00c3\u00acle, ya ah[-a][-i]\u00c3\u00a0 la[n],\n 3. Bits\u00c3\u00addje yolk\u00c3\u00a0lgo \u00c3\u00a7ahiz\u00c2\u00a2\u00c3\u00acle, ya ah[-a][-i]\u00c3\u00a0 la[n],\n 4. Bik\u00c3\u00a8c\u00c2\u00a2e yolk\u00c3\u00a0lgo \u00c3\u00a7ahiz\u00c2\u00a2\u00c3\u00acle, ya ah[-a][-i]\u00c3\u00a0 la[n].\n 5. Bits\u00c3\u00addje qoj\u00c3\u00b2go \u00c3\u00a7ahiz\u00c2\u00a2\u00c3\u00acle, ya ah[-a][-i]\u00c3\u00a0 la[n],\n 6. Bik\u00c3\u00a8c\u00c2\u00a2e qoj\u00c3\u00b2go \u00c3\u00a7ahiz\u00c2\u00a2\u00c3\u00acle, ya ah[-a][-i]\u00c3\u00a0 la[n],\n 7. Biz\u00c3\u00a0\u00c3\u00a7\u00c2\u00a2e qoj\u00c3\u00b2go \u00c3\u00a7ahiz\u00c2\u00a2\u00c3\u00acle, ya ah[-a][-i]\u00c3\u00a0 la[n],\n \u00c3\u0087ahiz\u00c2\u00a2\u00c3\u00acle, \u00c3\u00a7ahiz\u00c2\u00a2\u00c3\u00acle, etc.\n\n 8. Ka\u00c3\u00a7 yik[-a][-i]-a\u00c3\u00a7\u00c3\u00a8\u00c3\u00a7, \u00c3\u00a7ahiz\u00c2\u00a2\u00c3\u00acle, ya ah[-a][-i]\u00c3\u00a0 la[n],\n 9. Naqots\u00c3\u00b2\u00c3\u00af\u00c2\u00a2e \u00c3\u00a7ahiz\u00c2\u00a2ile, ya ah[-a][-i]\u00c3\u00a0 la[n].\n [Verses 3 to 7 are here repeated.]\n \u00c3\u0087ahiz\u00c2\u00a2ile, \u00c3\u00a7ahiz\u00c2\u00a2ile, etc.\n\n248. _Translation._--\u00c3\u0087ahiz\u00c2\u00a2ile = \u00c3\u00a7ahiz\u00c2\u00a2el, it hangs as a curtain or\nfestoon; it hangs supported at both ends, i.e., the white curtain of\ndawn so hangs. 1. Yik[-a][-i]-acik\u00c3\u00a8, the Daylight Boy, the Navajo dawn\ngod. 2. Qayolk\u00c3\u00a0l\u00c2\u00a2e, from the place of dawn. 3. Bits\u00c3\u00addje, before him;\nyolk\u00c3\u00a0lgo, as it dawns, as the night passes away. 4. Bik\u00c3\u00a8c\u00c2\u00a2e, from behind\nhim. Qoj\u00c3\u00b2go, in a beautiful (earthly) manner. 7. Biz\u00c3\u00a0\u00c3\u00a7\u00c2\u00a2e, from his\nvoice. 8. Yik[-a][-i]-a\u00c3\u00a7\u00c3\u00a8\u00c3\u00a7, the Daylight Girl--the dawn goddess.\n9. Naqots\u00c3\u00b2\u00c3\u00af\u00c2\u00a2e, from the land of yellow light (horizontal terrestrial\nyellow).\n\n249. _Free translation._\n\n The curtain of daybreak is hanging\n The Daylight Boy (it is hanging),\n From the land of the day it is hanging;\n Before him, as it dawns, it is hanging;\n Behind him, as it dawns, it is hanging.\n Before him, in beauty, it is hanging;\n Behind him, in beauty, it is hanging;\n From his voice, in beauty, it is hanging.\n\n The Daylight Girl (it is hanging),\n From the land of yellow light, it is hanging, &c.\n (substituting her for him and his).\n\n250. LAST DAYLIGHT SONG.\n\n Loley\u00c3\u00a8e, Loley\u00c3\u00a8e. Loley\u00c3\u00a8e, Loley\u00c3\u00a8e.\n Loley\u00c3\u00a8e, Loley\u00c3\u00a8e. Yah[-a]i\u00c3\u00a8e qana[-a][-i].\n\n 1. Qayolk\u00c3\u00a0go, Loley\u00c3\u00a8e.\n 2. Ka\u00c3\u00a7 Yik[-a][-i]-acik\u00c3\u00a8e. Loley\u00c3\u00a8e.\n Loley\u00c3\u00a8e, Loley\u00c3\u00a8e. Yah[-a][-i]ee, qana[-a][-i].\n 3. Ka\u00c3\u00a7 a\u00c2\u00a2a yisk\u00c3\u00a0go. Loley\u00c3\u00a8e.\n 4. Ka\u00c3\u00a7 Yik[-a][-i]-a\u00c3\u00a7\u00c3\u00a8\u00c3\u00a7e. Loley\u00c3\u00a8e.\n Loley\u00c3\u00a8e, Loley\u00c3\u00a8e. Yah[-a][-i]ee, qana[-a][-i].\n\n251. _Translation._--1. Qayolk\u00c3\u00a0go, in the place of dawn. 2, 4.\nYik[-a][-i]-acik\u00c3\u00a8 and Yik[-a][-i]-a\u00c3\u00a7\u00c3\u00a8\u00c3\u00a7, Daylight Boy and Daylight Girl\n(see paragraph 248). 3. A\u00c2\u00a2a yisk\u00c3\u00a0go, it is day all around. Refrain,\nloley\u00c3\u00a8, lullaby, a meaningless expression to indicate sleepiness.\n\n252. _Free translation._\n\n Lullaby, lullaby.\n It is daybreak. Lullaby.\n Now comes the Daylight Boy. Lullaby.\n Now it is day. Lullaby.\n Now comes the Daylight Girl. Lullaby.\n\n253. As the daylight songs are sung just at dawn, in the corral, before\nthe dance ceases, their significance is apparent.\n\n\nOTHER SONGS AND EXTRACTS.\n\n254. SONG OF THE PROPHET TO THE SAN JUAN RIVER.\n\n A\u00c3\u00afena.\n 1. Nag[-a][-i] \u00c3\u00a7onil\u00c3\u00adni\u00c3\u00ab, nag[-a][-i] \u00c3\u00a7onil\u00c3\u00adni\u00c3\u00ab,\n 2. Bi\u00c3\u00a7hy\u00c3\u00adsgo cin\u00c3\u00ac` \u00c2\u00a2ey\u00c3\u00a0`\n Ha\u00c3\u00afniy\u00c3\u00a8a, ha\u00c3\u00afniy\u00c3\u00a8a, [-a][-i]\u00c3\u00a8e ni\u00c3\u00b2 ha\u00c3\u00afne-y\u00c3\u00a0he, o\u00c3\u00b6h\u00c3\u00a8.\n\n 3. Nag[-a][-i] \u00c3\u00a7ointy\u00c3\u00a8li\u00c3\u00ab, nag[-a][-i] \u00c3\u00a7onil\u00c3\u00adni\u00c3\u00ab,\n 4. Bi\u00c3\u00a7hy\u00c3\u00adsgo cin\u00c3\u00ac` \u00c2\u00a2ey\u00c3\u00a0` Ha\u00c3\u00afniy\u00c3\u00a8a, etc.\n\n 5. Nag[-a][-i] sa[n] bi\u00c3\u00a7\u00c3\u00b2i\u00c3\u00ab, nag[-a][-i] \u00c3\u00a7onil\u00c3\u00adni\u00c3\u00ab,\n 6. Bi\u00c3\u00a7hy\u00c3\u00adsgo cin\u00c3\u00ac` \u00c2\u00a2ey\u00c3\u00a0`\n Ha\u00c3\u00afniy\u00c3\u00a8a, etc.\n\n255. _Translation._--1. Nag[-a][-i] that; \u00c3\u00a7onil\u00c3\u00adni, flowing water, a\nriver. 2, 4, 6. Bi\u00c3\u00a7hy\u00c3\u00adsgo, across it; cin\u00c3\u00ac`, my mind; \u00c2\u00a2ey\u00c3\u00a0`, it goes,\nor, it comes, it wanders to or from. 3. \u00c3\u0087ointy\u00c3\u00a8li, broad water. 5. Sa[n]\nbi\u00c3\u00a7o, water of old age.\n\n256. For origin and free translation of this song, see paragraph 22.\n\n257. SONG OF THE BUILDING OF THE DARK CIRCLE.\n\n Oe\u00c3\u00a0 oe\u00c3\u00a0, e\u00c3\u00a0 e\u00c3\u00a0, he he;\n Oe\u00c3\u00a0 oe\u00c3\u00a0, e\u00c3\u00a0 ee\u00c3\u00a0, he he, ee na[n] a.\n\n 1. Dsilyi` Ney\u00c3\u00a1ni, cayol\u00c3\u00a8li cayol\u00c3\u00a8li;\n 2. Tcoyaj \u00c2\u00a2ilhy\u00c3\u00adli, cayol\u00c3\u00a8li cayol\u00c3\u00a8li;\n 3. Ts\u00c3\u00adca al\u00c3\u00acli, cayol\u00c3\u00a8li cayol\u00c3\u00a8li;\n 4. Bija \u00c2\u00a2ig\u00c3\u00adngo, cayol\u00c3\u00a8li cayol\u00c3\u00a8li.\n 5. Tcik\u00c3\u00a8-\u00c2\u00a2ig\u00c3\u00acni, cayol\u00c3\u00a8li cayol\u00c3\u00a8li;\n 6. Tcoyaj \u00c3\u00a7ol\u00c3\u00adji, cayol\u00c3\u00a8li cayol\u00c3\u00a8li;\n 7. Ts\u00c3\u00ad\u00c2\u00a2a al\u00c3\u00acli, cayol\u00c3\u00a8li cayol\u00c3\u00a8li;\n 8. B\u00c3\u00adja \u00c2\u00a2ig\u00c3\u00adngo, cayol\u00c3\u00a8li cayol\u00c3\u00a8li.\n\n258. _Translation._--1. Dsilyi` Ney\u00c3\u00a1ni, Reared Within the Mountains, the\nprophet who instituted these ceremonies; cayol\u00c3\u00a8li, he carries [something\nlong and flexible, as a branch or sapling] for me. 2, 6. Tcoyaj,\na spruce sapling, diminutive of tco, spruce; \u00c2\u00a2ilhy\u00c3\u00adl, black; \u00c3\u00a7ol\u00c3\u00adj,\nblue. 3, 7. Ts\u00c3\u00ad\u00c2\u00a2a al\u00c3\u00acli (usually ts\u00c3\u00ad\u00c2\u00a2a bial\u00c3\u00acli), truly a dance\nimplement. 4, 8. B\u00c3\u00adja \u00c2\u00a2ig\u00c3\u00adngo (usually b\u00c3\u00adja-ye\u00c2\u00a2ig\u00c3\u00adngo), a holy treasure,\na magic wand.\n\n259. _Free translation._\n\n Reared Within the Mountains carries for me;\n A black spruce sapling, he carries for me;\n An implement of the rites, he carries for me;\n A holy treasure, he carries for me.\n\n The Holy Young Woman carries for me;\n A blue spruce sapling, she carries for me;\n An implement of the rites, she carries for me;\n A holy treasure, she carries for me.\n\n260. The evergreen poles used in the dance and in making \"the dark\ncircles,\" to both of which this song probably refers, were, in all cases\nwhere I have observed them, made of pi\u00c3\u00b1on and not of spruce; but all\ndances I have witnessed were at altitudes of about six thousand feet,\nwhere pi\u00c3\u00b1on was abundant and spruce rare. In those portions of the\nNavajo country with which I am familiar the spruce (_Pseudotsuga\ndouglassii_) grows plentifully at the height of eight thousand feet,\nsparsely below that. There is good reason for believing that the spruce\nis the true sacred tree of these rites and that the pi\u00c3\u00b1on is only a\nconvenient substitute. The song is called Iln\u00c3\u00a1sjin Beni\u00c3\u00a7\u00c3\u00a0, \"that with\nwhich the dark circle is built.\" It is sung by the shaman at the eastern\ngate, while the young men are building the corral. (Paragraph 124.) I\nhave other slightly different versions of it, probably suitable for\ndifferent occasions. The form given above is recited, under ordinary\ncircumstances, when the patient is a woman.\n\n261. PRAYER TO DSILYI` NEY\u00c3\u0081NI.\n\n 1. Dsilyi` Ney\u00c3\u00a1ni!\n 2. Dsil bana\u00c3\u00a7\u00c3\u00a0!\n 3. Tsilk\u00c3\u00a8!\n 4. Na\u00c3\u00a7\u00c3\u00a0ni!\n 5. Nig\u00c3\u00a8l icla`.\n 6. Na\u00c2\u00a2\u00c3\u00a8 hila`.\n 7. Cik\u00c3\u00a8 ca\u00c3\u00a4\u00c2\u00a2ilil.\n 8. Citc\u00c3\u00a0\u00c3\u00a7 ea\u00c3\u00a4\u00c2\u00a2ilil.\n 9. Cits\u00c3\u00a8s ea\u00c3\u00a4\u00c2\u00a2ilil.\n 10. Cin\u00c3\u00ac` ea\u00c3\u00a4\u00c2\u00a2ilil,\n 11. Cin\u00c3\u00a8 ea\u00c3\u00a4\u00c2\u00a2ilil.\n 12. Qoj\u00c3\u00b2go qa\u00c2\u00a2\u00c3\u00a0l\u00c3\u00a7e aci\u00c2\u00a2ilil.\n 13. Cits\u00c3\u00addje qojolel.\n 14. Cik\u00c3\u00a8\u00c2\u00a2e qojolel.\n 15. Ciz\u00c3\u00a0\u00c3\u00a7 qaqojolel.\n 16. Qoj\u00c3\u00b2ni qasl\u00c3\u00a8,\n 17. Qoj\u00c3\u00b2ni qasl\u00c3\u00a8,\n 18. Qoj\u00c3\u00b2ni qasl\u00c3\u00a8,\n 19. Qoj\u00c3\u00b2ni qasl\u00c3\u00a8.\n\n262. _Translation._--1. The name of the prophet. 2. Dsil, mountains,\nbana\u00c3\u00a7\u00c3\u00a0, chief (or master) for them. 3. Tsilk\u00c3\u00a8, young man. 4. Na\u00c3\u00a7\u00c3\u00a0ni,\nchieftain. 5. Nig\u00c3\u00a8l, your peculiar sacrifice, i.e., the ke\u00c3\u00a7\u00c3\u00a0n; icla`,\nI have made. 6. Na\u00c2\u00a2\u00c3\u00a8, a smoke, i.e., the cigarettes (paragraph 87), for\nyou; hila`, is made. 7, 8, 9, 10, 11. Cik\u00c3\u00a8, my feet; citc\u00c3\u00a0\u00c3\u00a7, my lower\nextremities; cits\u00c3\u00a8s, my body; cin\u00c3\u00ac`, my mind; cin\u00c3\u00a8, my voice; ea\u00c3\u00a4\u00c2\u00a2ilil,\nfor me restore (as it was before) thou wilt. 12. Qoj\u00c3\u00b2go, in a beautiful\nmanner; qa\u00c2\u00a2\u00c3\u00a0l\u00c3\u00a7e, repaired, mended; aci\u00c2\u00a2ilil, restore me thou wilt. 13,\n14. Cits\u00c3\u00addje, in the direction before me; cik\u00c3\u00a8\u00c2\u00a2e, from behind me;\nqojolel, wilt thou terrestrially beautify. 15. Ciz\u00c3\u00a0\u00c3\u00a7, my words;\nqaqojolel, wilt thou personally beautify. 16, 17, 18, 19. Qoj\u00c3\u00b2ni, in\nearthly beauty; qasl\u00c3\u00a8, it is made, it is done.\n\n263. In other prayers, closely resembling this in form, the shaman adds:\n\"Beautify all that is above me. Beautify all that is below me. Beautify\nall things around me.\"\n\n264. The division into verses is that of the chanter. He pronounces the\nname in the first line; the patient repeats it after him. Then he gives\nout the words in the second line, and so on. For free translation, see\nparagraph 88.\n\n265. SONG OF THE RISING SUN DANCE.\n\n O\u00c3\u00b6niy\u00c3\u00a0ye, o\u00c3\u00b6niy\u00c3\u00a0ye o\u00c3\u00b6niy\u00c3\u00a0he y\u00c3\u00a1he y\u00c3\u00a1he heyiyo\u00c3\u00a8 [twice].\n\n 1. Qana\u00c3\u00af\u00c3\u00a7\u00c3\u00a1c\u00c2\u00a2e\n 2. Tsilk\u00c3\u00a8-\u00c3\u00a7ig\u00c3\u00acni\n 3. K\u00c3\u00a1tso-yis\u00c3\u00a7\u00c3\u00a0ni\n 4. Y\u00c3\u00acyolnak\u00c3\u00b2e\n 5. Qano qak\u00c3\u00b2sko.\n 6. Tcihano[-a][-i]e\n 7. Akos nis\u00c3\u00adnle.\n Y\u00c3\u00a1he, y\u00c3\u00a1he e\u00c3\u00afa [-a][-i].\n\n O\u00c3\u00b6niy\u00c3\u00a0ye, etc.\n\n 8. Ina\u00c3\u00af\u00c3\u00a7\u00c3\u00a1c\u00c2\u00a2e\n 9. Tcik\u00c3\u00a8-\u00c3\u00a7ig\u00c3\u00acni\n 10. Aw\u00c3\u00a8tsal-yis\u00c3\u00a7\u00c3\u00a0ni\n 11. Y\u00c3\u00acyolnak\u00c3\u00b2e\n 12. Qana qok\u00c3\u00b2sko.\n 13. Klehano[-a][-i]e\n 14. Akos nis\u00c3\u00adnle.\n Y\u00c3\u00a1he, y\u00c3\u00a1he e\u00c3\u00afa [-a][-i].\n\n266. _Translation._--1. Qana\u00c3\u00af\u00c3\u00a7\u00c3\u00a1c\u00c2\u00a2e, from where it (the sun) rises.\n2. Tsilk\u00c3\u00a8-\u00c2\u00a2ig\u00c3\u00acni, Holy Young Man. 3. K\u00c3\u00a1tso-yis\u00c3\u00a7\u00c3\u00a0ni, the great plumed\narrow. 4, 11. Yiyolna`, he swallowed slowly or continuously. 5, 12. Qano\nqak\u00c3\u00b2sko, it comes out by degrees. 6. Tcihano[-a][-i], the sun. 7, 14.\nAkos nis\u00c3\u00adn, he is satisfied. 8. Ina\u00c3\u00af\u00c3\u00a7\u00c3\u00a1c\u00c2\u00a2e, from where it sets.\n9. Tcik\u00c3\u00a8-\u00c2\u00a2ig\u00c3\u00acni, Holy Young Woman. 10. Aw\u00c3\u00a8tsal-yis\u00c3\u00a7\u00c3\u00a0ni, prepared or\nplumed cliff rose, i.e., cliff rose arrow. 13. Klehano[-a][-i]e, the\nmoon.\n\n267. _Free translation._\n\n Where the sun rises,\n The Holy Young Man\n The great plumed arrow\n Has swallowed\n And withdrawn it.\n The sun\n Is satisfied.\n\n Where the sun sets,\n The Holy Young Woman\n The cliff rose arrow\n Has swallowed\n And withdrawn it.\n The moon\n Is satisfied.\n\n268. This song is sung during the dance or alil described in\nparagraph 142. The conception of the poet seems to be that, the dance of\nthe great plumed arrow having been properly performed, the sun should be\nsatisfied and willing to do the bidding of the dancers, i.e., rise when\ndesired, on the pole.\n\n269. INSTRUCTIONS GIVEN TO THE AK\u00c3\u0081NINILI.\n\n 1. \u00c3\u0087i` betc\u00c3\u00a1na nil\u00c3\u00ac[n]lel.\n 2. \u00c3\u0087i` \u00c2\u00a2a`nanilty\u00c3\u00a8l\u00c2\u00a2o.\n 3. \u00c3\u0087i` beniqo\u00c2\u00a2\u00c3\u00adlsinlel. A\u00c3\u00afbin\u00c3\u00acgi niz\u00c3\u00a8 \u00c2\u00a2ela`.\n 4. [\u00c2\u00a2]a`yilts\u00c3\u00adsgo, \u00c2\u00a2a`bok\u00c3\u00b2go tse`na ak\u00c3\u00a0n hyis\u00c2\u00a2in\u00c3\u00acle.\n 5. Tsi[n] etlol ak\u00c3\u00a0n b\u00c3\u00a0\u00c3\u00a7hyis hyis\u00c2\u00a2in\u00c3\u00acle; ako b\u00c3\u00a0\u00c3\u00a7hyis hyis\u00c2\u00a2il\u00c3\u00a7\u00c3\u00a1le.\n 6. Tse` elk\u00c3\u00a0gi ak\u00c3\u00a0n hyis\u00c2\u00a2in\u00c3\u00acle.\n 7. Ako\u00c3\u00af k\u00c3\u00a1tso-yis\u00c3\u00a7\u00c3\u00a0n; a\u00c3\u00afbinigi djo\u00c3\u00a7ile, qoi\u00c2\u00a2ig\u00c3\u00adn\u00c2\u00a2e beho\u00c3\u00a8qoi\u00c2\u00a2ilsin.\n\n270. _Translation._--1. \u00c3\u0087i`, this; betc\u00c3\u00a1na, a thing to rise with (as you\nprogress); nil\u00c3\u00ac[n]lel, will make for you. 2. \u00c3\u0087i`, this; \u00c2\u00a2a`nanilty\u00c3\u00a8l\u00c2\u00a2o,\nwill carry you along anywhere. 3. Beniqo\u00c2\u00a2\u00c3\u00adlsinlel, by means of it people\nwill know you; a\u00c3\u00afbin\u00c3\u00acgi, for this reason, or purpose; niz\u00c3\u00a8, your neck;\n\u00c2\u00a2ela`, it hangs (once) around. 4. [\u00c2\u00a2]a`yilts\u00c3\u00adsgo, at any little valley\n(yiltsis, a little valley); \u00c2\u00a2a`bok\u00c3\u00b2go, at any gully or arroyo (boko`,\narroyo); tse`na, across; ak\u00c3\u00a0n, meal; hyis\u00c2\u00a2in\u00c3\u00acle, he sprinkles always\nacross. 5. Tsi[n] etlol, the root of a tree; ak\u00c3\u00a0n, meal; b\u00c3\u00a0\u00c3\u00a7hyis, across\nit; hyis\u00c2\u00a2in\u00c3\u00acle, he sprinkles across; ako, then; hyis\u00c2\u00a2il\u00c3\u00a7\u00c3\u00a1le, he steps\nacross. 6. Tse` elk\u00c3\u00a0gi, on flat rocks; ak\u00c3\u00a0n, meal; hyis\u00c2\u00a2in\u00c3\u00acle, he\nsprinkles across. 7. Ako\u00c3\u00af, then, next; k\u00c3\u00a1tso-yis\u00c3\u00a7\u00c3\u00a0n, the great prepared\narrow--so says the chanter, but he really refers to the in\u00c2\u00a2ia`, or\n\u00c3\u00a7obol\u00c3\u00a7\u00c3\u00a0, the plumed wand which ak\u00c3\u00a1ninili carries; a\u00c3\u00afbinigi, for this\npurpose; djo\u00c3\u00a7ile, he carries it (in the hand); qoi\u00c2\u00a2ig\u00c3\u00adn\u00c2\u00a2e, from a holy\nplace (\u00c2\u00a2igin, holy); beho\u00c3\u00a8qoi\u00c2\u00a2ilsin, by means of it people know him.\n\n271. For free translation, see paragraph 102.\n\n272. PRAYER OF THE PROPHET TO HIS MASK.\n\n 1. [\u00c2\u00a2]a`andje qahasds\u00c3\u00acgo an\u00c3\u00a7\u00c3\u00a8lini, cil\u00c3\u00ac[n].\n 2. Hyinin\u00c3\u00a0leni, cil\u00c3\u00ac[n].\n 3. Ay\u00c3\u00a0[n]\u00c2\u00a2a[n] \u00c3\u00a7ocisyi`go\u00c2\u00a2ol\u00c3\u00a8l\u00c2\u00a2a, cil\u00c3\u00ac[n].\n 4. Ca\u00c3\u00af\u00c2\u00a2inil\u00c3\u00acl.\n\n273. _Translation._--1. [\u00c2\u00a2]a`andje, at any time to you; qahasds\u00c3\u00acgo, when\nI spoke; an\u00c3\u00a7\u00c3\u00a8lini, always you made or did it, i.e., granted my request\nor assisted me; cil\u00c3\u00ac[n], my domestic animal, my pet. 2. Hyinin\u00c3\u00a0leni, you\nwere alive (once); cil\u00c3\u00ac[n], my pet. 3. Ay\u00c3\u00a0[n]\u00c2\u00a2a[n], be sure, take care;\n\u00c3\u00a7o\u00c2\u00a2a, negative; cisyi`go, that I die; \u00c2\u00a2ol\u00c3\u00a8l, I desire, I beg (the\ndivided negative makes one word of the sentence). 4. Ca\u00c3\u00af\u00c2\u00a2inil\u00c3\u00acl, watch\nthou for me, or over me.\n\n274. For free translation, see paragraph 27.\n\n275. LAST WORDS OF THE PROPHET.\n\n 1. Aqal\u00c3\u00a0ni, cits\u00c3\u00adli.\n 2. Caka\u00c3\u00afl\u00c3\u00a7e ye qo\u00c2\u00a2ig\u00c3\u00adn\u00c2\u00a2e.\n 3. [\u00c2\u00a2]a`\u00c3\u00a7onasi\u00c2\u00a2ils\u00c3\u00a8l\u00c2\u00a2a.\n 4. [\u00c2\u00a2]a`hoel\u00c3\u00a7\u00c3\u00acgo \u00c2\u00a2a`\u00c2\u00a2eltc\u00c3\u00adlgo, nag[-a][-i]ga cin\u00c3\u00a0\u00c3\u00af an\u00c3\u00acla dsinis\u00c3\u00adnle,\n 5. [\u00c2\u00a2]a`no`\u00c3\u00a7\u00c3\u00adlgo ay\u00c3\u00a0c in\u00c2\u00a2i\u00c2\u00a2al\u00c3\u00a0go, anil\u00c3\u00a7\u00c3\u00a0ni in\u00c2\u00a2i\u00c2\u00a2al\u00c3\u00a0go nag[-a][-i]ga\n cin\u00c3\u00a0\u00c3\u00af binibik\u00c3\u00a8gola` dsinis\u00c3\u00adnle.\n\n276. _Translation._--1. Aqal\u00c3\u00a0ni, greeting (farewell, in this case);\ncits\u00c3\u00adli, my younger brother. 2. Caka\u00c3\u00afl\u00c3\u00a7e, for me they have come; ye, the\nyays, the gods; qo\u00c2\u00a2ig\u00c3\u00adn\u00c2\u00a2e, from a holy or supernatural place. 3. (\u00c2\u00a2a`,\nany, on any occasion, etc.; \u00c3\u00a7o\u00c2\u00a2a, negative; na, again; si\u00c2\u00a2ils\u00c3\u00a8l,\nyou will see me); \u00c2\u00a2a`\u00c3\u00a7onasi\u00c2\u00a2ils\u00c3\u00a8l\u00c2\u00a2a, you will never see me again.\n4. [\u00c2\u00a2]a`hoel\u00c3\u00a7\u00c3\u00acgo, on any occasion as the rain passes, i.e., whenever it\nrains; \u00c2\u00a2a`\u00c2\u00a2eltc\u00c3\u00adlgo, whenever it thunders; nag[-a][-i]ga, in that;\ncin\u00c3\u00a0\u00c3\u00af, my elder brother; an\u00c3\u00acla, is his voice; dsinis\u00c3\u00adnle, you will think\nso. 5. [\u00c2\u00a2]a`no`\u00c3\u00a7\u00c3\u00adlgo, whenever they (crops) are ripening, i.e., in\nharvest time; ay\u00c3\u00a0c, small birds; in\u00c2\u00a2i\u00c2\u00a2al\u00c3\u00a0go, of all kinds; anil\u00c3\u00a7\u00c3\u00a0ni,\ngrasshoppers; nag[-a][-i]ga, in that, in those; cin\u00c3\u00a0\u00c3\u00af, my elder brother;\nbinibik\u00c3\u00a8gola`, is his ordering, his design (the trail of his mind);\ndsinis\u00c3\u00adnle, so you will think.\n\n277. For free translation, see paragraph 79.\n\n\n\n\nINDEX\n\n [Transcriber's Note:\n As in the Table of Contents, paragraph numbers for each Index entry\n have been added in {braces}.]\n\n Ak\u00c3\u00a1ninili, the supernatural couriers 411-414 {61-68}, 415 {72},\n 417 {101}, 424 {101},\n 426 {104}, 466 {269}\n Chanter, Navajo 385-387 {1-8}\n Dsily\u00c3\u00addje qa\u00c3\u00a7\u00c3\u00a0l, origin of myth of 387-417 {9-80}\n ceremonies of 418-444 {81-153}\n the great pictures of 444-451 {154-175}\n sacrifices of 451-455 {176-191}\n Dsilyi` Ney\u00c3\u00a1ni, story of 387-417 {9-80}\n origin of the name 404 {41}\n introduction of ceremonials by 409-411 {53-60}\n return of, to the gods 417 {79}\n prayer to 420 {88}, 421 {257}, 465 {261}\n visit of, to home of the snakes 446 {160}, 447 {162}\n home of the bears seen by 447-449 {162-170}\n visit to Lodge of Dew by 450 {172}, 451 {173}\n Hoshk\u00c3\u00a0wn, dance of the. (See Yucca baccata.)\n Keam's Ca\u00c3\u00b1on, Navajo dance at 432 {127}, 442 {148}\n Navajo rites, seasons for 386 {5}\n Qa\u00c3\u00a7\u00c3\u00a0li, or Navajo chanter 385 {2}, 387 {7}\n Qastc\u00c3\u00a8\u00c3\u00abl\u00c3\u00a7i. _See_ Yaybichy, dance of the.\n Sand pictures, ceremonial 422 {93}, 423 {97},\n 427 {107}, 428 {111},\n 429 {115}\n Schoolcraft, H. R., on sacrificial sticks 453 {179}\n Shaman, Navajo 385 {2}, 387 {7}\n Sun dance, song of the rising 465 {265}\n Yaybichy, dance of the 435 {133}, 436 {136}\n Yucca baccata dance 386 {3}, 439 {143}, 441 {144}\n\n * * * * *\n * * * *\n * * * * *\n\nErrors and Inconsistencies (noted by transcriber)\n\n The utterance \"hu`hu`hu`hu\" was printed both with and without final `.\n\nTable of Contents:\n The great pictures of dsily\u00c3\u00addje qa\u00c3\u00a7\u00c3\u00a0l 444\n _text reads \"44\"_\n Sacrifices of dsily\u00c3\u00addje qa\u00c3\u00a7\u00c3\u00a0l\n _indentation changed to agree with body text_\n\nfac simile\n _printed as two words_\n\nIndex:\n Ak\u00c3\u00a1ninili\n _text reads \"Ak\u00c3\u00a1nilini\"_\n Ak\u00c3\u00a1ninili ... 417\n _error for 421?_\n Dsilyi` Ney\u00c3\u00a1ni ... prayer to ... 421\n _error for 464?_","title":"The Mountain Chant, A Navajo Ceremony: Fifth Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian Institution, 1883-84, Government Printing Office, Washington, 1887, pages 379-468","tradition":"myth-cosmogony","translated_text":null,"word_count":44390}