diff options
| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 04:55:27 -0700 |
|---|---|---|
| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 04:55:27 -0700 |
| commit | a744421c74b06cd228a2a86a0c58dcd4e095b4b7 (patch) | |
| tree | f300e638c8c3f970914ff7633bc8598b2f50a527 /19331-h | |
Diffstat (limited to '19331-h')
| -rw-r--r-- | 19331-h/19331-h.html | 3004 | ||||
| -rw-r--r-- | 19331-h/images/image01.png | bin | 0 -> 99884 bytes | |||
| -rw-r--r-- | 19331-h/images/image02.png | bin | 0 -> 259385 bytes | |||
| -rw-r--r-- | 19331-h/images/image03.png | bin | 0 -> 5901 bytes | |||
| -rw-r--r-- | 19331-h/images/image04.png | bin | 0 -> 313045 bytes | |||
| -rw-r--r-- | 19331-h/images/image05.png | bin | 0 -> 626747 bytes | |||
| -rw-r--r-- | 19331-h/images/image06.png | bin | 0 -> 413764 bytes | |||
| -rw-r--r-- | 19331-h/images/image07.png | bin | 0 -> 398154 bytes | |||
| -rw-r--r-- | 19331-h/images/image08.png | bin | 0 -> 113313 bytes | |||
| -rw-r--r-- | 19331-h/images/image09.png | bin | 0 -> 241 bytes | |||
| -rw-r--r-- | 19331-h/images/image10.png | bin | 0 -> 361 bytes | |||
| -rw-r--r-- | 19331-h/images/image11.png | bin | 0 -> 373183 bytes | |||
| -rw-r--r-- | 19331-h/images/image12.png | bin | 0 -> 283769 bytes | |||
| -rw-r--r-- | 19331-h/images/image13.png | bin | 0 -> 292468 bytes | |||
| -rw-r--r-- | 19331-h/images/image14.png | bin | 0 -> 683870 bytes | |||
| -rw-r--r-- | 19331-h/images/image15.png | bin | 0 -> 466268 bytes | |||
| -rw-r--r-- | 19331-h/images/image16.png | bin | 0 -> 456208 bytes | |||
| -rw-r--r-- | 19331-h/images/image17.png | bin | 0 -> 168464 bytes | |||
| -rw-r--r-- | 19331-h/images/image18.png | bin | 0 -> 749 bytes | |||
| -rw-r--r-- | 19331-h/images/image19.png | bin | 0 -> 369344 bytes |
20 files changed, 3004 insertions, 0 deletions
diff --git a/19331-h/19331-h.html b/19331-h/19331-h.html new file mode 100644 index 0000000..df0fe33 --- /dev/null +++ b/19331-h/19331-h.html @@ -0,0 +1,3004 @@ +<?xml version="1.0" encoding="utf-8"?> +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> +<html xmlns="http://www.w3.org/1999/xhtml" lang="en" xml:lang="en"><head><meta http-equiv="Content-Type" content="text/html; charset=utf-8" /><meta http-equiv="Content-Style-Type" content="text/css" /><link rel="schema.DC" href="http://purl.org/dc/elements/1.1/" /><meta name="DC.Creator" content="James Stevenson" /><meta name="DC.Title" content="Ceremonial of Hasjelti Dailjis and Mythical Sand Painting of the Navajo Indians" /><meta name="DC.Date" content="September 2006" /><meta name="DC.Language" content="English" /><meta name="DC.Publisher" content="Project Gutenberg" /><meta name="DC.Identifier" content="http://www.gutenberg.org/etext/19331" /><meta name="DC.Rights" content="This text is in the public domain." /><title>The Project Gutenberg EBook of Ceremonial of Hasjelti Dailjis and Mythical Sand Painting of the Navajo Indians by James Stevenson</title><style type="text/css">/* +The Gnutenberg Press - default CSS2 stylesheet + +Any generated element will have a class "tei" and a class "tei-elem" +where elem is the element name in TEI. +The order of statements is important !!! +*/ + +.tei { margin: 0; padding: 0; + font-size: 100%; font-weight: normal; font-style: normal } + +.block { display: block; } +.inline { display: inline; } +.floatleft { float: left; margin: 1em 2em 1em 0; } +.floatright { float: right; margin: 1em 0 1em 2em; } +.shaded { margin-top: 1em; margin-bottom: 1em; + padding: 1em; background-color: #eee; } +.boxed { margin-top: 1em; margin-bottom: 1em; + padding: 1em; border: 1px solid black; } + +body.tei { margin: 4ex 10%; text-align: justify } +div.tei { margin: 2em 0em } +p.tei { margin: 0em 0em 1em 0em; text-indent: 0em; } +blockquote.tei { margin: 2em 4em } + +div.tei-lg { margin: 1em 0em; } +div.tei-l { margin: 0em; text-align: left; } +div.tei-tb { text-align: center; } +div.tei-epigraph { margin: 0em 0em 1em 10em; } +div.tei-dateline { margin: 1ex 0em; text-align: right } +div.tei-salute { margin: 1ex 0em; } +div.tei-signed { margin: 1ex 0em; text-align: right } +div.tei-byline { margin: 1ex 0em; } + + /* calculate from size of body = 80% */ +div.tei-marginnote { margin: 0em 0em 0em -12%; width: 11%; float: left; } + +div.tei-sp { margin: 1em 0em 1em 2em } +div.tei-speaker { margin: 0em 0em 1em -2em; + font-weight: bold; text-indent: 0em } +div.tei-stage { margin: 1em 0em; font-weight: normal; font-style: italic } +span.tei-stage { font-weight: normal; font-style: italic } + +div.tei-eg { padding: 1em; + color: black; background-color: #eee } + +hr.doublepage { margin: 4em 0em; height: 5px; } +hr.page { margin: 4em 0em; height: 2px; } + +ul.tei-index { list-style-type: none } + +dl.tei { margin: 1em 0em } + +dt.tei-notelabel { font-weight: normal; text-align: right; + float: left; width: 3em } +dd.tei-notetext { margin: 0em 0em 1ex 4em } + +span.tei-pb { position: absolute; left: 1%; width: 8%; + font-style: normal; } + +span.code { font-family: monospace; font-size: 110%; } + +ul.tei-castlist { margin: 0em; list-style-type: none } +li.tei-castitem { margin: 0em; } +table.tei-castgroup { margin: 0em; } +ul.tei-castgroup { margin: 0em; list-style-type: none; + padding-right: 2em; border-right: solid black 2px; } +caption.tei-castgroup-head { caption-side: right; width: 50%; text-align: left; + vertical-align: middle; padding-left: 2em; } +*.tei-roledesc { font-style: italic } +*.tei-set { font-style: italic } + +table.rules { border-collapse: collapse; } +table.rules caption, +table.rules th, +table.rules td { border: 1px solid black; } + +table.tei { border-collapse: collapse; } +table.tei-list { width: 100% } + +th.tei-head-table { padding: 0.5ex 1em } + +th.tei-cell { padding: 0em 1em } +td.tei-cell { padding: 0em 1em } + +td.tei-item { padding: 0; font-weight: normal; + vertical-align: top; text-align: left; } +th.tei-label, +td.tei-label { width: 3em; padding: 0; font-weight: normal; + vertical-align: top; text-align: right; } + +th.tei-label-gloss, +td.tei-label-gloss { text-align: left } + +td.tei-item-gloss, +th.tei-headItem-gloss { padding-left: 4em; } + +img.tei-formula { vertical-align: middle; } + +</style></head><body class="tei"> + + + + + + +<div lang="en" class="tei tei-text" style="margin-bottom: 2.00em; margin-top: 2.00em" xml:lang="en"> + <div class="tei tei-front" style="margin-bottom: 6.00em; margin-top: 2.00em"> + <div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> + <div id="pgheader" class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em"><div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em"><p class="tei tei-p" style="margin-bottom: 2.00em">The Project Gutenberg EBook of Ceremonial of Hasjelti Dailjis and Mythical Sand Painting of the Navajo Indians by James Stevenson</p></div><div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em"><p class="tei tei-p" style="margin-bottom: 1.00em">This eBook is for the use of anyone anywhere at no cost + and with almost no restrictions whatsoever. You may copy it, + give it away or re-use it under the terms of the Project + Gutenberg License <a href="#pglicense" class="tei tei-ref">included with this + eBook</a> or online at <a href="http://www.gutenberg.org/license" class="tei tei-xref">http://www.gutenberg.org/license</a></p></div><pre class="pre tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em">Title: Ceremonial of Hasjelti Dailjis and Mythical Sand Painting of the + Navajo Indians + +Author: James Stevenson + +Release Date: September 2006 [Ebook #19331] + +Language: English + +Character set encoding: UTF-8 + + +***START OF THE PROJECT GUTENBERG EBOOK CEREMONIAL OF HASJELTI DAILJIS AND MYTHICAL SAND PAINTING OF THE NAVAJO INDIANS*** +</pre></div> + </div> + + <div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> + + </div> + + <hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> + <div class="block tei tei-docTitle"><div class="block tei tei-titlePart" style="text-align: left; margin-bottom: 3.46em"><span style="font-size: 173%">Ceremonial of Hasjelti Dailjis and Mythical Sand Painting of the Navajo Indians</span></div></div><div class="block tei tei-byline" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">by </span><span class="inline tei tei-docAuthor" style="text-align: left"><span style="font-size: 173%">James Stevenson</span></span></div><div class="tei tei-div" style="text-align: left; margin-bottom: 5.76em; margin-top: 5.76em"><span class="tei tei-docEdition" style="text-align: left"><span class="tei tei-edition" style="text-align: left"><span style="font-size: 144%">Edition 1</span></span></span><span style="font-size: 144%">, (</span><span class="tei tei-docDate" style="text-align: left"><span class="tei tei-date" style="text-align: left"><span style="font-size: 144%">September 2006</span></span></span><span style="font-size: 144%">)</span></div> + </div> + + <hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> + <h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Contents</span></h1> + <ul class="tei tei-index tei-index-toc"><li><a href="#toc1">INTRODUCTION.</a></li><li><a href="#toc4">CONSTRUCTION OF THE MEDICINE LODGE.</a></li><li><a href="#toc7">FIRST DAY.</a></li><li style="margin-left: 2em"><a href="#toc9">PERSONATORS OF THE GODS.</a></li><li><a href="#toc12">SECOND DAY.</a></li><li style="margin-left: 2em"><a href="#toc14">DESCRIPTION OF THE SWEAT HOUSES.</a></li><li style="margin-left: 2em"><a href="#toc18">SWEAT HOUSES AND MASKS.</a></li><li style="margin-left: 2em"><a href="#toc20">PREPARATION OF THE SACRED REEDS (CIGARETTE) AND PRAYER STICKS.</a></li><li><a href="#toc23">THIRD DAY.</a></li><li style="margin-left: 2em"><a href="#toc25">FIRST CEREMONY.</a></li><li style="margin-left: 2em"><a href="#toc28">SECOND CEREMONY.</a></li><li style="margin-left: 2em"><a href="#toc31">THIRD CEREMONY.</a></li><li style="margin-left: 2em"><a href="#toc33">FOURTH CEREMONY.</a></li><li><a href="#toc36">FOURTH DAY.</a></li><li style="margin-left: 2em"><a href="#toc38">FIRST CEREMONY.</a></li><li style="margin-left: 2em"><a href="#toc40">SECOND CEREMONY.</a></li><li style="margin-left: 2em"><a href="#toc42">THIRD CEREMONY.</a></li><li style="margin-left: 2em"><a href="#toc45">FOURTH CEREMONY.</a></li><li style="margin-left: 2em"><a href="#toc48">FIFTH CEREMONY.</a></li><li style="margin-left: 2em"><a href="#toc50">SIXTH CEREMONY.</a></li><li><a href="#toc52">FIFTH DAY.</a></li><li style="margin-left: 2em"><a href="#toc54">FIRST CEREMONY.</a></li><li style="margin-left: 2em"><a href="#toc57">SECOND CEREMONY.</a></li><li style="margin-left: 2em"><a href="#toc59">THIRD CEREMONY.</a></li><li><a href="#toc62">SIXTH DAY.</a></li><li><a href="#toc65">SEVENTH DAY.</a></li><li><a href="#toc68">EIGHTH DAY.</a></li><li><a href="#toc71">NINTH DAY.</a></li><li style="margin-left: 2em"><a href="#toc73">FIRST CEREMONY.</a></li><li style="margin-left: 2em"><a href="#toc75">SECOND CEREMONY.</a></li><li style="margin-left: 4em"><a href="#toc77">SONG OF THE ETSETHLE.</a></li><li style="margin-left: 4em"><a href="#toc79">PRAYER TO THE ETSETHLE.</a></li><li style="margin-left: 2em"><a href="#toc81">CONCLUSION - THE DANCE.</a></li><li><a href="#toc83">MYTHS OF THE NAVAJO.</a></li><li style="margin-left: 2em"><a href="#toc85">CREATION OF THE SUN.</a></li><li style="margin-left: 2em"><a href="#toc87">HASJELTI AND HOSTJOGHON.</a></li><li style="margin-left: 2em"><a href="#toc89">THE FLOATING LOGS.</a></li><li style="margin-left: 2em"><a href="#toc91">NAIYENESGONY AND TOBAIDISCHINNI.</a></li><li style="margin-left: 2em"><a href="#toc93">THE BROTHERS.</a></li><li style="margin-left: 2em"><a href="#toc95">THE OLD MAN AND WOMAN OF THE FIRST WORLD.</a></li></ul> + </div> + + <hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> + <h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Illustrations</span></h1> + <ul class="tei tei-index tei-index-fig"><li><a href="#fig3">FIG. 115. Exterior lodge.</a></li><li><a href="#fig6">FIG. 116. Interior lodge.</a></li><li><a href="#fig11">FIG. 117. Gaming ring.</a></li><li><a href="#fig16">FIG. 118. Sweat house.</a></li><li><a href="#fig17">PLATE CXII. A, Rainbow over eastern sweat house; B, Rainbow over western sweat house</a></li><li><a href="#fig22">PLATE CXIII. Blanket rug and medicine tubes</a></li><li><a href="#fig27">PLATE CXIV. Blanket rug and medicine tubes</a></li><li><a href="#fig30">PLATE CXV. Masks: 1, Naiyenesyong; 2, 3, Tobaidischinne; 4, 5, Hasjelti; 6, Hostjoghon; 7, Hostjobokon; 8, Hostjoboard</a></li><li><a href="#fig35">PLATE CXVI. Blanket rug and medicine tubes</a></li><li><a href="#fig44">PLATE CXVII. 1, Pine boughs on sand bed; 2, Apache basket containing yucca suds lined with corn pollen; 3, Basket of water surface covered with pine needles</a></li><li><a href="#fig47">PLATE CXVIII. Blanket rug and medicine tubes and sticks</a></li><li><a href="#fig56">PLATE CXIX. Blanket rug and medicine tube</a></li><li><a href="#fig61">PLATE CXX. First sand painting</a></li><li><a href="#fig64">PLATE CXXI. Second sand painting</a></li><li><a href="#fig67">PLATE CXXII. Third sand painting</a></li><li><a href="#fig70">PLATE CXXIII. Fourth sand painting</a></li></ul> + </div> +</div> + +<div class="tei tei-body" style="margin-bottom: 6.00em; margin-top: 6.00em"> +<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<span class="tei tei-pb" id="page335">[pg 335]</span><a name="Pg335" id="Pg335" class="tei tei-anchor"></a> +<a name="toc1" id="toc1"></a> +<a name="pdf2" id="pdf2"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">INTRODUCTION.</span></h1> + +<p class="tei tei-p" style="margin-bottom: 1.00em">During my visit to the Southwest, in the summer of 1885, it was my +good fortune to arrive at the Navajo Reservation a few days before the +commencement of a Navajo healing ceremonial. Learning of the preparation +for this, I decided to remain and observe the ceremony, which +was to continue nine days and nights. The occasion drew to the place +some 1,200 Navajos. The scene of the assemblage was an extensive +plateau near the margin of Keam's Canyon, Arizona.</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">A variety of singular and interesting occurrences attended this great +event—mythologic rites, gambling, horse and foot racing, general merriment, +and curing the sick, the latter being the prime cause of the +gathering. A man of distinction in the tribe was threatened with loss +of vision from inflammation of the eyes, having looked upon certain +masks with an irreligious heart. He was rich and had many wealthy relations, +hence the elaborateness of the ceremony of healing. A celebrated +theurgist was solicited to officiate, but much anxiety was felt when +it was learned that his wife was pregnant. A superstition prevails +among the Navajo that a man must not look upon a sand painting when +his wife is in a state of gestation, as it would result in the loss of the +life of the child. This medicine man, however, came, feeling that he +possessed ample power within himself to avert such calamity by administering +to the child immediately after its birth a mixture in water of +all the sands used in the painting. As I have given but little time to +the study of Navajo mythology, I can but briefly mention such events +as I witnessed, and record the myths only so far as I was able to collect +them hastily. I will first describe the ceremony of Yebitchai and +give then the myths (some complete and others incomplete) explanatory +of the gods and genii figuring in the Hasjelti Dailjis (dance of Hasjelti) +and in the nine days' ceremonial, and then others independent of these. +The ceremony is familiarly called among the tribe, "Yebitchai," the word<span class="tei tei-pb" id="page236">[pg 236]</span><a name="Pg236" id="Pg236" class="tei tei-anchor"></a> +meaning the giant's uncle. The name was originally given to the ceremonial +to awe the children who, on the eighth day of the ceremony, +are initiated into some of its mysteries and then for the first time +are informed that the characters appearing in the ceremony are +not real gods, but only their representatives. There is good reason +for believing that their ideas in regard to the sand paintings were +obtained from the Pueblo tribes, who in the past had elaborated +sand paintings and whose work at present in connection with most +of their medicine ceremonies is of no mean order. The Mission +Indians of southern California also regard sand paintings as among +the important features in their medicine practices. While the figures +of the mythical beings represented by the Navajo are no doubt of +their own conception, yet I discovered that all their medicine tubes +and offerings were similar to those in use by the Zuñi. Their presence +among the Navajo can be readily explained by the well known fact that +it was the custom among Indians of different tribes to barter and exchange +medicine songs, ceremonies, and the paraphernalia accompanying +them. The Zuñi and Tusayan claim that the Navajo obtained the +secrets of the Pueblo medicine by intruding upon their ceremonials or +capturing a pueblo, and that they appropriated whatever suited their +fancy.</p> + +<a name="fig3" id="fig3"></a><div class="tei tei-figure" style="text-align: center"><img src="images/image01.png" width="600" height="203" alt="Illustration: Figure 115" title="FIG. 115. Exterior lodge." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">FIG. 115. Exterior lodge.</div></div> + +<p class="tei tei-p" style="margin-bottom: 1.00em">My explanation of the ceremonial described is by authority of the +priest doctor who managed the whole affair and who remained with me +five days after the ceremonial for this special purpose. Much persuasion +was required to induce him to stay, though he was most anxious that +we should make no mistake. He said:</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%">My wife may suffer and I should be near her; a father's eyes should be the first +to look upon his child; it is like sunshine in the father's heart; the father also +watches his little one to see the first signs of understanding, and observes the first +steps of his child, that too is a bright light in the father's heart, but when the little +one falls, it strikes the father's heart hard.</span></p> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em">The features of this ceremonial which most surprise the white spectator +are its great elaborateness, the number of its participants and its +prolongation through many days for the purpose of restoring health to +a single member of the tribe.</p> +</div> + +<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<span class="tei tei-pb" id="page480">[pg 480]</span><a name="Pg480" id="Pg480" class="tei tei-anchor"></a> +<a name="toc4" id="toc4"></a> +<a name="pdf5" id="pdf5"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">CONSTRUCTION OF THE MEDICINE LODGE.</span></h1> + +<p class="tei tei-p" style="margin-bottom: 1.00em">A rectangular parallelogram was marked off on the ground, and at +each corner was firmly planted a forked post extending 10 feet above +the surface, and on these were laid 4 horizontal beams, against which +rested poles thickly set at an angle of about 20°, while other poles were +placed horizontally across the beams forming a support for the covering. +The poles around the sides were planted more in an oval than a circle +and formed an interior space of about 35 by 30 feet in diameter. On +the east side of the lodge was an entrance supported by stakes and +closed with a buffalo robe, and the whole structure was then thickly +covered first with boughs, then with sand, giving it the appearance of +a small earth mound.</p> + +<a name="fig6" id="fig6"></a><div class="tei tei-figure" style="text-align: center"><img src="images/image02.png" width="600" height="396" alt="Illustration: Figure 116" title="FIG. 116. Interior lodge." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">FIG. 116. Interior lodge.</div></div> +</div> + +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<a name="toc7" id="toc7"></a> +<a name="pdf8" id="pdf8"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">FIRST DAY.</span></h1> +<p class="tei tei-p" style="margin-bottom: 1.00em"></p> + +<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em"> +<a name="toc9" id="toc9"></a> +<a name="pdf10" id="pdf10"></a> +<h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">PERSONATORS OF THE GODS.</span></h2> + +<p class="tei tei-p" style="margin-bottom: 1.00em">The theurgist or song-priest arrived at noon on the 12th of October, +1885. Almost immediately after his arrival we boldly entered the medicine +lodge, accompanied by our interpreter, Navajo John, and pleaded +our cause. The stipulation of the medicine man was that we should +make no mistakes and thereby offend the gods, and to avoid mistakes +we must hear all of his songs and see all of his medicines, and he at +once ordered some youths to prepare a place for our tent near the lodge. +During the afternoon of the 12th those who were to take part in the +ceremonial received orders and instructions from the song-priest. One +man went to collect twigs with which to make twelve rings, each 6<span class="tei tei-pb" id="page238">[pg 238]</span><a name="Pg238" id="Pg238" class="tei tei-anchor"></a> +inches in diameter. These rings represented gaming rings, which are +not only used by the Navajo, but are thought highly of by the genii of +the rocks. (See Fig. 117.) Another man gathered willows with which +to make the emblem of the concentration of +the four winds. The square was made by +dressed willows crossed and left projecting +at the corners each one inch beyond the next. +The corners were tied together with white +cotton cord, and each corner was ornamented +with the under tail feather of the eagle. +These articles were laid in a niche behind +the theurgist, whose permanent seat was on +the west side of the lodge facing east. The +night ceremony commenced shortly after dark. +All those who were to participate were immediate friends and relatives +of the invalid excepting the theurgist or song-priest, he being the only +one who received direct compensation for his professional services. The +cost of such a ceremony is no inconsiderable item. Not only the exorbitant +fee of the theurgist must be paid, but the entire assemblage must +be fed during the nine days' ceremonial at the expense of the invalid, +assisted by his near relatives.</p> + +<a name="fig11" id="fig11"></a><div class="floatleft tei tei-figure" style="text-align: center; margin-right: 2.00em"><img src="images/image03.png" width="465" height="477" alt="Illustration: Figure 117" title="FIG. 117. Gaming ring." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">FIG. 117. Gaming ring.</div></div> + +<p class="tei tei-p" style="margin-bottom: 1.00em">A bright fire burned in the lodge, and shortly after dark the invalid +appeared and sat upon a blanket, which was placed in front of the +song-priest. Previously, however, three men had prepared themselves +to personate the gods—Hasjelti, Hostjoghon, and Hostjobokon—and +one to personate the goddess, Hostjoboard. They left the lodge, carrying +their masks in their hands, went a short distance away and put on +their masks. Then Hasjelti and Hostjoghon returned to the lodge, and +Hasjelti, amid hoots, "hu-hoo-hu-huh!" placed the square which he carried +over the invalid's head, and Hostjoghon shook two eagle wands, +one in each hand, on each side of the invalid's head and body, then +over his head, meanwhile hooting in his peculiar way, "hu-u-u-u-uh!" +He then followed Hasjelti out of the lodge. The men representing +Hostjobokon and Hostjoboard came in alternately. Hostjobokon took +one of the rings which had been made during the afternoon, and now +lay upon the blanket to the right of the invalid, and placed it against +the soles of the feet of the invalid, who was sitting with knees drawn +up, and then against his knees, palms, breast, each scapula, and top of +his head; then over his mouth. While touching the different parts of +the body the ring was held with both hands, but when placed to the +mouth of the invalid it was taken in the left hand. The ring was made +of a reed, the ends of which were secured by a long string wrapped over +the ring like a slipnoose. When the ring was placed over the mouth of +the invalid the string was pulled and the ring dropped and rolled out of +the lodge, the long tail of white cotton yarn, with eagle plume attached +to the end, extending far behind. Hoslgoboard repeated this ceremony<span class="tei tei-pb" id="page239">[pg 239]</span><a name="Pg239" id="Pg239" class="tei tei-anchor"></a> +with a second ring, and so did Hostjobokon and Hostjoboard alternately, +until the twelve rings were disposed of. Three of the rings +were afterward taken to the east, three to the south, three to the west, +and three to the north, and deposited at the base of piñon trees. The +rings were placed over the invalid's mouth to give him strength, cause +him to talk with one tongue, and to have a good mind and heart. The +other portions of the body were touched with them for physical benefit. +When the rings had all been rolled out of the lodge Hasjelti entered, +followed by Hostjoghon. He passed the square (the concentrated winds) +four times over the head of the invalid during his hoots. Hostjoghon +then waved his turkey wands about the head and body of the invalid, and +the first day's ceremony was at an end.</p> +</div> +</div> + +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<a name="toc12" id="toc12"></a> +<a name="pdf13" id="pdf13"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">SECOND DAY.</span></h1> + +<p class="tei tei-p" style="margin-bottom: 1.00em"></p> + +<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em"> +<a name="toc14" id="toc14"></a> +<a name="pdf15" id="pdf15"></a> +<h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">DESCRIPTION OF THE SWEAT HOUSES.</span></h2> + +<p class="tei tei-p" style="margin-bottom: 1.00em">The construction of the first sweat house, or tachi, was begun at +dawn. Four of these houses were built on four consecutive mornings, +each one located about 400 feet distant from the great central medicine +lodge, toward the four cardinal points, and all facing to the east. +The first one built was east of the lodge. A description of the construction +of this particular one will answer for all, but the ceremonies +differ in detail.</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">Four upright poles, forked at the upper ends, were placed at the four +cardinal points within an area designated as the base of the house, the +forked ends resting against each other, a circular excavation some 6 +feet in diameter and 1 foot in depth having first been made. Between +the uprights smaller poles were laid; on the poles piñon boughs, sage and +<span class="tei tei-hi"><span style="font-style: italic">Bigelovia Douglasii</span></span> (a kind of sage brush) were placed as a thatch; all +being laid sufficiently compact to prevent the sand placed over the top +from sifting through. The doorway, on the east side of the house, +was about 2-1/2 feet high and 20 inches wide. Highly polished sticks (the +same as those employed in blanket weaving) were used to render the +sand covering of the structure smooth. The sweat houses to the east +and west had the rainbow painted over them. Those to the north and +south were devoid of such decoration, because the song priest seldom +completes his medicine in one ceremonial; and he chose to omit the +songs which would be required if the bow ornamented the north and +south sweat houses. Under the direction of the priest of the sweat +house, who received instruction from the song priest, three young men +painted the rainbow, one the head and body, another the skirt and legs, +while the third painted the bow. The head of this goddess was to the +north, the bow extending over the structure. The colors used were +made from ground pigments sprinkled on with the thumb and forefinger. +Whenever a pinch of the dry paint was taken from the pieces of bark +which served as paint cups, the artist breathed upon the hand before<span class="tei tei-pb" id="page240">[pg 240]</span><a name="Pg240" id="Pg240" class="tei tei-anchor"></a> +sprinkling the paint. This, however, had no religious significance, but +was merely to clear the finger and thumb of any superfluous sand. +The colors used in decoration were yellow, red, and white from sandstones, +black from charcoal, and a grayish blue, formed of white sand +and charcoal, with a very small quantity of yellow and red sands. (See +Fig. 118.) The decorators were carefully watched by the song priest.</p> + +<a name="fig16" id="fig16"></a><div class="tei tei-figure" style="text-align: center"><img src="images/image04.png" width="600" height="394" alt="Illustration: Figure 118" title="FIG. 118. Sweat house." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">FIG. 118. Sweat house.</div></div> + +<p class="tei tei-p" style="margin-bottom: 1.00em">Upon the completion of the rainbow the song priest returned to the +medicine lodge, but soon reappeared bearing a basket of twelve turkey +wands, and these he planted around the base of the sweat house on a +line of meal he had previously sprinkled. There was a fire some 20 feet +from the house, in which stones were heated. These stones were placed +in the sweat house on the south side, and upon them was thrown an +armful of white sage and <span class="tei tei-hi"><span style="font-style: italic">Bigelovia Douglasii</span></span>. A few pine boughs were +laid by the side of the stones for the invalid to sit upon. The entrance +to the sweat house was then covered with a black and white striped +blanket upon which were placed two large Coçonino buckskins one upon +the other, and upon them a double piece of white cotton. The buckskins +represented daylight, or the twilight that comes just at the dawn of day. +The invalid for whom this ceremony was held took off all his clothing +except the breech cloth, and sat on the outside by the entrance of the +sweat house amid the din of rattle and song, the theurgist being the +only one who had a rattle. The invalid propelled himself into the house +feet foremost, the covering of the sweat house having been raised for +this purpose. After entering it, he rid himself of his breechcloth and +the coverings were immediately dropped. The song continued 5 minutes, +when all stopped for a moment and then recommenced.</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"><a name="fig17" id="fig17"></a></p><div class="tei tei-figure" style="text-align: center"><img src="images/image05.png" width="600" height="968" alt="Illustration" title="RAINBOW OVER SWEAT HOUSE." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">RAINBOW OVER SWEAT HOUSE.</div></div> + +<span class="tei tei-pb" id="page241">[pg 241]</span><a name="Pg241" id="Pg241" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em">During the song the theurgist mixed various herbs in a gourd over +which he poured water. After chanting some twenty minutes he advanced +to the entrance of the house, taking the medicine gourd with him, +and, after pouring some of its contents on the heated stones, took his seat +and joined in the chanting. After another twenty minutes Hasjelti and +Hostjoghon appeared. A Navajo blanket had previously been placed +on the ground at the south side of the entrance. Hasjelti lifted the +coverings from the entrance, and the patient, having first donned his +breech cloth, came out and sat on the blanket. Hasjelti rubbed the invalid +with the horn of a mountain sheep held in the left hand, and in +the right hand a piece of hide, about 10 inches long and 4 wide, from +between the eyes of the sheep. The hide was held flatly against the +palm of the hand, and in this way the god rubbed the breast of the invalid, +while he rubbed his back with the horn, occasionally alternating +his hands. Hostjoghon put the invalid through the same manipulation. +The gods then gave him drink four times from the gourd containing +medicine water composed of finely-chopped herbs and water, they having +first taken a draught of the mixture. The soles of the feet, palms, +breast, back, shoulders, and top of the head of the invalid were touched +with medicine water, and the gods suddenly disappeared. The patient +arose and bathed himself with the remainder of the medicine water and +put on his clothing. The coverings of the entrance, which were gifts +to the song priest from the invalid, were gathered together by the song +priest and carried by an attendant to the medicine lodge. An attendant +erased the rainbow by sweeping his hand from the feet to the head, +drawing the sands with him, which were gathered into a blanket and +carried to the north and deposited at the base of a piñon tree. The +song priest placed the wands in a basket, and thus, preceded by the +invalid, carried them in both hands to the medicine lodge singing a +low chant. The sweat house was not carelessly torn down, but was +taken down after a prescribed form. Four men commenced at the sides +toward the cardinal points, and with both hands scraped the sand from +the boughs. When this was all removed the boughs were carefully +gathered and conveyed to a piñon tree some 50 feet distant and fastened +horizontally in its branches about 2 feet above the ground. The heated +stones from the interior of the sweat house were laid on the boughs; +the upright logs which formed the frame work of the house were carried +to a piñon tree, a few feet from the tree in which the boughs and +heated stones were placed, and arranged crosswise in the tree, and on +these logs corn meal was sprinkled and on the meal a medicine tube +(cigarette) was deposited. The tube was about 2 inches long and one third +of an inch in diameter, and it contained a ball composed of down +from several varieties of small birds, sacred tobacco, and corn pollen. +It was an offering to Hasjelti. Meal was sprinkled on the tube. The +ground on which the house had stood was smoothed over, the ashes +from the fire carefully swept away, and thus all traces of the ceremony<span class="tei tei-pb" id="page242">[pg 242]</span><a name="Pg242" id="Pg242" class="tei tei-anchor"></a> +were removed. The invalid upon entering the lodge took his seat on +the west side facing east. The song priest continued his chant. He +took from the meal bag some sacred meal and placed it to the soles of +the feet of the invalid and on his palms, knees, breast, back, shoulders, +and head. At the conclusion of this ceremony all indulged in a rest +for an hour or more. The bark cups which contained the colored sands +for decorating were placed in the medicine lodge north of the door.</p> +</div> + +<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em"> +<a name="toc18" id="toc18"></a> +<a name="pdf19" id="pdf19"></a> +<h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">SWEAT HOUSES AND MASKS.</span></h2> + +<p class="tei tei-p" style="margin-bottom: 1.00em">The deer skins which hang over the entrance of the sweat houses (a +different skin being used for each sweat house) must be from animals +which have been killed by being smothered. The deer is run down and +secured by ropes or otherwise. Corn pollen is then put into the mouth +of the deer and the hands are held over the mouth and nostrils until life +is extinct. The animal now being placed upon his back, a line is drawn +with corn pollen, over the mouth, down the breast and belly to the tail. +The line is then drawn from the right hoof to the right foreleg to the +breast line. The same is done on the left fore leg and the two hind legs. +The knife is then passed over this line and the deer is flayed. Skins procured +in this way are worth, among the Navajo, $50 each. Masks are +made of skins prepared in the same manner. If made of skins of deer +that have been shot the wearer would die of fever.</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">Buckskin over the entrance to an eastern sweat house denotes dawn; +over a southern, denotes red of morning; over a western, sunset; over a +northern, night.</p> +</div> + +<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em"> +<a name="toc20" id="toc20"></a> +<a name="pdf21" id="pdf21"></a> +<h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">PREPARATION OF THE SACRED REEDS (CIGARETTE) AND PRAYER STICKS.</span></h2> + +<p class="tei tei-p" style="margin-bottom: 1.00em">Before noon two sheepskins were spread one upon the other before +the song-priest. Upon these was laid a blanket, and on the blanket +pieces of cotton. These rugs extended north and south. The theurgist +then produced a large medicine bag, from which a reed was selected. +The reed was rubbed with a polishing stone, or, more accurately speaking, +the polishing stone was rubbed with the reed, as the reed was held +in the right hand and rubbed against the stone, which was held in the +left. It was then rubbed with finely broken native tobacco, and afterwards +was divided into four pieces, the length of each piece being equal +to the width of the first three fingers. The reeds were cut with a stone +knife some 3-1/2 inches long. An attendant then colored the tubes. The +first reed was painted blue, the second black, the third blue, and the +fourth black. Through all these, slender sticks of yucca had been run +to serve as handles while painting the tubes and also to support the +tubes while the paint was drying. The attendant who cut the reeds sat +left of the song-priest, facing east; a stone containing the paints was +placed to the north of the rug; and upon the end of the stone next to<span class="tei tei-pb" id="page243">[pg 243]</span><a name="Pg243" id="Pg243" class="tei tei-anchor"></a> +himself the reed-cutter deposited a bit of finely broken tobacco. In cutting +the reeds occasionally a bit splintered off; these scraps were placed +by the side of the tobacco on the northeast end of the rug.</p> + +<a name="fig22" id="fig22"></a><div class="tei tei-figure" style="text-align: center"><img src="images/image06.png" width="600" height="1074" alt="Illustration" title="" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"></div></div> + +<p class="tei tei-p" style="margin-bottom: 1.00em">The attendant who colored the reeds sat facing west; and as each +reed was colored it was placed on the rug, the yucca end being laid on +a slender stick which ran horizontally. The first reed painted was laid +to the north. Three dots were put upon each blue reed to represent +eyes and mouth; two lines encircled the black reeds. Four bits of soiled +cotton cloth were deposited in line on the east of the rug. The three +attendants under the direction of the song-priest took from the medicine +bag, first two feathers from the Arctic blue bird (<span class="tei tei-hi"><span style="font-style: italic">Sialia arctica</span></span>), +which he placed west of the bit of cloth that lay at the north end of the +rug; he placed two more of the same feathers below the second piece of +cloth; two under the third, and two below the fourth, their tips pointing +east. Then upon each of these feathers he placed an under +tail-feather +of the eagle. The first one was laid on the two feathers at the north +end of the rug; again an under tail-feather of the turkey was placed on +each pile, beginning with that of the north. Then upon each of these +was placed a hair from the beard of the turkey, and to each was added +a thread of cotton yarn. During the arrangement of the feathers the +tube decorator first selected four bits of black archaic beads, placing a +piece on each bit of cloth; then four tiny pieces of white shell beads +were laid on the cloths; next four pieces of abalone shell and four pieces +of turquois.</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">In placing the beads he also began at the north end of the rug. An +aged attendant, under the direction of the song-priest, plucked downy +feathers from several humming-birds and mixed them together into four +little balls one-fourth of an inch in diameter and placed them in line +running north and south, and south of the line of plume piles. He +sprinkled a bit of corn pollen upon each ball; he then placed what the +Navajo term a night-owl feather under the balls with its tip pointing to +the northeast. (See Pl. CXIII). The young man facing west then filled +the colored reeds, beginning with the one on the north end. He put +into the hollow reed, first, one of the feather balls, forcing it into the +reed with the quill end of the night-owl feather. (A night-owl feather +is always used for filling the reeds after the corn is ripe to insure a warm +winter; in the spring a plume from the chaparral cock, <span class="tei tei-hi"><span style="font-style: italic">Geococcyx californianus</span></span>, +is used instead to bring rain). Then a bit of native tobacco +was put in. When the reed was thus far completed it was passed to +the decorator, who had before him a tiny earthen bowl of water, a crystal, +and a small pouch of corn pollen. Holding the crystal in the sunbeam +which penetrated through the fire opening in the roof, he thus +lighted the cigarettes which were to be offered to the gods. The forefinger +was dipped into the bowl of water and then into the corn pollen, +and the pollen that adhered to the finger was placed to the top of the +tube. After the four tubes were finished they were placed on the<span class="tei tei-pb" id="page244">[pg 244]</span><a name="Pg244" id="Pg244" class="tei tei-anchor"></a> +pieces of cloth, not, however, until a bit of pollen had been sprinkled +on the beads which lay on the cloth. The pollen end of the tube pointed +to the east. The four bunches of feathers were then laid on the tubes. +The song-priest rolled up each cloth and holding the four parcels +with both hands he placed them horizontally across the soles of the +feet, knees, palms, breast, back, shoulders, head, and across the mouth +of the invalid, and the invalid drew a breath as the parcel touched his +lips. He sat to the north of the rug facing east. The sick man then +received the parcels from the song-priest and held them so that the ends +projected from between the thumbs and forefingers, and repeated a +prayer after the theurgist, who sat facing the invalid. The prayer ran +thus:</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%">People of the mountains and rocks, I hear you wish to be paid. I give to you food +of corn pollen and humming-bird feathers, and I send to you precious stones and +tobacco which you must smoke; it has been lighted by the sun's rays and for this I +beg you to give me a good dance; be with me. Earth, I beg you to give me a good +dance, and I offer to you food of humming-birds' plumes and precious stones, and +tobacco to smoke lighted by the sun's rays, to pay for using you for the dance; +make a good solid ground for me, that the gods who come to see the dance may be +pleased at the ground their people dance upon; make my people healthy and strong +of mind and body.</span></p> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em">The prayer being offered, the parcels were given by the theurgist to +an attendant, who deposited them in line three feet apart along the side +of the dancing ground in front of the lodge. Their proper place is immediately +on the ground that is to be danced upon, but to prevent them +from being trampled on they are laid to one side. The black tubes are +offerings to the gods and the blue to the goddesses of the mountains +and to the earth.</p> +</div> +</div> + +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<a name="toc23" id="toc23"></a> +<a name="pdf24" id="pdf24"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">THIRD DAY.</span></h1> + +<p class="tei tei-p" style="margin-bottom: 1.00em"></p> + +<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em"> +<a name="toc25" id="toc25"></a> +<a name="pdf26" id="pdf26"></a> +<h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">FIRST CEREMONY.</span></h2> + +<p class="tei tei-p" style="margin-bottom: 1.00em">The construction of the second sweat house began at sunrise and was +completed at nine o'clock. Several large rocks were heated and placed +in the sweat house and as before white sage and <span class="tei tei-hi"><span style="font-style: italic">Bigelovia Douglasii</span></span> +were thrown in, the fumes of which were designed as medicine for the +sick man. After the invalid entered the sweat house, buckskin blankets, +etc., were drawn over the entrance. The song-priest, accompanied +by two attendants, sat a little to the south. He sprinkled meal around +the west base of the house and over the top from north to south and +placed the wands around its base in the manner heretofore described +(the twelve wands and medicine used were the special property of the +theurgist). The song-priest holding the rattle joined the choir in a +chant. To his right were two Navajo jugs filled with water and an +Apache basket partly filled with corn meal. A bunch of buckskin +bags, one of the small blue medicine tubes, a mountain sheep's horn, +and a piece of undressed hide lay on the meal. Near by was a gourd +half filled with water in which meal was sprinkled; near this was a<span class="tei tei-pb" id="page245">[pg 245]</span><a name="Pg245" id="Pg245" class="tei tei-anchor"></a> +small earthenware vase containing water and finely chopped herbs. +At the conclusion of the chant the song-priest passed his rattle to one +of the choir and stirred the mixture in the bowl with his forefinger, +and after a few remarks to the invalid, who was still in the sweat +house, he threw some of the mixture in upon the hot rocks. This was +repeated four times, when the song-priest returned to his former position. +The sweat-house priest took from his shoulders a Navajo blanket +and spread it near the door a little to the right. A call from one of the +attendants was a signal for Hasjelti and Hostjoghon to appear. The +two men personating these gods were behind a tree south of the sweat +house, their bodies, arms, and legs painted white. Foxskins were attached +pendent to the backs of their girdles. As the gods approached +the sweat house, the patient came out and sat upon the blanket, and +Hasjelti took a mountain sheep's horn, in the right hand and the piece +of hide in the other and rubbed the sick man, beginning with the limbs; +as he rubbed down each limb, he threw his arms toward the eastern +sky and cried "yo-yo!" He also rubbed the head and body, holding +the hands on opposite sides of the body. After this rubbing, the sick +man drank from the bowl of medicine-water, then arose and bathed +himself with the same mixture, the filled gourds being handed to him +four times by Hasjelti, each time accompanied with his peculiar hoot. +Hostjoghon repeated the same ceremony over the invalid. There was +a constant din of rattle and chanting, the gods disappeared, and immediately +thereafter the theurgist gathered the twelve wands from the +base of the sweat house. He removed the blue reed from the basket +and laid it a little to the left of the priest of the sweat house, who in +turn handed it to an attendant to be deposited with the wood of the +sweat house in a neighboring tree. The invalid proceeded to the medicine +lodge followed by the song-priest uttering a low chant. After +entering the lodge the invalid took his seat on the west side; the song-priest, +still standing, took from a small buckskin bag white powdered +material which he rubbed on the soles of the feet, palms, knees, breast, +shoulders, and head of the invalid; then taking a pinch of the same +material he extended his hand first toward the east and then toward the +heavens and the earth. After these attentions he took his accustomed +seat in the lodge and joined in conversation with his attendants.</p> + +<a name="fig27" id="fig27"></a><div class="tei tei-figure" style="text-align: center"><img src="images/image07.png" width="600" height="936" alt="Illustration" title="" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"></div></div> +</div> + +<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em"> +<a name="toc28" id="toc28"></a> +<a name="pdf29" id="pdf29"></a> +<h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">SECOND CEREMONY.</span></h2> + +<p class="tei tei-p" style="margin-bottom: 1.00em">Two sheepskins, a blanket, and cotton cloth were spread one upon +the other in front of the song-priest; and from the long reeds that had +been first rubbed with a polishing stone, then with tobacco, were cut +ten pieces an inch and a quarter long and two pieces 2 inches long. +These were colored black and blue, one long piece and five small ones +being black, the others blue. While these were being decorated the +song-priest and choir sang "My fathers, see, we are getting ready! We +do our work well, and you would better go into the house for we are to<span class="tei tei-pb" id="page246">[pg 246]</span><a name="Pg246" id="Pg246" class="tei tei-anchor"></a> +have rain! Now, mothers, send down rain upon us!" This song was +constantly repeated.</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">The tubes when completed were laid in position to form a dual person. +The long black tube representing the body was first placed in position. +The long blue tube was then laid by its side and south of it. The pollen +end of the tubes pointed to the east. The right black leg was the next +placed in position, then the right blue leg, the left black leg and left +blue leg. The right black arm, then the right blue arm, the left black +arm and the left blue arm, then the black head and the blue head. +(See PI. CXV.)</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">These tubes were filled with feathers, balls, and tobacco, and tipped +with the corn pollen and lighted with the crystal, the black tubes being +offerings to the gods, the blue to the goddesses. After they were completed +they were placed in position by a second attendant; and while +the tubes were being filled the song-priest and choir sang "See, fathers! +We fill these with tobacco; it is good; smoke it!" A message was +received from the fathers that they would smoke, and, puffing the smoke +from their mouths, they would invoke the watering of the earth. They +again sang "All you people who live in the rocks, all you who are born +among the clouds, we wish you to help us; we give you these offerings +that you may have food and a smoke! All women, you who live in the +rocks, you who are born among the fog, I pray you come and help us; +I want you to come and work over the sick; I offer to you food of humming-birds' +plumes, and tobacco to smoke!" Two bunches of feathers +which had been placed to the east side of the rug pointing east were +deposited in two corn husks, each husk containing bits of turquoise, +black archaic beads, and abalone shell; corn pollen was sprinkled on +these. The song-priest then placed the dual body in the husks thus: +First, the black body was laid upon the husks to the north, and upon +this a pinch of pollen was sprinkled; the blue body was placed in the +other husks and pollen sprinkled upon it; then the two right legs (black +and blue) were put into the corn husks with the black body; the two +left legs were added to the same; the right and left arms and the two +heads were placed in the husk with the blue body and corn pollen +sprinkled upon them. The husks were closed and held by the song-priest +to the soles of the feet, palms, knees, breast, shoulders, back, and +top of head of the invalid, who repeated a long prayer after the theurgist, +and the parcels were given to an attendant, who carried them some +distance from the lodge to the north and placed them in a secluded +shady spot upon the ground. Two bits of tobacco were laid upon the +ground and upon these the body was placed, the figure in a recumbent +position with the arms over the head. The invalid for whom this ceremony +was held spared no expense in having the theurgist make the +most elaborate explanation to his near relatives of the secrets of the +medicine tubes.</p> + +<a name="fig30" id="fig30"></a><div class="tei tei-figure" style="text-align: center"><img src="images/image08.png" width="600" height="356" alt="Illustration" title="CEREMONIAL MASKS." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">CEREMONIAL MASKS.</div></div> +</div> + +<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em"> +<span class="tei tei-pb" id="page247">[pg 247]</span><a name="Pg247" id="Pg247" class="tei tei-anchor"></a> +<a name="toc31" id="toc31"></a> +<a name="pdf32" id="pdf32"></a> +<h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">THIRD CEREMONY.</span></h2> + +<p class="tei tei-p" style="margin-bottom: 1.00em">The theurgist occupied his usual seat, surrounded by his corps of +attendants. The man personating Naiyenesgony had his body and +limbs painted black. The legs below the knee, the scapula, the breasts, +and the arm above the elbow were painted white. His loins were covered +with a fine red silk scarf, held by a silver belt; his blue knit +stockings were tied with red garters below each knee, and quantities of +coral, turquois, and white shell beads ornamented the neck. The man +representing Tobaidischinni had his body colored reddish brown, with +this figure </p><div class="tei tei-figure" style="text-align: center"><img src="images/image09.png" width="32" height="66" alt="Illustration: scalp knot symbol" /></div><p class="tei tei-p" style="margin-bottom: 1.00em"> +(the scalp knot) in white on the outside of each leg below +the knee, on each arm below the shoulder, each scapula, and on each +breast. This design represents the knot of hair cut from the heads of +enemies, and the style is still in use by the Navajo. The man wore a +red woolen scarf around the loins, caught on by a silver belt, and his +neck was profusely ornamented with coral, turquois, and white beads.<a id="noteref_1" name="noteref_1" href="#note_1"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">1</span></span></a> +Naiyenesgony and Tobaidischinni left the lodge, carrying with them +their masks. (See Pl. cxv, 1, 2, 3.) Bunches of pine boughs, which +during the forenoon had been made into wreaths by joining pieces +together with yucca in this fashion were </p><div class="tei tei-figure" style="text-align: center"><img src="images/image10.png" width="111" height="35" alt="Illustration: scalp knot symbol" /></div><p class="tei tei-p" style="margin-bottom: 1.00em"> +laid across each end +of the rug.</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">After the two men personating the gods left the lodge the invalid +entered and took his seat on the rug with his back to the theurgist. +Two attendants dressed him with the wreaths, beginning with the +right ankle; a piece was then tied around the calf, thigh, waist, around +the chest, right wrist, elbow, upper arm, throat, forehead, then around +the upper left arm, elbow, wrist, thigh, left knee, calf, and ankle. Thus +the man was literally obscured with a mass of pine. He sat in an +upright position with the legs extended and arms falling by his sides. +A chant was sung by the song priest, and in a few minutes Naiyenesgony +and Tobaidischinni appeared. Naiyenesgony drew his stone +knife in front of the invalid over the forehead to the feet, then down +the right side and down the back and down the left side. He then +began to remove the pine. As each wreath was taken off the clusters +were partly separated with the stone knife. Tobaidischinni assisted +Naiyenesgony by holding the wreaths while they were being cut.</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">When all the evergreen had been removed the personators of the +gods exclaimed, "Now, my people, we have killed all enemies!" and +immediately left the lodge. The song priest placed a small wreath of +the pine on the sick man's head, and holding in his left hand a bunch +of eagle plumes, and in his right hand a rattle, he sang the ten songs +and prayers, assisted by the choir, that were given by Naiyenesgony +and Tobaidischinni to the Navajo to bring health and good fortune.<span class="tei tei-pb" id="page248">[pg 248]</span><a name="Pg248" id="Pg248" class="tei tei-anchor"></a> +After the pine-bough wreaths had been separated the bits of yucca-strings +were picked up by the attendant and handed to Naiyenesgony, +who held them over the sick man's head, after which the bits were +again divided with the knife. After the ten songs and prayers had +been chanted the invalid left the rug and sat a little to the northeast, +of it, with his knees drawn up. The song priest placed two live coals +in front of the invalid and sprinkled chopped herbs on the coals, the +fumes of which the invalid inhaled. The pines were carried off and +placed in the shade of a pine tree, that the disease might not leave the +pine and return to the invalid.<a id="noteref_2" name="noteref_2" href="#note_2"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">2</span></span></a></p> +</div> + +<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em"> +<a name="toc33" id="toc33"></a> +<a name="pdf34" id="pdf34"></a> +<h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">FOURTH CEREMONY.</span></h2> + +<p class="tei tei-p" style="margin-bottom: 1.00em">The personators of Hasjelti and Hostjoghon adorned themselves for +the ceremony. Hasjelti wore ordinary clothing and a red scarf, with a silver +belt around the waist. Hostjoghon's body was painted white, +and he wore a red woolen scarf around the loins, caught on with a +silver belt. A rug, composed of a blanket and a piece of white cotton, +was spread in front of the song priest, and the masks of Hasjelti and +Hostjoghon placed thereon. (See Pl. CXV, 4,5,6.)</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">Upon the completion of the toilets of the personators of the gods +they hurried from the lodge, bearing their masks with them, when an +attendant made a cavity immediately in front of the rug 4 inches in +diameter, and the song priest sprinkled a circle of meal around the +cavity. The invalid entered the lodge and stood on the rug and +removed all of his clothing except the breech cloth. He then took his +seat facing east, with knees drawn up. A mask of the Hostjobokon, +which had been laid upon the rug, was drawn over the invalid's head. +Hasjelti and Hostjoghon appeared at this juncture bearing a pine +bough some 5 feet in height. An attendant made gestures over the +sick man, holding in his right hand a pinch of sacred meal, which was +afterward placed in the cavity. Hasjelti waved the pine bough five +times around the invalid and planted it in the cavity, where it was held +in place by the gods. Then bending its top, the attendant attached it +to the mask over the invalid's head by a buckskin string which was +fastened to the mask. The song priest and choir all the while sang a +weird chant. The gods raised the bough, gave their peculiar hoots, +and disappeared from the lodge, carrying with them the pine bough +with the mask attached to it. In a few minutes they came back with +the mask. After the chant the song-priest placed meal on the soles of +the invalid's feet, knees, palms, breast, back, shoulders, and head, and +then put some in the cavity, after which the cavity was filled with +earth. Two coals were laid in front of the invalid, and upon these the +song priest placed finely broken herbs; an attendant sprinkled water +on the herbs, and the invalid inhaled the fumes. The cotton cloth was<span class="tei tei-pb" id="page249">[pg 249]</span><a name="Pg249" id="Pg249" class="tei tei-anchor"></a> +removed from the blanket rug, and the invalid stepped upon the rug +and put on his clothing. When the mask was removed from the invalid's +head it drew all fever with it.</p> + +<a name="fig35" id="fig35"></a><div class="tei tei-figure" style="text-align: center"><img src="images/image11.png" width="600" height="1048" alt="Illustration" title="" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"></div></div> +</div> +</div> + + +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<a name="toc36" id="toc36"></a> +<a name="pdf37" id="pdf37"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">FOURTH DAY.</span></h1> + +<p class="tei tei-p" style="margin-bottom: 1.00em"></p> + +<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em"> +<a name="toc38" id="toc38"></a> +<a name="pdf39" id="pdf39"></a> +<h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">FIRST CEREMONY.</span></h2> + +<p class="tei tei-p" style="margin-bottom: 1.00em">The theurgist carried a bowl of water and pine needles, and an attendant +bore a gourd of water, a small vase of powdered herbs, and an +Apache basket containing corn meal, buckskin bags, horn of the mountain +sheep and a piece of hide cut from between the eyes of the animal. +The theurgist and attendant took seats to the right of the entrance of +the sweat house west of the medicine lodge. This sweat house was +decorated with the rainbow. Over the entrance were, first, two striped +blankets, one upon the other, a buckskin, and a piece of white cotton. +Hot stones, etc., having been previously placed in the sweat house, the +sick man entered. The song-priest and four attendants sang, accompanied +by the rattle. At the conclusion of the chant Hasjelti and +Hostjoghon appeared as on the previous days. Hasjelti lifted the coverings +from the entrance and the invalid came out and sat upon a blanket +south of the entrance and bathed both his hands in the bowl containing +the pine needles and water; he then drank of it and bathed his +feet and legs to the thighs, his arms and shoulders, body and face and +head, and then emptied the remainder over his back. Hasjelti manipulated +the right leg with the sheep's horn and hide, rubbing the upper +part of the leg with the right hand, then the under part with the left; +he then rubbed the sides of the leg in the same manner, each time giving +a hoot; the arms, chest, head, and face were similarly manipulated. +Hostjoghon repeated the hooting every time he changed the position +of the hands. Hasjelti, taking the gourd containing the water and corn +meal, gave four draughts of it to the invalid, hooting each time the bowl +was put to the lips; Hostjoghon did the same. The song and rattle +continued. Hasjelti, then put the powdered plants from the small vase +to the soles of the feet, knees, palms, breast, back, shoulders, and top +of the head of the invalid, hooting each time an application was made; +this was repeated by Hostjoghon. The invalid took a sip from the +bowl and rubbed the remainder over his body. The song-priest then +removed the wands from the base of the sweat house and the coverings +from the door; the pine boughs and hot stones were also removed and +the invalid preceded the song-priest to the medicine lodge. All the +wood of the sweat house was placed in a tree, excepting four small +pieces, which were deposited, together with the pine boughs from the +interior of the sweat house, in a semicircle formed by the rocks from +the sweat house at the base of a piñon tree. A line of meal 2 inches +in length running east and west was sprinkled on the apex of the +semicircle, and upon this line the black tube was laid. A bit of meal<span class="tei tei-pb" id="page250">[pg 250]</span><a name="Pg250" id="Pg250" class="tei tei-anchor"></a> +was sprinkled on the tube and a quantity over the pine boughs of this +small shrine. Before sprinkling the meal on the top of the medicine +tube the attendant waved his hand in a circle from left to right, calling +"hooshontko;" meaning: Widespread blessings that come not from +spoken words, but come to all, that people may have the blessings of +corn pollen, and that tongues may speak with the softness of corn +pollen.</p> +</div> + +<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em"> +<a name="toc40" id="toc40"></a> +<a name="pdf41" id="pdf41"></a> +<h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">SECOND CEREMONY.</span></h2> + +<p class="tei tei-p" style="margin-bottom: 1.00em">A rug was laid in front of the theurgist. Four medicine tubes were +placed on the rug, the one to the north end being white; the second one +black and red, a white line dividing the two colors; the third one, blue; +the fourth, black. The white tube was an offering to Hasjelti; the red, +to Zaadoltjaii; the blue, to Hostjoboard; the black, to Naaskiddi, the +hunchback. The tubes were filled as before described. These tubes +were begun and finished by the same person. (See Pl. CXVI.) When +the tubes were finished they were put into corn husks and bits of cotton +cloth; tiny pieces of turquois, white shell, abalone, and archaic black +beads having first been placed on the husks and cloths. The four turkey +plumes with barred tips that lay upon the rug were subsequently +placed upon the tubes. These parcels were sprinkled by the song priest +with corn pollen, and after closing them he placed them in the +hands of the invalid, who sat at the northeast corner of the rug facing +east. The song-priest sat before him and said a long prayer, which the +invalid repeated. At the close of the prayer an aged attendant received +the parcels from the theurgist and placed them to the soles of +the feet, palms, etc., of the invalid. They were afterward placed to his +mouth and he drew from them a long breath. The old man carried the +parcels south over the brow of a hill and deposited them in secluded +spots about 4 feet apart, repeating a brief prayer over each one; he +then motioned toward the east, south, west, and north, and returned to +the lodge. During his absence the choir sang; in the meantime the +fire in the lodge was reduced to embers.</p> +</div> + +<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em"> +<a name="toc42" id="toc42"></a> +<a name="pdf43" id="pdf43"></a> +<h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">THIRD CEREMONY.</span></h2> + +<p class="tei tei-p" style="margin-bottom: 1.00em">About noon a circular bed of sand, some four inches in height and +four feet in diameter, was made. Five grains of corn and five pine +boughs were laid thereon; four of the grains of corn and four of the +boughs were placed to the cardinal points. The fifth and center branch +of pine covered most of the circle, its tips pointing to the east. The +fifth grain of corn was dropped in the center of the sand bed. (See +Pl. CXVII, 1). Four of these pine boughs were cut from the east, +south, north, and west sides of one tree. The fifth bough may be taken +from any part of the tree. Of the five grains of corn one must be +white, one yellow, and one blue, and the other two grains may be of +either of these three colors. On this particular occasion there were<span class="tei tei-pb" id="page251">[pg 251]</span><a name="Pg251" id="Pg251" class="tei tei-anchor"></a> +two blue, two white, and one yellow. These grains were, after the ceremony, +dried and ground by the theurgist and placed among his medicines. +The boughs and sand absorbed the disease from the invalid, +and at the close of the ceremony they were carried to the north and +deposited in a shady spot that the sun might not touch and develop the +latent disease that had been absorbed by them. The boughs and sand +were never afterward to be touched. An Apache basket containing +yucca root and water was placed in front of the circle. (See Pl. CXVII 2.) +There was a second basket south of it which contained water and +a quantity of pine needles sufficiently thick to form a dry surface, and +on the top a number of valuable necklaces of coral, turquois, and +silver. A square was formed on the edge of the basket with four +turkey wands. (See Pl. CXVII 3.) The song-priest with rattle led the +choir. The invalid sat to the northeast of the circle; a breechcloth +was his only apparel. During the chanting an attendant made suds +from the yucca. The basket remained in position; the man stooped +over it facing north; his position allowed the sunbeams which came +through the fire opening to fall upon the suds. When the basket was a +mass of white froth the attendant washed the suds from his hands by +pouring a gourd of water over them, after which the song-priest came +forward and with corn pollen drew a cross over the suds, which stood +firm like the beaten whites of eggs, the arms of the cross pointing to +the cardinal points. A circle of the pollen was then made around the +edge of the suds. The attendant who prepared the suds touched his +right hand to the four points of the pollen lines and in the center and +placed it upon the head of the patient who first made a circle embracing +the sand and basket and then knelt upon the boughs in the center +of the sand.<a id="noteref_3" name="noteref_3" href="#note_3"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">3</span></span></a> A handful of the suds was afterwards put upon his head. +The basket was placed near him and he bathed his head thoroughly; +the maker of the suds afterwards assisted him in bathing the entire +body with the suds, and pieces of yucca were rubbed upon the body. +The chant continued through the ceremony and closed just as the remainder +of the suds was emptied by the attendant over the invalid's +head. The song priest collected the four wands from the second basket +and an attendant gathered the necklaces. A second attendant placed +the basket before the invalid who was now sitting in the center of the +circle and the first attendant assisted him in bathing the entire body +with this mixture; the body was quite covered with the pine needles +which had become very soft from soaking. The invalid then returned +to his former position at the left of the song priest, and the pine needles +and yucca, together with the sands, were carried out and deposited at +the base of a piñon tree. The body of the invalid was dried by rubbing +with meal.</p> + +<a name="fig44" id="fig44"></a><div class="tei tei-figure" style="text-align: center"><img src="images/image12.png" width="600" height="409" alt="Illustration" title="" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"></div></div> +</div> + +<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em"> +<span class="tei tei-pb" id="page252">[pg 252]</span><a name="Pg252" id="Pg252" class="tei tei-anchor"></a> +<a name="toc45" id="toc45"></a> +<a name="pdf46" id="pdf46"></a> +<h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">FOURTH CEREMONY.</span></h2> + +<p class="tei tei-p" style="margin-bottom: 1.00em">This ceremony commenced almost immediately after the close of the +one preceding. The rug was spread over the ground in front of the +song priest; four bunches of small sticks were brought in and laid in +piles north, south, east, and west of the rug. Four attendants took +seats, each before a pile of the wood, and scraped off the bark of their +respective heaps; they then cut twelve pieces 2 inches in length, except +that cut by the attendant who sat at the north, who made his about 1-1/4 +inches long. Being asked why he cut his shorter than the rest, he replied, +"All men are not the same size." The sticks were sharpened at +one end and cut squarely off at the other. In order that all of the +sticks should be of the same length they were measured by placing the +three first fingers across the stick. The fifth man sat immediately to +the right of the song priest, who took a hollow reed from the large medicine +bag from which he cut four pieces, each piece the breadth of his +three fingers. The reed, which was cut with a stone knife, was afterwards +rubbed with native tobacco. Six sticks of each of the piles had +their square ends beveled; these represented females. The attendant +on the east side of the rug having completed his twelve sticks, painted +them white with kaolin finely ground and mixed with water. The flat +ends of the sticks were colored black; the beveled parts were painted +blue; around the lower end of the blue was a bit of yellow which represented +the jaw painted with corn pollen. Three black dots were +painted upon the blue for the eyes and mouth; the ground color was +laid on with the finger; the other decorations were made with yucca +brushes. The man on the south side colored his sticks blue. The tops +of six sticks were painted yellow, and six were black. The black ends +were those having the beveled spots. These spots were blue with +a chin of yellow; they also had the three black dots for eyes and +mouth. The man to the west colored his sticks yellow with the flat ends +black; the beveled spots of six of them were blue with a yellow chin +and three black dots for eyes and mouth. The sticks to the north were +colored black; six of them had the beveled parts colored blue with a +yellow jaw, and three spots for eyes and mouth; the six sticks that were +not beveled had their flat tops painted blue. All these sticks were laid +on the rug with their flat ends outward. The attendants who prepared +the reeds, each reed being colored for a cardinal point, filled them with +balls of humming-bird feathers and tobacco and lighted them with a +crystal, when they were touched with corn pollen. The reed for the +east was white, the one for the south blue, that for the west yellow, and +that for the north black. Each reed was placed at its appropriate point +in line with the sticks. (See Pl. CXVIII.) The theurgist then advanced, +carrying a basket half filled with corn meal. This he placed in the +center of the rug; when kneeling on the edge of the rug and beginning +with the white sticks, he placed first the white reed in the east side of +the basket, and passing from this point around to the right he placed<span class="tei tei-pb" id="page253">[pg 253]</span><a name="Pg253" id="Pg253" class="tei tei-anchor"></a> +the six offerings to the gods, then the six to the goddesses. Next taking +the blue tube at the south end he placed it to the left of the white +line of sticks, leaving sufficient space for the sticks between it and the +white tube; all the blue ones were placed in position corresponding to +the white. The yellow followed next, and then the black. All were +placed with their flat ends or heads pointed to the rim of the basket. +The theurgist deposited the basket in the niche on a pile of turkey +feather wands, the wands resting upon a large medicine bag. The +sticks and scraps left after making the tubes were carried out and +deposited without ceremony.</p> + +<a name="fig47" id="fig47"></a><div class="tei tei-figure" style="text-align: center"><img src="images/image13.png" width="600" height="936" alt="Illustration" title="" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"></div></div> +</div> + +<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em"> +<a name="toc48" id="toc48"></a> +<a name="pdf49" id="pdf49"></a> +<h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">FIFTH CEREMONY.</span></h2> + +<p class="tei tei-p" style="margin-bottom: 1.00em">The rug which was spread in front of the song priest was composed +of two blankets whose edges met, and upon this rug there were two +lines of masks running north and south; the tops of the masks were to +the east. There were sixteen masks; those representing the gods cover +the head, and those representing goddesses cover the face only. They +were decorated with ribbons, plumes, etc. During the forenoon prayers +were said over them and meal sprinkled upon them.</p> +</div> + +<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em"> +<a name="toc50" id="toc50"></a> +<a name="pdf51" id="pdf51"></a> +<h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">SIXTH CEREMONY.</span></h2> + +<p class="tei tei-p" style="margin-bottom: 1.00em">Just after dark those who were to take part in the ceremony prepared +to personate one of the Hostjobokon and two of the Hostjoboard (goddesses)—Hostjoghon +and Hasjelti. Hostjobokon's body and limbs were +painted, and he wore a mountain lion's skin doubled lengthwise and fastened +around the loins at the back, and a silver belt encircled his waist. +Hasjelti wore knee breeches and a shirt of black velvet, ornamented +with silver buttons. His face and hands were covered with white kaolin. +Hostjoghon's body was painted white, and he wore a red silk scarf +around the loins, caught on with a silver belt. The two men personating +the goddesses had their limbs painted white; one wore a black sash +around his loins, held by a silver belt. The other had a red woolen +scarf and silver belt; gray foxskins hung from the back of the belts. +The masks were fastened to their heads before leaving the lodge by +means of a string and a lock of their hair, and they were then thrown +back from the head. After a little indulgence in their hoots they all +left the lodge. The invalid entered the lodge and, stepping upon a +piece of white cotton which had been laid diagonally across the rug to +the northeast and southwest, took off his clothing. The lodge had now +become very crowded. The fire, which had burned brightly during the +day, was mere coals. The attendant at the left of the song priest opened +the choir with the rattle. The invalid sat upon the cotton cloth. Hasjelti, +entering with his favorite hoot amidst rattle and song, placed the +square (representing the concentrated winds) four times over the head +of the invalid and ran out of the lodge. He entered again and received<span class="tei tei-pb" id="page254">[pg 254]</span><a name="Pg254" id="Pg254" class="tei tei-anchor"></a> +from the theurgist one of the twelve white sticks which during the forenoon +had been placed in the basket. The white stick farthest from the +white reed was handed him. This Hasjelti placed to the soles of the +feet, knees, palms, etc., of the invalid, amid hoots and antics, after which +he dashed out and hurled the stick to the east. One of the Hostjoboard +entered and received the next white stick, and after the same ceremony +ran out and cast it to the east. Hostjobokon returned and the theurgist +handed him the next white stick, when he repeated the ceremony, hurried +from the lodge, and threw the stick to the east. Hostjoboard again +entered, received a stick, repeated the ceremony, and ran out and threw +it to the east; and thus Hostjobokon and Hostjoboard alternated until +all the white sticks were disposed of, when Hasjelti reappeared and received +from the song priest the white reed (cigarette) and carried it +from the lodge. When he returned the theurgist handed him one of +the blue sticks, with which he repeated the ceremony and, leaving the +lodge, threw it to the south, when Hostjoghon and Hostjoboard alternately +disposed of the blue sticks in the same order in which the white +sticks had been distributed. The yellow and black sticks were disposed +of in a similar manner, Hasjelti officiating with the first stick of each +color and the reeds. The yellow sticks were thrown to the west; the +black to the north. This was all done amidst the wildest hoots and +song of the choir, accompanied by the rattle.</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">Hasjelti again appeared and placed the square four times over the +invalid's head with wild hoots. The four cigarettes to be smoked by +the gods were afterwards taken by four of the personators of the gods +and deposited in a secluded spot under a tree and sprinkled with corn pollen; +after their return Hasjelti again placed the square over the +invalid's head. The song priest placed two live coals in front of the +invalid, and upon the coals he put a pinch of tobacco, the smoke of +which the invalid inhaled. The attendant poured water over the coals, +when they were thrown out at the fire opening of the lodge. The personators +of the gods returned to the lodge bearing their masks in their +hands. The invalid put on his clothing and took his seat upon the +rug, but in a short time he returned to his former seat on the northwest +side of the lodge. The sweat-house priest appeared with a large buffalo +robe which he spread before the song priest, the head pointing north, +and upon this various kinds of calico were laid, carefully folded the +length of the robe. There were many yards of this. Upon the calico +was spread a fine large buckskin, and on this white muslin; these were +all gifts from the invalid to the song priest. The masks were then laid +upon the cotton (see Pl. CXV, 7, 8); the mask of Hasjelti was on the +east side to the north end, that of Hostjoghon at the south end, and +between these the six masks of the Hostjobokon were placed. Immediately +under these were the six Hostjoboard, and beneath the latter were +the masks of Naiyenesgony and Tobaidischinni at the north end. +Three other masks of the Etsethle followed in line running south.<span class="tei tei-pb" id="page255">[pg 255]</span><a name="Pg255" id="Pg255" class="tei tei-anchor"></a> +After all the masks had been properly arranged the song priest sprinkled +them with pollen. Beginning with Hasjelti he sprinkled every mask of +the upper line thus: Over the top of the head down the center of the +face, then forming a kind of half-circle he passed over the right cheek, +then passing his hand backward to the left he sprinkled the same line up +the left cheek. The second and third rows had simply a line of the pollen +run across the masks, beginning at the north end. The theurgist repeated +a prayer during the sprinkling of the pollen, then handed the bag +of pollen to the priest of the sweat house, who repeated the sprinkling +of the masks, when everyone in the lodge, each having his individual +bag of pollen, hastened forward and sprinkled the masks, at the same +time offering prayers. The theurgist and priest of the sweat house +again sprinkled pollen on the masks as heretofore described.</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">Baskets and bowls in unlimited quantity, filled with food, were +placed in a circle around the fire which now burned brightly. The +guests formed into groups and drew the food toward them, but did not +touch it for a time. The invalid, song-priest, and his attendants, indulged +in a smoke which was social and not religious, the white man's +tobacco being preferred on such occasions. A girl and a boy, about 12 +years of age, came into the lodge. The boy was the son of the invalid, +the girl his sister's child. The boy knelt at the northeast end of the +rug and the girl at the southeast end. They were richly dressed in +Navajo blankets, coral necklaces, etc., and they remained perfectly quiet. +The theurgist and his attendants talked together in an undertone, and +if the inmates of the lodge spoke at all their voices were scarcely audible. +After a time the choir opened, led by the song-priest with his rattle. +During the singing the rattle was passed from one to the other. +The invalid did not join in the song. The choir continued an hour +without cessation, and then rested 2 minutes, and again began and continued +for another hour.<a id="noteref_4" name="noteref_4" href="#note_4"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">4</span></span></a> At the conclusion of the singing the song-priest +handed to the girl a wand of turkey plumes taken from a basket +of feathers which had stood, since the placing of the masks, on the +west side of him. Another wand was passed to the boy; and the children +received some instructions from the song-priest, who spoke in an +undertone, after which, an attendant filled with water from a wicker +water jug a basket that had stood throughout the ceremony at the east +of the rug.</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">The song was now resumed, and dipping the wand he held in the +basket of water the boy sprinkled the masks, beginning at the north +end and east row. The girl repeated the same. The east row of masks +was sprinkled twice. When the children sprinkled the middle and west +rows, the ceremony was always begun at the north end of each line of +masks; again dipping their wands in the water, the boy beginning at +the north side and the girl at the south, they sprinkled the inmates of<span class="tei tei-pb" id="page256">[pg 256]</span><a name="Pg256" id="Pg256" class="tei tei-anchor"></a> +the lodge. The children were very awkward, and were rendered more +so by the many scoldings given them for their mistakes. The sprinkling +of the people was continued until the water was exhausted. The +lodge was also sprinkled at the cardinal points. The song never ceased +throughout this ceremony. The girl and boy, taking the position first +assigned them, an attendant, with a reed filled with sacred tobacco, +puffed the smoke over the masks, smoking each mask separately on the +east row; the middle and west rows he hurriedly passed over. While +this was being done an attendant took a pinch from all the different +foods and placed what he gathered into a basket in the niche behind +the song-priest.<a id="noteref_5" name="noteref_5" href="#note_5"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">5</span></span></a> After the masks had been smoked, the attendant +puffed the smoke over all the people, beginning on the north side of the +lodge. During the smoking the song ceased, but was resumed when +the attendant took his seat. At the close of the song sacred meal was +mixed with water in a Zuñi pottery bowl. This meal is made of green +corn baked in the earth and then ground. During the preparation of +this medicine mixture the song-priest sang: "This food is mixed for the +people of the rocks! We feed you with this food, O people of the +rocks!" The theurgist then dipped his forefinger into the mixture, and +running his hand rapidly over the masks from north to south, he touched +each mouth; each line was passed over four times. The invalid dipped +his three first fingers into the basket, and placing them in his mouth, +sucked in his breath with a loud noise. This was repeated four times +by the invalid and then by each of the attendants, when all the inmates +of the lodge were expected to partake of the mixture. This was done +with a prayer for rain, good crops, health, and riches. All hands now +participated in the feast.</p> + +<a name="Pg257" id="Pg257" class="tei tei-anchor"></a><table summary="This is a table" cellspacing="0" class="tei tei-table" style="margin-bottom: 1.00em"><colgroup span="2"></colgroup><thead><tr><th colspan="2" class="tei tei-head tei-head-table" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"><span style="font-weight: 700">FOODS BROUGHT INTO THE LODGE.</span></th></tr></thead><tbody><tr class="tei tei-row"> +<td class="tei tei-cell">Da'ttuneilgaij</td> +<td class="tei tei-cell">Pats made of wheat flour and fried.</td> +</tr><tr class="tei tei-row"> +<td class="tei tei-cell">Tab'aestch'lŏnni</td> +<td class="tei tei-cell">Corn meal pats wrapped in corn husks and boiled.</td> +</tr><tr class="tei tei-row"> +<td class="tei tei-cell">Tanä'shkiji</td> +<td class="tei tei-cell">Thick mush boiled and stirred with sticks.</td> +</tr><tr class="tei tei-row"> +<td class="tei tei-cell">Nänesk'ädi</td> +<td class="tei tei-cell">Tortillas.</td> +</tr><tr class="tei tei-row"> +<td class="tei tei-cell">Ta'bijai</td> +<td class="tei tei-cell">Four small balls of corn meal wrapped in corn husks and boiled.</td> +</tr><tr class="tei tei-row"> +<td class="tei tei-cell">Insi'dok'ui</td> +<td class="tei tei-cell">Corn bread with salt, made from the new corn, wrapped in corn husks and baked in ashes.</td> +</tr><tr class="tei tei-row"> +<td class="tei tei-cell">Tkäditin</td> +<td class="tei tei-cell">White corn meal mush.</td> +</tr><tr class="tei tei-row"> +<td class="tei tei-cell">Klesa'hn</td> +<td class="tei tei-cell">Corn meal dough in rectangular cakes baked in ashes, hot earth, or sand.</td> +</tr><tr class="tei tei-row"> +<td class="tei tei-cell">Tsëste'lttsoi</td> +<td class="tei tei-cell">Cakes some fourth of an inch thick made from sweet corn mixed with goat's milk and baked on a hot rock.</td> +</tr><tr class="tei tei-row"> +<td class="tei tei-cell">Tseste'</td> +<td class="tei tei-cell">Bread made of corn first toasted and then finely ground and made into a thin batter which is baked upon a highly polished lava slab. The crisp gauzy +sheets are folded or rolled.</td> +</tr><tr class="tei tei-row"> +<td class="tei tei-cell">Tki'neshpipizi</td> +<td class="tei tei-cell">Small balls of corn meal mush.</td> +</tr><tr class="tei tei-row"> +<td class="tei tei-cell">To'tkonji</td> +<td class="tei tei-cell">Corn meal cakes one-fourth of an inch in thickness +of old corn, baked in a pan; they are seasoned +with salt.</td> +</tr><tr class="tei tei-row"> +<td class="tei tei-cell">Ãlkaandt</td> +<td class="tei tei-cell">A bread made from sweet corn which is first parched +then ground on a metate and then chewed by +women and girls and placed in a mass in a flat +basket; this must be either of yellow or white +corn, the blue corn is never used for this purpose. +A mush is made of either white or yellow corn +meal and the former preparation which has become +yeast is stirred into the mush. A hole is then dug +in the ground (near the fire) and lined with shucks +into which the mush is poured, it is then covered +with shucks after which earth is thrown over it +and a large fire built which burns all night. In +the early morning the cinders and coals are removed +when the bread is found to be baked.</td> +</tr><tr class="tei tei-row"> +<td class="tei tei-cell">Tkleheljoe</td> +<td class="tei tei-cell">Yeast is prepared for this bread in the same manner +as that for the Ãlkaandt except that the corn is +baked instead of parched. The yeast is then +mixed with meal into a stiff dough and baked in +corn husks, four pats are placed in each package.</td> +</tr><tr class="tei tei-row"> +<td class="tei tei-cell">Ta'nätnil (beverage)</td> +<td class="tei tei-cell">Is the same preparation as the yeast used in the +Ãlkaandt except in this case a drink is made of +it by pouring boiling water over it.</td> +</tr><tr class="tei tei-row"> +<td class="tei tei-cell">Diz'etso</td> +<td class="tei tei-cell">Peaches (fresh or dried) stewed. +There were also several large bowls of stewed mutton.</td> +</tr></tbody></table> + +<p class="tei tei-p" style="margin-bottom: 1.00em">Little groups of threes and fives were formed over the floor of the +lodge; others less fortunate were closely packed together around the +outer edge of the lodge and could procure their food only through the +generosity of their neighbors. The girl and boy left the lodge after +having partaken of the sacred meal mixture. After refreshment the +song-priest lifted each mask with his left hand beginning with Hasjelti, +and first extending his right hand, which held a fine large crystal, +toward the heavens, he touched the under part of each mask with the +crystal; four times he passed over the masks. The choir sang but no +rattle was used. The crystal was afterward placed on the rug opposite +the basket of feathers. The food vessels were removed and the song +continued for a time when the song-priest repeated a long low prayer, +after which the song was resumed, and thus the night was consumed in +prayer and song over the masks.</p> +</div> +</div> + +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<a name="toc52" id="toc52"></a> +<a name="pdf53" id="pdf53"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">FIFTH DAY.</span></h1> + +<p class="tei tei-p" style="margin-bottom: 1.00em"></p> + +<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em"> +<a name="toc54" id="toc54"></a> +<a name="pdf55" id="pdf55"></a> +<h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">FIRST CEREMONY.</span></h2> + +<p class="tei tei-p" style="margin-bottom: 1.00em">A basket of yucca suds was prepared by an attendant, who cleansed +his hands of the suds by pouring a gourd of clear water over them; he +then put a handful of the suds upon the head of a man who stood before +him, nude with the exception of a breech cloth, after which the man +washed his head from a water jug which was held over the head of the<span class="tei tei-pb" id="page258">[pg 258]</span><a name="Pg258" id="Pg258" class="tei tei-anchor"></a> +bather by the attendant. The bather covered his body with the suds, +and the contents of the jug was emptied on the floor of the lodge by the +attendant. The man dressed himself in the ordinary cotton clothing +with rare beads around his neck, and a leather pouch held by a band +of mountain sheep skin over his shoulders; he knelt before a bowl of +white kaolin which he spread over his face; he then took his seat between +two attendants, the one to the right of him holding a pinch of +native tobacco and the one on the left holding corn meal in the palms of +the right hands.</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">At early dawn the buffalo robe at the entrance of the lodge was slightly +dropped from the doorway to admit the rays of approaching day. The +masks which had been sung and prayed over all night were laid away +in the niche behind the song-priest. The little girl who performed the +previous night returned to the lodge, but I could not see that she was +there for any purpose save to eat some of the remaining food, which +had been gathered into two large parcels and left by the old woman +who removed the vessels after the feast. A red blanket was laid and +upon it a piece of white cotton. A reed five inches in length and twice +the diameter of the others heretofore used was prepared. The reed +was colored black in the usual manner and filled with a feather ball +and tobacco. It was lighted with the crystal and touched with the +pollen. Upon the completion of the tube the invalid took his seat on +the west side of the rug, the attendant who prepared the tube sitting on +the west side; he took from one pouch four white shell beads and from +another a turquoise bead; he looped a cord of white cotton yarn some +three feet long around the pollen end of the tube and fastened to the +loop two wing feathers of the Arctic blue bird, one from the right wing +and one from the left, and a tail feather from the same bird and three +feathers from a bird of yellow plumage, the right and left wing and tail +feather. The five beads were strung on the string, the turquoise +being the first put on; these were slipped up the cord and two under +tail-feathers and a hair from the beard of the turkey were fastened to the +end of the string with a loop similar to that which attached it to the tube. +(See PL CXIX.). This was the great (cigarette) offering to Hasjelti and +must be placed in a canyon near a spring, for all birds gather at the waters. +This was offered that the song-priest might have his prayers passed +straight over the line of song. This offering secures the presence of +this most valued god and so fills the mind of the song-priest with song +and prayer that it comes forth without hesitation and without thought, +so that he may never have to think for his words. A small quantity of +each variety of sand used in decorating was placed on a husk with a +little tobacco, and on these a pinch of corn pollen; the tube was then +laid on the husk and the string and feathers carefully placed. Two +additional feathers, the under tail of the eagle and turkey, were laid on +the husk. A blue feather was dipped in water, then in pollen, and +rubbed twice over these feathers; an attendant folded the parcel and<span class="tei tei-pb" id="page259">[pg 259]</span><a name="Pg259" id="Pg259" class="tei tei-anchor"></a> +the song-priest received it and touched it to the soles of the feet, knees, +palms, breast, and back and mouth of the invalid; he then put a pinch +of the pollen into the invalid's mouth, and a pinch on the top of the +head; he placed the folded husk in the invalid's hand, and stood in +front of him and whispered a long prayer which the invalid repeated +after him. The manner of holding the husk has been previously described. +The man with painted face received the husk from the theurgist, +who returned to his seat and at once opened the chant with the +rattle. At the close of the chant the holder of the husk touched the +soles of the feet, palms, etc., of the invalid with it and left the lodge. +This precious parcel was taken three miles distant and deposited in a +canyon near a spring where there is a luxuriant growth of reeds. Prayers +were offered by the depositor for health, rain, food, and good fortune to +all. Only the theurgist and his attendants and a few of the near relatives +of the invalid were present at this ceremony.</p> + +<a name="fig56" id="fig56"></a><div class="tei tei-figure" style="text-align: center"><img src="images/image14.png" width="600" height="1070" alt="Illustration" title="" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"></div></div> +</div> + +<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em"> +<a name="toc57" id="toc57"></a> +<a name="pdf58" id="pdf58"></a> +<h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">SECOND CEREMONY.</span></h2> + +<p class="tei tei-p" style="margin-bottom: 1.00em">The sweat-house priest preceded the invalid and song-priest, the +latter carrying his medicine basket, wands, etc. The hot stones and +pine boughs were put into the sweat house; meal was sprinkled around +the west base and the wands deposited, as before described, by the +song-priest. Three white and black striped blankets were placed over +the entrance, one upon the other, and upon these were a buckskin and +several folds of white muslin. An attendant brought a large medicine +bowl half filled with pine needles; water was poured upon these; a +small earthen bowl and a gourd containing water were placed before +the song-priest, who put into the bowl chopped sage, over which he +sprinkled dried foods reduced to powder; a small quantity of meal was +also sprinkled into the gourd and bowl. The song then began. A +small pine bough was laid to the right of the entrance of the sweat +house. The opening of the song was a call upon the gods to impart to +the medicine power to complete the cure of the invalid and to make all +people well, and to have a wet and good ground all over the earth. +This song is specially addressed to Toneennili, the water sprinkler.</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">Hasjelti and Hostjoghon arrived just as the sick man emerged from +the sweat house. The invalid bathed himself from the bowl of pine +needles and water. Taking the sheep's horn in the left hand and a +piece of hide in the right, Hasjelti pressed the invalid's body as before +described. The god was requested by the priest of the sweat house to +pay special attention to the rubbing of the head of the invalid. The +small gourd was handed to Hasjelti, who gave four drafts of its contents +to the invalid. Hasjelti touched the soles of the feet, palms, etc., +of the invalid with medicine water from the bowl. The gods then suddenly +disappeared. On this occasion Hostjoghon took no part in +administering the medicine. The invalid, after putting on his clothing, +proceeded to the lodge, followed by the song-priest. The sweat house<span class="tei tei-pb" id="page260">[pg 260]</span><a name="Pg260" id="Pg260" class="tei tei-anchor"></a> +was razed as usual, and the pine boughs and stones were placed to the +north of the house in a small piñon tree; the logs of the house were +deposited on the ground a few feet from the tree. A line of meal the +length of the medicine tube was sprinkled on the logs and the tube +laid thereon. Meal was sprinkled over the tube and logs.</p> +</div> + +<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em"> +<a name="toc59" id="toc59"></a> +<a name="pdf60" id="pdf60"></a> +<h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">THIRD CEREMONY.</span></h2> + +<p class="tei tei-p" style="margin-bottom: 1.00em">The first sand painting occurred on October 16; it was begun in the +early forenoon and completed at sundown. Common yellowish sand +was brought in blankets. This formed the ground color for the painting. +It was laid to form a square 3 inches in depth and 4 feet in +diameter. Upon this three figures were painted after the manner +described of the painting of the rainbow over the sweat house. Nine +turkey wands were placed on the south, west, and north sides of the +square, and a line of meal with four foot-marks extended from near the +entrance of the lodge to the painting. (See Pl. CXX.)</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">Hasjelti stands to the north end in the illustration, holding the +emblem of the concentrated winds. The square is ornamented at the +corners with eagle plumes, tied on with cotton cord; an eagle plume is +attached to the head of Hasjelti with cotton cord. The upper horizontal +lines on the face denote clouds; the perpendicular lines denote +rain; the lower horizontal and perpendicular lines denote the first +vegetation used by man. Hasjelti's chin is covered with corn pollen, +the head is surrounded with red sunlight, the red cross lines on the +blue denote larynx; he wears ear rings of turquoise, fringed leggings of +white buckskin, and beaded moccasins tied on with cotton cord. The +figure to the south end is Hostjoghon; he too has the eagle plume on +the head, which is encircled with red sunshine. His earrings are of +turquoise; he has fox-skin ribbons attached to the wrists; these are +highly ornamented at the loose ends with beaded pendants attached +by cotton strings; he carries wild turkey and eagle feather wands, +brightened with red, blue, and yellow sunbeams. The center figure is +one of the Hostjobokon, and upon this figure the invalid for whom the +ceremonial is held sits. The four footprints are made of meal. These +the invalid steps upon as he advances and takes his seat, with knees +drawn up, upon the central figure. After dark the invalid walked over +the line of meal, being careful to step upon the footprints in order that +his mental and moral qualities might be strengthened. The invalid +removed his clothing immediately after entering the lodge; he had +downy breast feathers of the eagle attached to the scalp lock with +white cotton cord; he advanced to the painting and took his seat upon +the central figure. An attendant followed him, and with his right +hand swept the line of meal after the invalid, removing all traces of it. +The entrance of the invalid into the lodge was a signal for the song-priest +to open the chant with the rattle. Hasjelti and Hostjoghon +bounded into the lodge hooting wildly. The former carried the square<span class="tei tei-pb" id="page261">[pg 261]</span><a name="Pg261" id="Pg261" class="tei tei-anchor"></a> +(the concentrated winds), which he placed over the sick man's head. +Hostjoghon carried a turkey wand in each hand, and these he waved +over the invalid's head and hooted; this was repeated four times, and +each time the gods ran out of the lodge. Hasjelti wore a velvet dress, +but Hostjoghon's body was nude, painted white. This wild, weird ceremony +over, the sick man arose and the song-priest gathered the turkey +wands from around the painting, while an attendant erased it by rubbing +his hands over the sand to the center. The sands were gathered +into a blanket and carried out of the lodge and deposited some distance +away from the lodge, where the sun could not generate the germ of the +disease. The sand is never touched by any one when once carried out, +though before the paintings are erased the people clamor to touch +them, and then rub their hands over their own bodies that they may be +cured of any malady. The invalid, after putting on his clothes, returned +to his family lodge. A group then gathered around the spot where the +paintings had been and joined in a weird chant, which closed the fifth +day's ceremony.</p> + +<a name="fig61" id="fig61"></a><div class="tei tei-figure" style="text-align: center"><img src="images/image15.png" width="600" height="984" alt="Illustration" title="" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"></div></div> +</div> +</div> + +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<a name="toc62" id="toc62"></a> +<a name="pdf63" id="pdf63"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">SIXTH DAY.</span></h1> + +<p class="tei tei-p" style="margin-bottom: 1.00em">Preparations for a great sand painting began at daylight. Sand for +the ground work was carried in in blankets; the fire which had burned +through the previous ceremonies was first removed and all traces of it +covered with sand. As the artists were to begin the painting with the +center of the picture only a portion of the ground color was laid at +first, in order to enable them to work with greater facility. While the +ground color was being laid a man sat on one side of the lodge grinding +with a metate and mixing the colors. A quantity of coals were +taken from the exhausted fire from which to prepare black paint. A +small quantity of red sand was mixed with the charcoal to give it body +or weight. The colors used in this sand painting have all been referred +to in the description of the rainbow over the sweat house. After the +central portion of the ground work for the painting was smoothed off a +Jerusalem cross was drawn in black. The eye usually was the only +guide for drawing lines, though on two occasions a weaving stick was +used. As a rule four artists were employed, one beginning at each +point of the cross. Each arm of the cross was completed by the artist +who began the work. For illustration of painting see PL CXXI.</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">The black cross-bars in the illustration denote pine logs; the white +lines the froth of the water; the yellow, vegetable debris gathered by +the logs; the blue and red lines, sunbeams. The blue spot in center of +cross denotes water. There are four Hostjobokon with their wives the +Hostjoboard; each couple sit upon one of the cross arms of the logs. +These gods carry in their right hands a rattle, and in their left sprigs +of piñon; the wives or goddesses carry piñon sprigs in both hands; the +rattle brings male rains, and the piñon, carried by the women, female +rains; these rains meet upon the earth, conceive and bring forth all<span class="tei tei-pb" id="page262">[pg 262]</span><a name="Pg262" id="Pg262" class="tei tei-anchor"></a> +vegetation. Their heads are ornamented with eagle plumes tied on +with cotton cord. (Note: In all cases the round head denotes male and +octangular head female.) The gods have also a bunch of night-owl +feathers and eagle plumes on the left side of the head; both male and +female wear turquois earrings and necklaces of the same. The larynx +is represented by the parallel lines across the blue. A line of sunlight +encircles the head of both males and females. The white spots on the +side of the females' heads represent the ears. The arms of the goddesses +are covered with corn pollen, and long ribbons of fox skins are attached +to the wrists, as shown on painting number one. All wear beaded +moccasins tied on with cotton cord. Their chins are covered with corn +pollen and red sunlight surrounds the body. The skirts only have an +additional line of blue sunlight. Hasjelti is to the east of the painting. +He carries a squirrel skin filled with tobacco. His shirt is white +cotton and very elastic. The leggings are of white deer skin fringed, +and the moccasins are similar to the others. His head is ornamented +with an eagle's tail, and to the tip of each plume there is a fluffy feather +from the breast of the eagle. A bunch of night-owl feathers is on either +side of the eagle tail where it is attached to the head. The horizontal +and perpendicular lines on the face were referred to in the description +of the first sand painting. The projection on the right of the throat is +a fox skin. Hostjoghon's headdress is similar to that of Hasjelti's. +Two strips of beaver skin tipped with six quills of the porcupine are +attached to the right of the throat. The four colored stars on the body +are ornaments of beads. The shirt of this god is invisible; the dark is +the dark of the body. Hostjoghon carries a staff colored black from a +charred plant. The Navajo paint their bodies with the same plant. +The top of the staff is ornamented with a turkey's tail tied to the staff +with white cotton cord; eagle and turkey plumes are alternately attached +to the staff with a cord.</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">The Naaskiddi are to the north and south of the painting; they carry +staffs of lightning ornamented with eagle plumes and sunbeams. +Their bodies are nude except the loin skirt; their leggings and moccasins +are the same as the others. The hunch upon the back is a black +cloud, and the three groups of white lines denote corn and other seeds +of vegetation. Five eagle plumes are attached to the cloud backs +(eagles live with the clouds); the body is surrounded with sunlight; +the lines of red and blue which border the bunch upon the back denote +sunbeams penetrating storm clouds. The black circle zigzagged with +white around the head is a cloud basket filled with corn and seeds of +grass. On either side of the head are five feathers of the red shafted +flicker (<span class="tei tei-hi"><span style="font-style: italic">Colaptes cafer</span></span>); a fox skin is attached to the right side of the +throat; the mountain sheep horns are tipped with the under tail feathers +of the eagle, tied on with cotton cord. The horns are filled with +clouds. The rainbow goddess, upon which these gods often travel, completes +the picture.</p> + +<a name="fig64" id="fig64"></a><div class="tei tei-figure" style="text-align: center"><img src="images/image16.png" width="600" height="1051" alt="Illustration" title="" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"></div></div> + +<span class="tei tei-pb" id="page263">[pg 263]</span><a name="Pg263" id="Pg263" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em">Upon completion of the painting the song-priest, who stood to the +east of it holding in his hand a bag of sacred meal, stepped carefully +between the figures, sprinkling pollen upon the feet and heart of each. +He then sprinkled a thread of pollen up each cheek and down the +middle of the face of the figures, afterwards extending his right hand +toward the east. The face of the encircling rainbow goddess was also +sprinkled. The song-priest placed the sacred wands around the rainbow, +commencing on the west side of the painting, and repeated a +prayer, pointing his finger to the head of each figure. He also placed +a small gourd of medicine water in the hands of the rainbow goddess +and laid a small cedar twig on the gourd. The invalid upon entering +the lodge was handed an Apache basket containing sacred meal, which +he sprinkled over the painting and placed the basket near the feet of +the rainbow goddesses; the song-priest and choir sang to the accompaniment +of the rattle. A short time after the entrance of the invalid +Hasjelti appeared, and taking the evergreen from the gourd dipped it +into the medicine water and sprinkled the feet, heart, and heads of the +sand figures, after which the invalid sat in the center of the cross. +Hasjelti gave him a sip of the sacred water from the gourd and returned +the gourd to its place; then he touched the feet, heart, and head of +each figure successively with his right hand, each time touching the +corresponding parts of the body of the invalid. Every time Hasjelti +touched the invalid he gave a weird hoot. After he had been touched +with sands from all the paintings the theurgist, selecting a few live +coals from a small fire which had been kept burning near the door, +threw them in front of the invalid, who still retained his seat in the +center of the painting. The theurgist placed herbs, which he took from +a buckskin bag, on the coals from which a very pleasant aroma arose. +An attendant sprinkled water on the coals and a moment after threw +them out of the fire opening. The song-priest gathered the wands from +around the edge of the painting and four attendants began to erase it +by scraping the sands from the cardinal points to the center. Again +the people hurried to take sand from the hearts, heads, and limbs of +the figures to rub upon themselves. The sands were gathered into a +blanket and deposited at the base of a piñon tree about one hundred +yards north of the lodge. A chant closed the ceremony.</p> +</div> + +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<a name="toc65" id="toc65"></a> +<a name="pdf66" id="pdf66"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">SEVENTH DAY.</span></h1> + +<p class="tei tei-p" style="margin-bottom: 1.00em">The first business of the day was the preparation of an elaborate sand +picture, and though the artists worked industriously from dawn, it was +not completed until after 3 o'clock. The paint grinder was kept busy +to supply the artists. It was observed that in drawing some of the lines +the artists used a string of stretched yarn instead of the weaving stick. +When five of the figures had been completed, six young men came into +the lodge, removed their clothes, and whitened their bodies and limbs +with kaolin; they then left the lodge to solicit food from the people, who<span class="tei tei-pb" id="page264">[pg 264]</span><a name="Pg264" id="Pg264" class="tei tei-anchor"></a> +were now quite thickly gathered over the mesa to witness the closing ceremonies. +The mesa top for a mile around was crowded with Indians, +horses, sheep, and hogans (lodges); groups of 3 to 20 Indians could be +seen here and there gambling, while foot and horse racing were features +of special interest. Indeed, the people generally were enjoying themselves +at the expense of the invalid. The rainbow goddess, Nattsilit, +surrounding the painting, was about 25 feet in length. Upon the completion +of the painting the song-priest sprinkled the figures with pollen +as before described and planted the feather wands around the pictures.</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">In the illustration of this painting, Pl. CXXIII, Hasjelti will be recognized +as the leader. He carries a fawn skin filled with sacred meal; +the spots on the skin are seven and in the form of a great bear. The +fawn skin indicates him as the chief of all game. It was Hasjelti who +created game. The first six figures following Hasjelti are the Ethsethle. +The next six figures are their wives. Toneennili, the water sprinkler +(<span class="tei tei-hi"><span style="font-style: italic">to</span></span>, water, and <span class="tei tei-hi"><span style="font-style: italic">yonily</span></span>, to sprinkle), follows carrying a water jug, from +which he sprinkles the earth. The Ethsethle wear leggings of corn pollen +and the forearms of the gods are covered with pollen. Their wives +have their arms and bodies covered with the same. The skirts of the +Ethsethle are elaborately ornamented and their pouches at their sides +are decorated with many beads, feathers, and fringes. The gods are +walking upon black clouds and mist (the yellow denoting mist), the +women upon blue clouds and mist.</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">During the ceremony an Apache basket containing meal was brought +in and placed at the feet of the rainbow goddess. The invalid entered +the lodge, which had become quite filled with privileged spectators, and +receiving the basket of meal, sprinkled the figures from left to right; +he then removed all his clothing except his breech cloth and stood east +of the painting. Hostjoghon stepped to the head of the rainbow goddess +and taking the small gourd of medicine water dipped the cedar +twig into the water and sprinkled the figures, then touched the twig to +the feet, heart, and head of each figure, commencing at the male figure +to the north and passing south, then beginning with the female figures +to the north and passing south. The invalid took his seat in the center +of the painting with his knees drawn to his chin. Hostjoghon held the +medicine gourd over each figure and passed it to the invalid, who took +four sips, Hostjoghon hooting each time he passed the gourd to the invalid. +After returning the gourd and twig to their former position he +placed the palms of his hands to the feet and head of each figure and +then placed his palms on the corresponding parts of the invalid's body, +and pressed his head several times between his hands. After touching +any part of the invalid, Hostjoghon threw his hands upward and gave +one of his characteristic hoots. The song-priest placed coals in front of +the invalid and herbs upon them, as he had done the day before, and +then retired. The coals were afterwards thrown out of the fire opening +and the crowd rushed to the painting to rub their bodies with the sand.<span class="tei tei-pb" id="page265">[pg 265]</span><a name="Pg265" id="Pg265" class="tei tei-anchor"></a> +The painting was obliterated in the usual manner and the sand carried +out and deposited at the base of a piñon tree some 200 yards from the +lodge.</p> + +<a name="fig67" id="fig67"></a><div class="tei tei-figure" style="text-align: center"><img src="images/image17.png" width="600" height="343" alt="Illustration" title="" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"></div></div> +</div> + +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<a name="toc68" id="toc68"></a> +<a name="pdf69" id="pdf69"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">EIGHTH DAY.</span></h1> + +<p class="tei tei-p" style="margin-bottom: 1.00em">The grinding of the paint began at daylight, and just at sunrise the +artists commenced their work. When any mistake occurred, which +was very seldom, it was obliterated by sifting the ground color over it. +Each artist endeavored to finish his special design first, and there was +considerable betting as to who would succeed. The rapidity with which +these paints are handled is quite remarkable, particularly as most of +the lines are drawn entirely by the eye. After the completion of the +painting, each figure being three and a half feet long, corn pollen was +sprinkled over the whole by the song priest. (See illustration, Pl. +CXXIII.)</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">The corn stalk in the picture signifies the main subsistence of life; +the square base and triangle are clouds, and the three white lines at the +base of the corn stalk denote the roots of the corn. The figures of this +picture are each 3-1/2 feet in length. These are the Zenichi (people of the +white rock with a red streak through it) and their wives. Their homes +are high in the canyon wall. The black parallelogram to the west of +the painting designates a red streak in the rock in which are their +homes. The delicate white lines indicate their houses, which are in the +interior or depths of the rock, and can not be seen from the surface. +This canyon wall is located north of the Ute Mountain. These people of +the rocks move in the air like birds. The red portion of the bodies of +the Zenichi denote red corn; the black portion black clouds. The red +half of the face represents also the red corn; the blue of the bodies of +the others denote vegetation in general, and the yellow, pollen of all +vegetation. The zigzag lines of the bodies is lightning; the black lines +around the head, zigzagged with white, are cloud baskets that hold red +corn, which is stacked in pyramidal form and capped with three eagle +plumes. There are five feathers of the red and black shafted flicker +(<span class="tei tei-hi"><span style="font-style: italic">Colapteo cafer</span></span>) on either side of the head. A lightning bow is held +in the left hand, the right holds a rattle ornamented with feathers. +The females carry in their hands decorated baskets and sprigs of piñon, +and they wear white leggings and beaded moccasins. The Zenichi +never dance. These gods are also called Zaadoljaii, meaning rough +mouth, or anything that protrudes roughly from the mouth. (The mouth +and eyes of these gods protrude.) The rainbow goddess is represented +at the north and south end of the painting. The corn stalk has two ears +of corn, while the original stalk had 12 ears. Two of these ears the gods +gave to the younger brother of the Tolchini when they commanded him +to return to the Navajo and instruct them how to represent the gods in +sand painting and in masks. The four corner figures will be recognized +as the Naashiddi (hunchback, or mountain sheep).</p> + +<span class="tei tei-pb" id="page266">[pg 266]</span><a name="Pg266" id="Pg266" class="tei tei-anchor"></a> + +<a name="fig70" id="fig70"></a><div class="tei tei-figure" style="text-align: center"><img src="images/image19.png" width="600" height="339" alt="Illustration" title="" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"></div></div> + +<p class="tei tei-p" style="margin-bottom: 1.00em">During the ceremony Hasjelti, dressed in black velvet ornamented +with silver, and Hostjoboard, with her nude body painted white and +with silk scarf around the loins caught on with silver belt, left the lodge +to gather the children upon the mesa for the purpose of initiating them; +but the children had already been summoned by men who rode over the +mesa on horseback, visiting every hogan to see that all the children +were brought for initiation. A buffalo robe was spread at the +end of the avenue which extended from the medicine lodge some +three hundred yards. The head of the robe was to the east; at the +end of the robe blankets were spread in a kind of semicircle. Most of +the children were accompanied by their mothers. The boys were stripped +of their clothing and sat upon the buffalo robe. The head of the +line being to the north, they all faced east with their feet stretched +out. Their arms hung by their sides and their heads were bent forward. +The girls sat in line upon the blanket in company with their mothers +and the mothers of the boys. It is entirely a matter of choice whether +or not a mother accompanies her child or takes any part in the ceremony. +The girls also sat like the boys, their heads bent forward. +Their heads were bent down that they might not look upon the gods +until they had been initiated. Up to this time they were supposed +never to have had a close view of the masks or to have inspected anything +pertaining to their religious ceremonies. The children ranged +from five to ten years of age. At this particular ceremony nine boys +and six girls were initiated. When the children were all in position, +Hasjelti, carrying a fawn skin containing sacred meal, and Hostjoboard, +carrying two needles of the Spanish bayonet, stood in front of the children. +The boy at the head of the line was led out and stood facing the +east. Hasjelti, with the sacred meal, formed a cross on his breast, at the +same time giving his peculiar hoot. Hostjoboard struck him upon the +breast, first with the needles held in her right hand and then with those +held in the left. Hasjelti then turned the boy toward the right until +he faced west and made a cross with meal upon his back, when Hostjoboard +struck him twice on the back with the needles. He was again +turned to face the east, when both arms were extended and brought +together. Hasjelti made a cross over the arms and then over the knees. +Each time the boy was crossed with the meal Hostjoboard struck the +spot first with the needles in the right hand and then with those in the +left, after which the boy returned to his seat. The cross denotes the scalp +knot. Most of the boys advanced quite bravely to receive the chastisement. +I noticed but one who seemed very nervous, and with great +difficulty he kept back the tears. The boys' ceremony over, the gods +approached the girls, beginning at the end of the line next to the boys. +Hasjelti marked a line of meal on each side of the foot of the girl, +when Hostjoboard, now holding two ears of yellow corn wrapped with +piñon twigs, placed them to the soles of the girl's feet and Hasjelti +drew a line of meal on each hand; after which Hostjoboard placed the<span class="tei tei-pb" id="page267">[pg 267]</span><a name="Pg267" id="Pg267" class="tei tei-anchor"></a> +ears of corn to the palms of the hands, she holding the corn in her +palms and pressing it to the palms of the girl's hands. Hasjelti formed +a cross on the breast with the meal and Hostjoboard pressed the two +ears of corn to the breast; a cross was made on the back and the two +ears of corn pressed to the back. Hasjelti, with his right hand, then +drew a line on the girl's left shoulder, and with his left hand a line on +the girl's right shoulder, the corn being pressed to the shoulders in the +manner described. Two lines of meal were run over the forehead back +to the top of the head, and the two ears of corn pressed to the top of +head. The boys were nude but the girls were gayly dressed in blankets, +jewelry, etc. At the close of this ceremony the representatives of the +gods removed their masks and called upon the children to raise their +heads. The amazement depicted upon the faces of the children when +they discovered their own people and not gods afforded much amusement +to the spectators. The masks were laid upon a blanket and the +girls and boys were commanded to look upon them. Hostjoboard +placed her mask upon the face of each boy and girl and woman in the +line, beginning at the north end of the line, giving a hoot each time +the mask was placed upon anyone. Great care was taken that the +mask should be so arranged upon the face that the eyes might look +directly through the eyeholes, for should any blunder occur the sight +of at least one eye would be lost. It is scarcely on before it is removed. +After the masks had been placed on all the faces it was laid beside +Hasjelti's. The man personating Hasjelti sprinkled his mask and then +Hostjoboard's with pollen, and the man personating Hostjoboard +sprinkled Hasjelti's mask and then his own with pollen. The boy to +the north end of the line was called out and from the pollen bag took +a pinch of pollen and sprinkled first the mask of Hasjelti and then +Hostioboard's. This was repeated by each boy, girl, and woman in the +line. In approaching the masks they always pass back of the line +around to the north side and then step in front of the masks. The +mask is sprinkled in this wise: A line of pollen is run from the top of +the head down to the mouth; passing around to the right the line is +drawn upward over the left cheek; the hand continues to move outside +of the mask to a point below the right cheek, then up the right cheek. +The younger children's hands were guided by the representatives of the +gods. It would be a great fatality to sprinkle a drop of meal over the +eye holes; the individual committing such an error would become blind +at least in one eye. Great care is also taken that the line is run up the +cheek, for if it was run down not only would vegetation be stunted, but +the lives of the people would become so, as all people and things should +aim upward not downward. The line running down through the center of +the face calls upon the gods above to send down rain upon the earth +and health to all people. Two or three children started through ignorance +to run the meal down one of the cheeks; they were instantly +stopped by Hasjelti, but not until the people looking on had expressed<span class="tei tei-pb" id="page268">[pg 268]</span><a name="Pg268" id="Pg268" class="tei tei-anchor"></a> +great horror. All in the line having gone through this ceremony the +crowd of spectators sprinkled the masks in the same manner. I was +requested to sprinkle them, and at the same time was specially instructed +to run the lines up the cheeks. This closed the ceremony of +initiation. The boys were then permitted to go around at will and +look at the masks and enter the lodge and view the sand painting. +Hasjelti and Hostjoboard returned to the lodge, carrying their masks +in their hands.</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">About an hour after the ceremony of the initiation of the children a +large buffalo robe was spread on the avenue with his head to the east, +around which a circle of some hundred feet in diameter was formed by +horsemen and pedestrians who gathered, eager to witness the outdoot +ceremony. The theurgist and invalid were seated outside of the lodge, +south of the entrance. The dieties personated in this occasion were +the gods Hasjelti and Taadotjaii, and the goddess Tebahdi. Haskjelti +wore black velvet and silver ornaments, with red silk scarf around the +waist. Taadotjaii was nude, his body being painted a reddish color. +The limbs and body were zigzagged with white, representing lightning +and downy breast feathers of the eagle, and in his right hand a +gourd rattle devoid of ornamentation. Yebahdi wore the ordinary +squaw's dress and moccasins, with many silver ornaments, and a large +blanket around her shoulders touching the ground. Hasjelti approached +dancing, and sprinkled meal over the buffalo robe, and the invalid stood +upon the robe. Hasjelti, followed by Zaadoltjaii, again entered the +circle and sprinkled meal upon the robe. The goddess Yebahdi following, +stood within the circle some 20 feet from the robe on the east side +and facing west. Hasjelti, amidst hoots and anties, sprinkled meal +upon the invalid, throwing both his hands upward. Immediately Zaadoltjaii, +with arrow in the left hand and rattle int he right, threw both +hands up over the invalid amidst hoots and antics. They then passed +to Yebahdi, who holds with both hands a basket containing the two +yellow ears of corn wrapped with pine twigs that were used in the children's +ceremony, and indulged in similar antics over the goddess. As +each representative of the gods threw up his hands she raised her +basket high above and in front of her head. Hasjelti, together with +Zaadoltjaii and Yebahdi, then passed around within the circle to the +other three points of the compass. At each point Yebahdi took her +position about 20 feet from the buffalo robe, when Hasjelti and Zaadoltjhaii +repeated their performance over the invalid and then over +Yebahdi each time she elevated the basket. The invalid then entered +the lodge, followed by the representatives of the gods, who were careful +to remove their masks before going in. The invalid sat on the cornstalk +in the center of the sand painting, facing east. Zaadoltjaii +stepped upon the painting, and taking the little medicine gourd from +the hands of the rainbow goddess, dipped the cedar twig into the<span class="tei tei-pb" id="page269">[pg 269]</span><a name="Pg269" id="Pg269" class="tei tei-anchor"></a> +medicine water and sprinkled the painting, beginning at the south side. +Zaadoltjaii gave the invalid a draft from the gourd, and waving the +gourd from left to right formed a circle, amidst the wildest cries. He +gave three more drafts to the invalid, each time waving the gourd +around the invalid with a wave toward the east. He then placed the +palm of his hand over the feet of all the figures, beginning with the +figure at the south end, west side; running up that line he began with +the figure on the north end east side, running down that line; he then +placed his hands to the soles of the feet of the invalid, hooting twice; +then the heart of the invalid was touched in the same manner with the +palm of the right hand, the left hand being placed to his back. The +body was pressed in this way four times amid loud cries. This was +repeated upon the invalid. After touching each figure of the painting, +the right hand was placed to the forehead of the invalid and the left +hand to the back of the head, and the head pressed in this way on all +sides. The song-priest put live coals before the invalid and upon them +sprinkled tobacco and water, the fumes of which the invalid inhaled. +An attendant then threw the coals out of the fire opening, and the +song-priest gathered the twelve turkey wands from around the painting +while the inmates of the lodge hastened forward to press their hands +upon what remained of the figures, then drawing a breath from their +hands, they pressed them upon their bodies that they might be cured +of any infirmities, moral or physical, after which four men gathered at +the points of the compass and swept the sand to the center of the painting, +and placing it in a blanket deposited it a short distance from the +lodge.</p> +</div> + +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<a name="toc71" id="toc71"></a> +<a name="pdf72" id="pdf72"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">NINTH DAY.</span></h1> +<p class="tei tei-p" style="margin-bottom: 1.00em"></p> + +<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em"> +<a name="toc73" id="toc73"></a> +<a name="pdf74" id="pdf74"></a> +<h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">FIRST CEREMONY.</span></h2> + +<p class="tei tei-p" style="margin-bottom: 1.00em">The final decoration of masks with ribbons, plumes, etc., began at sunrise +and consumed most of the morning. About noon two sticks 1 +inch in diameter and 6 inches long were colored; one, of piñon, was +painted black, the other, of cedar, was colored red. Three medicine +tubes were made, one black, one red, and one blue. These were placed +in a basket half filled with meal; the basket stood in the niche behind +the song-priest. Two men personated Naiyenesgony and Tobaidischinni. +Naiyenesgony's body was painted black (from the embers of a burnt +weed of which specimens were procured) and on the outside of his legs +below the knee, on the upper arms, breast and scapula were bows in +white but without arrows. Tobaidischinni had his body painted with +the scalp knot in white in relative positions to the bows on Naiyenesgony. +A third man, personating the turquois hermaphrodite Ahsonnutli, wore +the usual squaw's dress with a blanket fastened over the shoulders +reaching to the ground. Her mask was blue. The three left the lodge +carrying their masks in their hands. Passing some distance down the +avenue to the east they put on their masks and returned to the lodge.<span class="tei tei-pb" id="page270">[pg 270]</span><a name="Pg270" id="Pg270" class="tei tei-anchor"></a> +A buffalo robe had been spread in front of the lodge. Just as the +maskers returned, the invalid, wrapped in a fine red Navajo blanket and +bearing a basket of sacred meal, stepped upon the robe; he had before +stood in front of the lodge by the side of the song-priest. The many +spectators on foot and horseback clad in their rich blankets formed a +brilliant surrounding for this ceremony, which took place just at the +setting of the son. Naiyenesgony carried in his right hand a large lava +celt which was painted white. Tobaidischinni followed next carrying +in his right hand the black wood stick which had been prepared in the +morning, and in his left hand the red stick. Ahsonnutli followed with +bow and arrow in the left hand and an arrow in the right with a quiver +thrown over the shoulder.</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">Naiyenesgony drew so close to the invalid that their faces almost +touched and pointed his celt toward the invalid. Tobaidischinni then +approached and in the same manner pointed the sticks toward him, after +which he was approached by Ahsonnutli with her bow and arrows. +This was repeated on the south, west, and north sides of the invalid; +each time the invalid partially turned his arm, shoulder, and back to +sprinkle meal upon the gods. The gods then rushed to the entrance of +the medicine lodge repeating the ceremony there, when they hurried to +the south side of the lodge (the invalid having returned to the lodge; +the buffalo robe was carried in by an attendant). The gods went from +the south side of the lodge to the west and then to the north performing +the same ceremony. As the invalid had spent many days in the +lodge and the disease at each day's ceremony exuded from his body, it +was deemed necessary that these gods should go to the four points of +the compass and draw the disease from the lodge. When they entered +the lodge the buffalo robe had been spread in front of the song-priest +with its head north. Upon this robe each god knelt on his left knee, +Naiyenesgony on the north end of the robe, Ahsonnutli on the south +end, and Tobaidischinni between them, all facing east. The song-priest, +followed by the invalid, advanced to the front of the line carrying the +basket containing the medicine tubes. He sprinkled Naiyenesgony +with corn pollen, passing it up the right arm over the head and down +the left arm to the hand. He placed the black tube in the palm, of the +left hand of the god, the priest chanting all the while a prayer. The +red tube was given with the same ceremony to Tobaidischinni, and the +blue tube with the same ceremony to Ahsonnutli. The quiver was +removed from Ahsonnutli before she knelt. The song-priest, kneeling +in front of Naiyenesgony, repeated a long litany with responses by the +invalid, when the gods left the lodge led by Naiyenesgony who deposited +his tube and stick in a piñon tree, Tobaidischinni depositing his in a +cedar tree, and Ahsonnutli hers in the heart of a shrub.</p> +</div> + +<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em"> +<a name="toc75" id="toc75"></a> +<a name="pdf76" id="pdf76"></a> +<h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">SECOND CEREMONY.</span></h2> + +<p class="tei tei-p" style="margin-bottom: 1.00em">The scene was a brilliant one. Long before the time for the dance a +line of four immense fires burned on each side of the avenue where the<span class="tei tei-pb" id="page271">[pg 271]</span><a name="Pg271" id="Pg271" class="tei tei-anchor"></a> +dance was to take place, and Navajo men and women clad in their bright +colored blankets and all their rare beads and silver encircled each fire. +Logs were piled 5 or 6 feet high. In addition to these eight fires there +were many others near and far, around which groups of gamblers gathered, +all gay and happy. Until this night no women but those who carried +food to the lodge had been present at any of the ceremonies except +at the initiation of the children. To say that there were 1,200 Navajo +would be a moderate calculation. This indeed was a picture never to +be forgotten. Many had been the objections to our sketching and writing, +but throughout the nine days the song-priest stood steadfastly by +us. One chief in particular denounced the theurgist for allowing the +medicine to be put on paper and carried to Washington. But his words +availed nothing. We were treated with every consideration. We were +allowed to handle the masks and examine them closely, and at times +the artists working at the sand painting really inconvenienced themselves +and allowed us to crowd them that we might observe closely the +many minute details which otherwise could not have been perceived, as +many of their color lines in the skirt and sash decorations were like +threads. The accompanying sketches show every detail.</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">The green or dressing room was a circular inclosure of pine boughs +at the end of the avenue. It was about 10 feet high by 20 feet in diameter +made of piñon branches with their butts planted in the ground, +their tops forming a brush or hedge. Within this inclosure the masks +were arranged in a row on the west side. A large fire burned in the +center affording both heat and light. The different sets, when a change +of dress from one set of men to another was to be made, repaired to +this green room for that purpose. This inclosure was also the resort +during the night for many Indians who assisted the dancers in their +toilets.</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">At 10 o'clock the ceremonies opened by the entrance upon the avenue +of the song-priest who came from the green room. He wore a rich red +blanket and over this a mountain lion skin; immediately after him followed +Hasjelti, leading the four Etsethle (the first ones). These represented +first, natan (corn); second, natin (rain); third, nanase (vegetation); +fourth, jadetin (corn pollen). Their masks were blue ornamented +with feathers and were similar to the masks worn by the dancers; their +bodies were painted white with many rare beads around their necks, +and they wore loin skirts with silver belts; a gray fox skin was attached +pendant to the back of the belt, and blue stockings, tied with red garters, +and moccasins completed their dress. They carried in their right +hands gourd rattles painted white. The handles of these may be of any +kind of wood, but it must be selected from some tree near which lightning +has struck, but not of the wood of the tree struck by lightning. +Corn pollen was in the palms of their left hands and in the same hand +they carried also a piñon bough. Hasjelti wore a suit of velvet ornamented +with silver buttons; he never speaks except by signs. They<span class="tei tei-pb" id="page272">[pg 272]</span><a name="Pg272" id="Pg272" class="tei tei-anchor"></a> +advanced single file with a slow regular step and when within 20 feet +of the lodge the priest turned and faced Hasjelti and repeated a short +prayer, when the Etsethle sang.</p> + +<div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em"> +<a name="toc77" id="toc77"></a> +<a name="pdf78" id="pdf78"></a> +<h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">SONG OF THE ETSETHLE.</span></h3> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left; margin-left: 2.00em">From below (the earth) my corn comes</div> +<div class="tei tei-l" style="text-align: left; margin-left: 4.00em">I walk with you.</div> +<div class="tei tei-l" style="text-align: left; margin-left: 2.00em">From above water young (comes)</div> +<div class="tei tei-l" style="text-align: left; margin-left: 4.00em">I walk with you.</div> +<div class="tei tei-l" style="text-align: left; margin-left: 2.00em">From above vegetation (comes to the earth)</div> +<div class="tei tei-l" style="text-align: left; margin-left: 4.00em">I walk with you.</div> +<div class="tei tei-l" style="text-align: left; margin-left: 2.00em">From below the earth corn pollen comes</div> +<div class="tei tei-l" style="text-align: left; margin-left: 4.00em">I walk with you.</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em">These lines are repeated four times. The first line indicates that corn +is the chief subsistence; the second, that it is necessary to pray to Hasjelti +that the earth may be watered; the third, that the earth must be +embraced by the sun in order to have vegetation; the fourth, that pollen +is essential in all religious ceremonies. The Etsethle signify doubling +the essential things by which names they are known, corn, grain, etc., +they are the mystic people who dwell in canyon sides unseen. After the +song the invalid with meal basket in hand passed hurriedly down the +line of gods and sprinkled each one with meal, passing it from the right +hand up to the right arm, to the head then down the left arm to the +hand, placing a pinch in the palm of the left hand. The invalid then +returned and stood to the north side of Hasjelti who was to the left of +the song-priest. The theurgist stood facing natan (corn) and offered a +prayer which was repeated by the invalid. Continency must be observed +by the invalid during the nine days ceremonial and for four days +thereafter.</p> +</div> + +<div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em"> +<a name="toc79" id="toc79"></a> +<a name="pdf80" id="pdf80"></a> +<h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">PRAYER TO THE ETSETHLE.</span></h3> + +<p class="tei tei-p" style="margin-bottom: 1.00em">"People, you come to see us; you have a house in the heart of the +rocks; you are the chief of them; you are beautiful. Come inside of +our houses. Your feet are white; come into our house! Your legs are +white; come into our house! Your bodies are white; come into our +house! Your face is white; come into our house! Old man, this world +is beautiful; the people look upon you and they are happy. This day +let all things be beautiful."</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">This prayer is repeated many times, merely substituting for old man +old woman, then youth, young girl, boy, then all children. The old +man and woman spoken of are not the first old man and woman in the +myth of the old man and woman of the first world. After the prayer +the song-priest and invalid took seats by the entrance of the lodge. +Hasjelti took his position to the west end and to the north of the line +of the Etsethle. He remained standing while the four slowly raised<span class="tei tei-pb" id="page273">[pg 273]</span><a name="Pg273" id="Pg273" class="tei tei-anchor"></a> +the right foot squarely from the ground, then on the toe of the left +foot, which motion shook the rattle. In a short time Hasjelti passed +down the line hooting. He passed around the east end, then returned +up the north side to his former position, and again hooting, resumed +the leadership of the Etsethle, who gave a long shake of the rattle as +soon as Hasjelti stood in front of them. They then followed their +leader to the dressing room.</p> +</div> +</div> + +<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em"> +<a name="toc81" id="toc81"></a> +<a name="pdf82" id="pdf82"></a> +<h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">CONCLUSION - THE DANCE.</span></h2> + +<p class="tei tei-p" style="margin-bottom: 1.00em">The song-priest having returned to the green room, emerged therefrom, +followed by Hasjelti, who carried a fawn skin partially filled with +meal, and by twelve dancers and Hostjoghon, holding in each hand a +feather wand. The twelve dancers represented the old man and woman +six times duplicated. Hasjelti led the dancers and Hostjoghon followed +in the rear. When they came near the lodge the song-priest +turned and faced the dancers, and being joined by the invalid, he led +him down the line of dancers on the north side, the invalid carrying a +sacred meal basket, and sprinkled the right side of each dancer. The +song-priest and invalid then returned to their seats in front of the +lodge. Hasjelti passed down the line on the north side and joined +Hostjoghon at the east end of the line, both then passing to the west end, +where each one endeavored to be the first to stamp twice upon the +ground immediately in front of the leading dancer. This double stamp +is given with hoots, and they then returned down the line to the +center, when Hasjelti dashes back to the west end, clasping the throat +of the fawn skin with his right hand and holding the legs with his left, +with both his arms extended to the front. Hostjoghon extending his +hands with the feather wands in them, they point the head of the skin +and tops of the wands directly in front of them as they stand facing +each other, hooting at the same time. Reversing sides by dashing past +each other, Hasjelti points his fawn skin to the east while Hostjoghon +points his wands to the west. They then return to their respective +positions as leader and follower.</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">After the dance begins Hasjelti passes down the north side and joins +Hostjoghon at the east end of the dancers, Hasjelti keeping to the +north side of Hostjoghon. Three of the men, representing women, +were dressed in Navajo squaw dresses and three of them in Tusayan +squaw dresses; they held their arms horizontally to the elbow and the +lower arm vertically, and, keeping their feet close together, raised +themselves simultaneously on their toes. The dance was begun in +single file, the men raising only their right feet to any height and balancing +on the left. After a minute or two the line broke, the women +passing over to the north side and the men to the south side; almost +instantaneously, however, they grouped into a promiscuous crowd, women +carrying a pine twig in each hand and the men a gourd rattle in +the right hand and a pine twig in the left. The men's bodies were<span class="tei tei-pb" id="page274">[pg 274]</span><a name="Pg274" id="Pg274" class="tei tei-anchor"></a> +painted white and were nude, excepting the silk scarfs and mountain +lion and other skins worn around the loins. Just before the stamping +of the feet in the beginning of the dance, a rattle was shaken by all +the male dancers, which was the signal for a peculiar back motion of +the right arm and body and one which preceded the actual dancing. +The six males lean their bodies to the right side extending the right +hand backward, and then bringing it forward in a circular under sweep +around to the mouth with a hoot. They then turn and face the east, +and bending their bodies toward the south perform the same motion as +before, when they turn to the west and repeat it in that direction. At +the same time the leader and follower repeat their peculiar performance +with the fawn skin and wands to the east and west. Dancing promiscuously +for a few moments to song and rattle, the men representing +women singing in feminine tones, they form again in two lines, the women +as before on the north side. The man at the west end of the male +line and the woman at the same end of the female line, meeting each +other midway between the lines she passes her right arm through the +arm of her partner, his arm being bent to receive it; they pass between +the line and are met a short distance from the other end of the line by +Hasjelti and Hostjoghon, who dance up to meet them, the movement +resembling closely the old-fashioned Virginia reel. The couple then +dance backward between the lines to their starting point, then down +again, when they separate, the man taking his place in the rear of the +male line and the woman hers in the rear of the female line. This +couple starting down the second time, the man and woman immediately +next in line lock arms and pass down in the same manner, Hasjelti +and Hostjoghon scarcely waiting for the first couple to separate +before dancing up to meet the second couple; the remaining couples +following in like order until the first couple find themselves in their +former position at the head of the line. Now a group dance is indulged +in for a minute or two when lines are again formed, and a second figure +exactly like the first is danced. This figure was again repeated without +variation, after which the men and women fell into single file, and, +led by Hasjelti and followed by Hostjoghon, left the dancing ground. +They did not go to the green, however, but moved off a short distance +to rest for a moment and returned. Upon each return the invalid +passed down the line on the north side sprinkling each dancer with +meal, Hasjelti and Hostjoghon performing with the fawn skin and +wands. This dance of four figures was repeated twelve times, each +time the dancers resting but a moment. After the twelve dances the +dancers passed to the green room, where they were relieved by a second +set of men. The second series of dances were exactly like the +first. There were twenty-one dances, four figures in each dance, and +each time the dancers appeared they were sprinkled with meal by the +invalid, while Hasjelti and Hostjoghon performed their antics with +fawn skin and wands. The third series embraced all the dances exactly<span class="tei tei-pb" id="page275">[pg 275]</span><a name="Pg275" id="Pg275" class="tei tei-anchor"></a> +like the above. The fourth series embraced nineteen dances. +The only variation in this was that the leaders were often more clownish +in their performances, and upon several occasions only four men +representing women appeared. In this case two men danced together. +Some of the dancers dropped out from weariness, which caused diminution +in some of the sets. The last dance closed at the first light of day. +The song-priest had preceded the last dancers to the green room and +awaited their arrival to obtain the masks, which were his special property.</p> +</div> +</div> + +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<a name="toc83" id="toc83"></a> +<a name="pdf84" id="pdf84"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">MYTHS OF THE NAVAJO.</span></h1> + +<p class="tei tei-p" style="margin-bottom: 1.00em"></p> + +<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em"> +<a name="toc85" id="toc85"></a> +<a name="pdf86" id="pdf86"></a> +<h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">CREATION OF THE SUN.</span></h2> + +<p class="tei tei-p" style="margin-bottom: 1.00em">The first three worlds were neither good nor healthful. They moved +all the time and made the people dizzy. Upon ascending into this +world the Navajo found only darkness and they said "We must have +light."</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">In the Ute Mountain lived two women, Ahsonnutli, the turquoise +hermaphrodite, and Yolaikaiason, the white-shell woman. These two +women were sent for by the Navajo, who told them they wished light. +The Navajo had already partially separated light into its several colors. +Next to the floor was white indicating dawn, upon the white blue was +spread for morning, and on the blue yellow for sunset, and next was +black representing night. They had prayed long and continuously +over these, but their prayers had availed nothing. The two women on +arriving told the people to have patience and their prayers would +eventually be answered.</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">Night had a familiar, who was always at his ear. This person said, +"Send for the youth at the great falls." Night sent as his messenger a +shooting star. The youth soon appeared and said, "Ahsonnutli, the +ahstjeohltoi (hermaphrodite), has white beads in her right breast and +turquoise in her left. We will tell her to lay them on darkness and see +what she can do with her prayers." This she did.<a id="noteref_6" name="noteref_6" href="#note_6"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">6</span></span></a> The youth from +the great falls said to Ahsonnutli, "You have carried the white-shell +beads and turquoise a long time; you should know what to say." Then +with a crystal dipped in pollen she marked eyes and mouth on the turquoise +and on the white-shell beads, and forming a circle around these +with the crystal she produced a slight light from the white-shell bead +and a greater light from the turquoise, but the light was insufficient.</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">Twelve men lived at each of the cardinal points. The forty-eight +men were sent for. After their arrival Ahsonnutli sang a song, the +men sitting opposite to her; yet even with their presence the song failed +to secure the needed light. Two eagle plumes were placed upon each +cheek of the turquoise and two on the cheeks of the white-shell beads<span class="tei tei-pb" id="page276">[pg 276]</span><a name="Pg276" id="Pg276" class="tei tei-anchor"></a> +and one at each of the cardinal points. The twelve men of the east +placed twelve turquoises at the east of the faces. The twelve men of +the south placed twelve white-shell beads at the south. The twelve men +of the west placed twelve turquoises at the west. Those of the north +placed twelve white-shell beads at that point. Then with the crystal +dipped in corn pollen they made a circle embracing the whole. The +wish still remained unrealized. Then Ahsonnutli held the crystal over +the turquoise face, whereupon it lighted into a blaze. The people retreated +far back on account of the great heat, which continued increasing. +The men from the four points found the heat so intense that they +arose, but they could hardly stand, as the heavens were so close to +them. They looked up and saw two rainbows, one across the other +from east to west, and from north to south. The heads and feet of the +rainbows almost touched the men's heads. The men tried to raise the +great light, but each time they failed. Finally a man and woman +appeared, whence they knew not. The man's name was Atseatsine and +the woman's name was Atseatsan. They were asked "How can this +sun be got up." They replied, "We know; we heard the people down +here trying to raise it, and this is why we came." "Chanteen" (sun's +rays), exclaimed the man, "I have the chanteen; I have a crystal from +which I can light the chanteen, and I have the rainbow; with these +three I can raise the sun." The people said, "Go ahead and raise it." +When he had elevated the sun a short distance it tipped a little and +burned vegetation and scorched the people, for it was still too near. +Then the people said to Atseatsine and Atseatsan, "Raise the sun +higher," and they continued to elevate it, and yet it continued to burn +everything. They were then called upon to "lift it higher still, as high +as possible," but after at certain height was reached their power failed; +it would go no farther.</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">The couple then made four poles, two of turquoise and two of white-shell +beads, and each was put under the sun, and with these poles the +twelve men at each of the cardinal points raised it. They could not +get it high enough to prevent the people and grass from burning. The +people then said, "Let us stretch the world;" so the twelve men at each +point expanded the world. The sun continued to rise as the world expanded, +and began to shine with less heat, but when it reached the +meridian the heat became great and the people suffered much. They +crawled everywhere to find shade. Then the voice of Darkness went +four times around the world telling the men at the cardinal points to +go on expanding the world. "I want all this trouble stopped," said +Darkness; "the people are suffering and all is burning; you must continue +stretching." And the men blew and stretched, and after a time +they saw the sun rise beautifully, and when the sun again reached the +meridian it was only tropical. It was then just right, and as far as +the eye could reach the earth was encircled first with the white dawn +of day, then with the blue of early morning, and all things were perfect.<span class="tei tei-pb" id="page277">[pg 277]</span><a name="Pg277" id="Pg277" class="tei tei-anchor"></a> +And Ahsonnutli commanded the twelve men to go to the east, +south, west, and north, to hold up the heavens (Yiyanitsinni, the +holders up of the heavens), which office they are supposed to perform +to this day.</p> +</div> + +<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em"> +<a name="toc87" id="toc87"></a> +<a name="pdf88" id="pdf88"></a> +<h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">HASJELTI AND HOSTJOGHON.</span></h2> + +<p class="tei tei-p" style="margin-bottom: 1.00em">Hasjelti and Hostjoghon were the children of Ahsonnutli, the turquoise, +and Yolaikaiason (white-shell woman, wife of the sun). Ahsonnutli +placed an ear of white corn and Yolaikaiason an ear of yellow +corn on the mountain where the fogs meet. The corn conceived, the +white corn giving birth to Hasjelti and the yellow corn to Hostjoghon. +These two became the great song-makers of the world. They gave to +the mountain of their nativity (Henry Mountain in Utah) two songs and +two prayers; they then went to Sierra Blanca (Colorado) and made two +songs and prayers and dressed the mountain in clothing of white shell +with two eagle plumes placed upright upon the head. From here they +visited San Mateo Mountain (New Mexico) and gave to it two songs and +prayers, and dressed it in turquoise, even to the leggings and moccasins, +and placed two eagle plumes on the head. Hence they went to San +Francisco Mountain (Arizona) and made two songs and prayers and +dressed that mountain in abalone shells with two eagle plumes upon the +head. They then visited Ute Mountain and gave to it two songs and +prayers and dressed it in black beads. This mountain also had two +eagle plumes on its head. They then returned to the mountain of their +nativity to meditate, "We two have made all these songs."</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">Upon inquiring of their mothers how they came into existence, and +being informed, they said, "Well, let our number be increased; we can +not get along with only two of us." The woman placed more yellow +and white corn on the mountain and children were conceived as before. +A sufficient number were born so that two brothers were placed on each +of the four mountains, and to these genii of the mountains the clouds +come first. All the brothers consulted together as to what they should +live upon and they concluded to make game, and so all game was created.</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">Navajo prayers for rain and snow are addressed to Hasjelti and Hostjoghon. +These gods stand upon the mountain tops and call the clouds +to gather around them. Hasjelti is the mediator between the Navajo +and the sun. He prays to the sun, "Father, give me the light of your +mind, that my mind may be strong; give me some of your strength, that +my arm may be strong, and give me your rays that corn and other vegetation +may grow." It is to this deity that the most important prayers +of the Navajo are addressed. The lesser deities have shorter prayers +and less valuable offerings made to them. Hasjelti communicates with +the Navajo through the feathered kingdom, and for this reason the +choicest feathers and plumes are placed in the cigarettes and attached +to the prayer sticks offered to him.</p> +</div> + +<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em"> +<a name="toc89" id="toc89"></a> +<a name="pdf90" id="pdf90"></a> +<span class="tei tei-pb" id="page278">[pg 278]</span><a name="Pg278" id="Pg278" class="tei tei-anchor"></a> +<h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">THE FLOATING LOGS.</span></h2> + +<p class="tei tei-p" style="margin-bottom: 1.00em">A man sat thinking, "Let me see; my songs are too short; I want +more songs; where shall I go to find them?" Hasjelti appeared and, +perceiving his thoughts, said, "I know where you can go to get more +songs." "Well, I much want to get more, and I will follow you." +When they reached a certain point in a box canyon in the Big Colorado +River they found four gods (the Hostjobokon) at work hewing logs of +cottonwood. Hasjelti said, "This will not do; cottonwood becomes +water-soaked; you must use pine instead of cottonwood." The Hostjobokon +then began boring the pine with flint, when Hasjelti said, +"That is slow work," and he commanded the whirlwind to hollow the +log. A Jerusalem cross was formed with one solid log and a hollow +one. The song-hunter entered the hollow log and Hasjelti closed the +end with a cloud, that the water of the river might not enter when the +logs were launched upon the great waters. The Hostjobokon, accompanied +by their wives, rode upon the logs, a couple sitting on the end +of each cross arm. These were accompanied by Hasjelti, Hostjoghon, +and two Naaskiddi, who walked on the banks to ward the logs off +from the shore. Hasjelti carried a squirrel skin filled with tobacco +from which to supply the gods on their journey. Hostjoghon carried +a staff ornamented with eagle and turkey plumes and a gaming ring +with two humming birds tied to it with white cotton cord. The two +Naaskiddi carried staffs of lightning.<a id="noteref_7" name="noteref_7" href="#note_7"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">7</span></span></a> After floating a long distance +down the river they came to waters that had a shore on one side only, +and they landed. Here they found people like themselves. These people, +on learning of the song-hunter's wish, gave to him many songs and +they painted pictures on a cotton blanket and said, "These pictures +must go with the songs. If we give this blanket to you you will lose it. +We will give you white earth and black coals which you will grind together +to make black paint, and we will give you white sand, yellow +sand, and red sand, and for the blue paint you will take white sand and +black coals with a very little red and yellow sand. These together will +give you blue.<a id="noteref_8" name="noteref_8" href="#note_8"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">8</span></span></a>"</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">The song-hunter remained with these people until the corn was ripe. +There he learned to eat corn and he carried some back with him to the +Navajo, who had not seen corn before, and he taught them how to raise +it and how to eat it.</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">As the logs would not float upstream the song-hunter was conveyed +by four sunbeams, one attached to each end of the cross-logs, to the +box canyon whence he emerged. Upon his return he separated the logs, +placing an end of the solid log into the hollow end of the other and +planted this great pole in the river, whereto this day it is to be seen by +those so venturesome as to visit this point.</p> + +<span class="tei tei-pb" id="page279">[pg 279]</span><a name="Pg279" id="Pg279" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em">The old song priest who related this myth to me regretted that so +few of his people now visited the sacred spot.</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">"When I was young," he said, "many went there to pray and make +offerings."</p> +</div> + +<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em"> +<a name="toc91" id="toc91"></a> +<a name="pdf92" id="pdf92"></a> +<h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">NAIYENESGONY AND TOBAIDISCHINNI.</span></h2> + +<p class="tei tei-p" style="margin-bottom: 1.00em">This world was destroyed five times. The first time by a whirlwind; +the second, by immense hail stones; the third, by smallpox, when each +pustule covered a whole cheek; the fourth, all was destroyed by coughing; +the fifth time Naiyenesgony and Tobaidischinni went over the +earth slaying all enemies.</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">These two boys were born at Tohatkle (where the waters are mated), +near Ute Mountain, in Utah; they were the children of Ahsonnutli. +Ahsonnutli and Yolaikaiason (the white-shell woman) were the creators +of shells. Ahsonnutli had a beard under her right arm and Yolaikaiason +had a small ball of flesh under her left arm from which they made +all shells. The eyes of Naiyenesgony and Tobaidischinni were shells +placed on their faces by Ahsonnutli; the shells immediately becoming +brilliant the boys could look upon all things and see any distance without +their eyes becoming weary. A stick colored black was placed to +the forehead of Naiyenesgony and one colored blue to that of Tobaidischinni. +When Naiyenesgony shook his head the stick remained firm +on the forehead, but he felt something in the palm of his hand, which +proved to be three kinds of seeds, and he said, "We must go by this." +When Tobaidischinni shook his head the stick dropped off the forehead +and they thought a long time and said, "We must go by this." This is +why the deer sheds his horns. In ceremonials the breath is drawn from +sticks which are made to represent the originals; the sticks are also +held to wounds as a curative.</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">These two boys grew from infancy to manhood in four days and on +the fourth day they made bows and arrows; on the fifth day they began +using them. Although they were the children of Ahsonnutli they did +not know her as their mother, but supposed her to be their aunt. Frequently +they inquired of her where they could find their father. She +always told them to stop their inquiries, for they had no father. +Finally they said to her, "We know we have a father and we intend to +go and look for him." She again denied that they had a father, but they +were determined and they journeyed far to the east and came to the +house of the sun. The house was of white shell, and the wife of the sun +(Yolaikaiason) was also of white shell. The wife inquired of the youths +where they were from, and, said she, "What do you want here?" They +replied, "We came to hunt our father." When the sun returned to his +home in the evening he discovered the youths as soon as he entered his +house and he asked, "Where are those two boys from?" The wife replied, +"You say you never do anything wrong when you travel; these +two boys call you father and I know they are your children." The wife<span class="tei tei-pb" id="page280">[pg 280]</span><a name="Pg280" id="Pg280" class="tei tei-anchor"></a> +was very angry. The sun sent the boys off a distance and threw a +great roll of black clouds at them intending to kill them, but they were +not injured, and they returned to the house. He then pushed them +against a sharp stone knife, but they slipped by uninjured. Four times +they were thrust against the knife, but without injury. The sun finding +his attempts unsuccessful said, "It is so, you are my sons." The sun +then ordered Hasjelti and Toneennili (these two were special attendants +upon the sun) to build a sweat house and put the boys in, that they +might die from the heat. Toneennili made an excavation inside of the +sweat house, put the boys into the hole, and placed a rock over the hole +and built a fire over the rock. When the rock became very hot the sun +ordered Toneennili to sprinkle it four times with water, being careful to keep +the entrance to the sweat house closely covered. After a time he +uncovered the entrance and removing the rock the sun commanded the +boys to come out. He did not expect to be obeyed, as he thought and +hoped the boys were dead, but they came out unharmed. The sun then +said, "You are indeed my own children; I have tried in vain to destroy +you." The boys wished to return to the woman whom they supposed +to be their aunt. Before departing the sun asked them what they +wished; they said, "We want bows and arrows, knives, and good leggings. +There are people around the world eating our people (the +Navajo). Some of these people are great giants and some are as small +as flies; we wish to kill them with lightning." The sun gave the youths +clothing that was invulnerable, and he gave them lightning with which to +destroy all enemies, and a great stone knife. They then went over the +world. Naiyenesgony killed with the lightning arrows and Tobaidischinni +scalped with his knife. After all enemies had been destroyed +Naiyenesgony and Tobaidischinni said to the Navajo, "Now we will +leave you and return to our home in the Ute Mountains, where the +waters are mated, but before leaving you we will give to you the ten +songs and prayers that will bring health and good fortune to your +people. Tobaidischinni is the parent of all waters."</p> +</div> + +<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em"> +<a name="toc93" id="toc93"></a> +<a name="pdf94" id="pdf94"></a> +<h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">THE BROTHERS.</span></h2> + +<p class="tei tei-p" style="margin-bottom: 1.00em">The Tolchini (a Navajo clan) lived at Wind Mountain. One of the +brothers became crazy and he went off a long way, and on his return +brought with him a pine bough; a second time he returned with corn, +and from each trip he brought something new and had a story to tell +about it. His brothers would not believe him, and said, "He is crazy; +he does not know what he is talking about." The brothers, however, +became very jealous of him, and constantly taunted him with being a +crazy liar. The Tolchini left the Wind Mountain and went to a rocky +foothill east of San Mateo Mountain. They had nothing to eat but a +kind of seed grass. The eldest brother said, "Let us go hunt," and +told the crazy brother not to leave the camp. But after five days and +nights and no word coming from the brothers he determined to follow<span class="tei tei-pb" id="page281">[pg 281]</span><a name="Pg281" id="Pg281" class="tei tei-anchor"></a> +them and help them, bring home the game; he thought they had killed +more deer than they could carry. After a day's travel he camped near +a canyon, selecting a cavelike place in which to sleep, for he was tired +and thirsty. There was much snow, but no water, so he made a fire +and heated a rock and made a hole in the ground, and placing the rock +in the cavity put in some snow, which melted and furnished him a +draft to quench his thirst. Just then he heard a tumult over his +head like people passing and he went out to see who made the noise, +and he discovered many crows crossing back and forth over the canyon. +This was the home of the crow. There were other feathered people +also (the chaparral cock was among them). He saw also many fires +which had been made by the crows on either side of the canyon. Two +other crows arrived and stood near him and he listened hard to hear +all that was being said. These two crows cried out, "Somebody says, +somebody says." The youth did not know what to make of this. Then, +a crow from the opposite side of the canyon called, "What is the matter; +tell us, tell us; what is wrong?" The two first criers then said, "Two +of us got killed; we met two men who told us. They said the two men, +who were all the time traveling around (referring to the two brothers +of the crazy youth), killed twelve deer and a party of our people went +to the deer after they were killed. Two of us who went after the blood +of the deer were shot." The crows on the other side of the canyon, +called, "Which men got killed?" The first crier replied, "The chaparral +cock, who sat on the horn of the deer, and the crow, who sat on its +backbone." The other called out, "We are not surprised that they +were killed; that is what we tell you all the time. If you will go after +the dead deer you must expect to be killed." "We will not think of +them longer; they are dead and gone. We are talking of things of +long ago." The younger brother sat quietly below and listened to everything +that was being said.</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">After a time the crows on the other side of the canyon made a great +noise and began to dance. They had many songs at that time. The +youth could not see what they were doing, but he listened all the time. +After the dance began a great fire was made, and then he could see black +objects moving, but he could not distinguish any people. He recognized +the voice of Hasjelti. Though the youth was crazy, he remembered +everything in his heart. He even remembered the words of the songs +that continued all the night; he remembered every word of every song. +He said to himself, "I will listen until daylight." These people did not +remain on one side of the canyon where the first fires were built, but +they crossed and recrossed in their dance and had fires on both sides of +the canyon. They danced back and forth until daylight (on the ninth +night of the Hasjelti Dailjis was a repetition of this dance), when all the +crows and the other birds flew away to the west. All that he saw after +they left was the fires and smoke. The crazy youth then started off in +a run to his brothers' camp to tell what he had seen and heard. His<span class="tei tei-pb" id="page282">[pg 282]</span><a name="Pg282" id="Pg282" class="tei tei-anchor"></a> +brothers were up early and saw the boy approaching. They said, "I +bet he will have lots of stories to tell. He will say he saw something +no one ever saw, or somebody jumped on him." And the brother-in-law +who was with them said, "Let him alone; when he comes into +camp he will tell us all, and I believe these things do happen, for he +could not make up these things all the time."</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">The camp was surrounded by piñon brush and a large fire burned in +the center of the inclosure; there was much meat roasting over the fire. +As soon as the youth reached the camp he raked over the coals and +said, "I feel cold." The brother-in-law replied, "It is cold. When +people camp together they tell stories to one another in the mornings; +we have told ours and we must now hear yours." The youth related +his experiences of the past night. He said, "Where I stopped last +night was the worst camp I ever had." The brothers kept their backs +to the youth and pretended not to pay any attention, but the brother-in-law +listened and questioned him. He continued, "I never heard +such a noise." The brothers then remarked, "I thought he would say +something like that" (they were jealous of this crazy brother, he +saw so much they could not see). The brother-in-law was inclined to +believe the youth's story and asked what kind of people made the noise. +"I do not know. They were strange people to me, but I do know they +danced all night back and forth across the canyon, and I know my +brothers killed twelve deer, and afterwards killed two of their people +who went for the blood of the deer. I heard them say, 'That is what +must be expected if you will go to such places you must expect to be +killed.'" The elder brother began thinking and without turning +toward the youth asked, "How many deer did you say were killed?" +and he answered "twelve." Then the older brother said, "Well, sir, +you have told me many stories and I never believed you, but this +story I do believe. What is the matter with you that you know all +these things? How do you know these things and find out these +things?" The youth replied, "I do not know how, but all these things +come to my mind and my eyes." The elder brother said, "I will now +give more thought to you and study how you find out all about these +things. We have a lot of meat and we did not know how to get it +home; now that you have come let us return; you shall carry the +meat." When halfway home they were about to descend a mesa, and +when on the edge they sat down to rest; then they saw far down the +mesa four mountain sheep, and the brothers commanded the youth to +kill one for them. They said, "Our meat is dry; your legs are fresh, so +you will kill the sheep." The youth succeeded in heading off the sheep +by hiding in a bush (<span class="tei tei-hi"><span style="font-style: italic">Bigelovia Douglasii</span></span><a id="noteref_9" name="noteref_9" href="#note_9"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">9</span></span></a>) sometimes called sage brush +but it is not the true sage brush. The sheep came directly toward him; +he aimed his arrow at them, but before he could pull the bow his arm +stiffened and became dead and the sheep passed by. All the sheep<span class="tei tei-pb" id="page283">[pg 283]</span><a name="Pg283" id="Pg283" class="tei tei-anchor"></a> +passed him, but he again headed them off by hiding in the stalks of a +large yucca.<a id="noteref_10" name="noteref_10" href="#note_10"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">10</span></span></a> The sheep passed within five steps of him, and again +when the time to pull the bow came his arm stiffened. The crow people +were watching him all the time. He again followed the sheep and +got ahead of them and hid behind a birch tree in bloom; he had his +bow ready, but as the sheep approached him they became gods. The +first one was Hasjelti, the second was Hostjoghon, the third was Naaskiddi, +the fourth one was Hadatchishi. At this strange metamorphosis +the youth was greatly alarmed, he dropped his bow and +fell to the ground senseless. Hasjelti stood at the east +side of the youth, Hostjoghon to the south, Naaskiddi to +the west, and Hadatchishi to the north of him. Each +had a rattle, which was used to accompany the songs for +the recovery of the youth. They also traced with their +rattle in the sand this emblem, meaning a figure of a man, +and drew parallel lines at the head and feet with the +rattle. When this was done the youth recovered and the gods had +again assumed the form of sheep. They asked the youth why he had +tried to shoot them. "You see you are one of us," they said. The +youth had become transformed into a sheep. "There is to be a dance +far off to the north beyond Ute Mountain; we want you to go with us +to the dance. We will dress you like ourselves and teach you to dance; +we will then go over the world." The brothers who watched from the +mesa top wondered what the trouble could be. They could not see the +gods. They saw the youth lying on the ground and said, "We must go +and see what is the matter." On reaching the place they found that +their young brother had gone. They saw where he had lain and where +the people had worked over him. They began crying and said, "For a +long time we would not believe him, and now he has gone off with the +sheep." They made many efforts to head off the sheep, but without +success, and they cried all the more, saying, as they returned to the +mesa, "Our brother told us the truth and we would not believe him; +had we believed him he would not have gone off with the sheep; perhaps +some day we will see him."</p> + +<div class="tei tei-figure" style="text-align: center"><img src="images/image18.png" width="176" height="254" alt="Illustration: Emblem" /></div> + +<p class="tei tei-p" style="margin-bottom: 1.00em">At the dance the sheep found seven others like themselves. This +made their number twelve. The seven joined the others in their +journey around the world. All people let them see their dances and +learn their songs. Then all the number excepting the youth talked +together and they said, "There is no use keeping him with us longer +(referring to the youth); he has learned everything; he may as well +go now and tell his people and have them do as we do." The youth +was instructed to have twelve in the dance, six gods and six goddesses, +with Hasjelti to lead them. He was told to have his people +make masks to represent them. It would not do to have twelve Naaskiddi<span class="tei tei-pb" id="page284">[pg 284]</span><a name="Pg284" id="Pg284" class="tei tei-anchor"></a> +represented among the Navajo, for they would not believe it and +there would be trouble. They could not learn all of their songs. The +youth returned to his brothers, carrying with him all songs, all medicine, +and clothing.</p> +</div> + +<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em"> +<a name="toc95" id="toc95"></a> +<a name="pdf96" id="pdf96"></a> +<h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">THE OLD MAN AND WOMAN OF THE FIRST WORLD.</span></h2> + +<p class="tei tei-p" style="margin-bottom: 1.00em">In the lower world four gods were created by Etseastin and Etseasun. +These gods were so annoyed by ants that they said, "Let us go to the +four points of the world." A spring was found at each of the cardinal +points, and each god took possession of a spring, which he jealously +guarded.</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">Etseastin and Etseasun were jealous because they had no water and +they needed some to produce nourishment. The old man finally +obtained a little water from each of the gods and planted it, and from +it he raised a spring such as the gods had. From this spring came +corn and other vegetation. Etseastin and Etseasun sat on opposite +sides of the spring facing each other, and sang and prayed and +talked to somebody about themselves, and thus they originated worship. +One day the old man saw some kind of fruit in the middle of the spring. +He tried to reach it but he could not, and asked the spider woman (a +member of his family) to get it for him. She spun a web across the +water and by its use procured the fruit, which proved to be a large white +shell, quite as large as a Tusayan basket. The following day Etseastin +discovered another kind of fruit in the spring which the spider woman +also brought him; this fruit was the turquoise. The third day still +another kind of fruit was discovered by him and obtained by the spider +woman; this was the abalone shell. The fourth day produced the +black stone bead, which was also procured.</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">After ascending into the upper world Etseastin visited the four corners +to see what he could find. (They had brought a bit of everything +from the lower world with them). From the east he brought eagle +feathers; from the south feathers from the bluejay; in the west he +found hawk feathers, and in the north speckled night bird (whippoorwill) +feathers. Etseastin and Etseasun carried these to a spring, placing +them toward the cardinal points. The eagle plumes were laid to +the east and near by them white corn and white shell; the blue feathers +were laid to the south with blue corn and turquoise; the hawk feathers +were laid to the west with yellow corn and abalone shell; and to the +north were laid the whippoorwill feathers with black beads and corn of +all the several colors. The old man and woman sang and prayed as +they had done at the spring in the lower world. They prayed to the +east, and the white wolf was created; to the south, and the otter appeared; +to the west, and the mountain lion came; and to the north, the +beaver. Etseastin made these animals rulers over the several points +from which they came.</p> + +<span class="tei tei-pb" id="page285">[pg 285]</span><a name="Pg285" id="Pg285" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em">When the white of daylight met the yellow of sunset in mid-heavens +they embraced, and white gave birth to the coyote; yellow to the yellow +fox. Blue of the south and black of the north similarly met, giving +birth, blue to blue fox and north to badger.</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em">Blue and yellow foxes were given to the Pueblos; coyote and badger +remain with the Navajo; but Great Wolf is ruler over them all. Great +Wolf was the chief who counseled separation of the sexes.</p> +</div> +</div> + +</div> + +<hr class="doublepage" /><div class="tei tei-back" style="margin-bottom: 2.00em; margin-top: 6.00em"> +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> + + + + <div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em"> + <h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Footnotes</span></h1> + <dl class="tei tei-list-footnotes"><dt class="tei tei-notelabel"><a id="note_1" name="note_1" href="#noteref_1">1.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">In the decoration of the bodies several men assisted, but the personators of the gods did much of +the work on their own persons, and they seemed quite fastidious. The fingers were dipped into the +paint and rubbed on the body.</p></dd><dt class="tei tei-notelabel"><a id="note_2" name="note_2" href="#noteref_2">2.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">Continency must be observed by the personators of the gods until all paint is removed from their +bodies.</p></dd><dt class="tei tei-notelabel"><a id="note_3" name="note_3" href="#noteref_3">3.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">The suds were crossed and encircled with the pollen to give them additional power to restore the +invalid to health.</p></dd><dt class="tei tei-notelabel"><a id="note_4" name="note_4" href="#noteref_4">4.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">I noticed that the priest of the sweat house on no occasion +sat with the song-priest and his attendants.</p></dd><dt class="tei tei-notelabel"><a id="note_5" name="note_5" href="#noteref_5">5.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">This food is dried and made into a powder, and used as a medicine by the theurgist.</p></dd><dt class="tei tei-notelabel"><a id="note_6" name="note_6" href="#noteref_6">6.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">The old priest relating this myth now produced a pouch containing corn pollen and a crystal, which +he dipped in the pollen and said, "Now we must all eat of this pollen and place some on our heads, for +we are to talk about it."</p></dd><dt class="tei tei-notelabel"><a id="note_7" name="note_7" href="#noteref_7">7.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">The Naaskiddi are hunchbacks; they have clouds upon their backs, in which seeds of all vegetation +are held.</p></dd><dt class="tei tei-notelabel"><a id="note_8" name="note_8" href="#noteref_8">8.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">The Navajo will not use real blue coloring in their sand painting, but adhere strictly to the instructions +of the gods. They do, however, use a bit of vermilion, when it can be obtained, to heighten the +red coloring in the pouches.</p></dd><dt class="tei tei-notelabel"><a id="note_9" name="note_9" href="#noteref_9">9.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">The <span class="tei tei-hi"><span style="font-style: italic">Bigelovia Douglasii</span></span> is made into rings and used in the ceremonial Hasjelti Dailjis with direct +reference to this occurrence.</p></dd><dt class="tei tei-notelabel"><a id="note_10" name="note_10" href="#noteref_10">10.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">Ceremonial rings are also made of the Spanish bayonet (yucca).</p></dd></dl> + </div> + + +</div> + +<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<div id="pgfooter" class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em"><pre class="pre tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em">***END OF THE PROJECT GUTENBERG EBOOK CEREMONIAL OF HASJELTI DAILJIS AND MYTHICAL SAND PAINTING OF THE NAVAJO INDIANS*** +</pre><hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em"><a name="rightpageheader97" id="rightpageheader97"></a><a name="pgtoc98" id="pgtoc98"></a><a name="pdf99" id="pdf99"></a><h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Credits</span></h1><table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr><th class="tei tei-label tei-label-gloss">July 2006 </th></tr><tr><td class="tei tei-item tei-item-gloss"><table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">This file was produced from images generously made available by the Bibliothèque nationale de France (BnF/Gallica) at http://gallica.bnf.fr</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item"><span class="tei tei-respStmt"> + <span class="tei tei-name">Joshua Hutchinson<br /></span> + <span class="tei tei-name">PM for Bureau of American Ethnology<br /></span> + <span class="tei tei-name">Bibliothèque Nationale de France/Gallica<br /></span> + <span class="tei tei-name">Online Distributed Proofreading Team at http://www.pgdp.net</span> + </span></td></tr></tbody></table></td></tr></tbody></table></div><hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em"><a name="rightpageheader100" id="rightpageheader100"></a><a name="pgtoc101" id="pgtoc101"></a><a name="pdf102" id="pdf102"></a><h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">A Word from Project Gutenberg</span></h1><p class="tei tei-p" style="margin-bottom: 1.00em">This file should be named + 19331-h.html or + 19331-h.zip.</p><p class="tei tei-p" style="margin-bottom: 1.00em">This and all associated files of various formats will be found + in: + + <a href="http://www.gutenberg.org/dirs/1/9/3/3/19331/" class="block tei tei-xref" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"><span style="font-size: 90%">http://www.gutenberg.org</span><span style="font-size: 90%">/dirs/1/9/3/3/19331/</span></a></p><p class="tei tei-p" style="margin-bottom: 1.00em">Updated editions will replace the previous one — the old + editions will be renamed.</p><p class="tei tei-p" style="margin-bottom: 1.00em">Creating the works from public domain print editions means that + no one owns a United States copyright in these works, so the + Foundation (and you!) can copy and distribute it in the United + States without permission and without paying copyright royalties. + Special rules, set forth in the General Terms of Use part of this + license, apply to copying and distributing Project Gutenberg™ electronic works + to protect the Project Gutenberg™ concept and trademark. Project Gutenberg is a registered + trademark, and may not be used if you charge for the eBooks, + unless you receive specific permission. If you do not charge + anything for copies of this eBook, complying with the rules is + very easy. You may use this eBook for nearly any purpose such as + creation of derivative works, reports, performances and research. + They may be modified and printed and given away — you may do + practically <em class="tei tei-emph"><span style="font-style: italic">anything</span></em> with public domain eBooks. + Redistribution is subject to the trademark license, especially + commercial redistribution.</p></div><hr class="page" /><div id="pglicense" class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em"><a name="rightpageheader103" id="rightpageheader103"></a><a name="pgtoc104" id="pgtoc104"></a><a name="pdf105" id="pdf105"></a><h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">The Full Project Gutenberg License</span></h1><p class="tei tei-p" style="margin-bottom: 1.00em"><em class="tei tei-emph"><span style="font-style: italic">Please read this before you distribute or use this + work.</span></em></p><p class="tei tei-p" style="margin-bottom: 1.00em">To protect the Project Gutenberg™ mission of promoting the free + distribution of electronic works, by using or distributing + this work (or any other work associated in any way with the + phrase <span class="tei tei-q">“Project Gutenberg”</span>), you agree to comply with all the terms + of the Full Project Gutenberg™ License (<a href="#pglicense" class="tei tei-ref">available with this file</a> or online + at <a href="http://www.gutenberg.org/license" class="tei tei-xref">http://www.gutenberg.org/license</a>).</p><div id="pglicense1" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">Section 1.</span></h2><h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">General Terms of Use & Redistributing Project Gutenberg™ + electronic works</span></h2><div id="pglicense1A" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">1.A.</span></h3><p class="tei tei-p" style="margin-bottom: 1.00em">By reading or using any part of this Project Gutenberg™ electronic + work, you indicate that you have read, understand, agree to + and accept all the terms of this license and intellectual + property (trademark/copyright) agreement. If you do not agree + to abide by all the terms of this agreement, you must cease + using and return or destroy all copies of Project Gutenberg™ electronic + works in your possession. If you paid a fee for obtaining a + copy of or access to a Project Gutenberg™ electronic work and you do not + agree to be bound by the terms of this agreement, you may + obtain a refund from the person or entity to whom you paid the + fee as set forth in paragraph <a href="#pglicense1E8" class="tei tei-ref">1.E.8.</a></p></div><div id="pglicense1B" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">1.B.</span></h3><p class="tei tei-p" style="margin-bottom: 1.00em"><span class="tei tei-q">“Project Gutenberg”</span> is a registered trademark. It may only be used on or + associated in any way with an electronic work by people who agree to be + bound by the terms of this agreement. There are a few things that you + can do with most Project Gutenberg™ electronic works even without complying with the + full terms of this agreement. See paragraph <a href="#pglicense1C" class="tei tei-ref">1.C</a> below. There are a lot of things you can + do with Project Gutenberg™ electronic works if you follow the terms of this + agreement and help preserve free future access to Project Gutenberg™ electronic + works. See paragraph <a href="#pglicense1E" class="tei tei-ref">1.E</a> below.</p></div><div id="pglicense1C" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">1.C.</span></h3><p class="tei tei-p" style="margin-bottom: 1.00em">The Project Gutenberg Literary Archive Foundation (<span class="tei tei-q">“the Foundation”</span> or PGLAF), owns a compilation + copyright in the collection of Project Gutenberg™ electronic works. Nearly all the + individual works in the collection are in the public domain in the + United States. If an individual work is in the public domain in the + United States and you are located in the United States, we do not claim + a right to prevent you from copying, distributing, performing, + displaying or creating derivative works based on the work as long as all + references to Project Gutenberg are removed. Of course, we hope that you will support + the Project Gutenberg™ mission of promoting free access to electronic works by + freely sharing Project Gutenberg™ works in compliance with the terms of this + agreement for keeping the Project Gutenberg™ name associated with the work. You can + easily comply with the terms of this agreement by keeping this work in + the same format with its attached full Project Gutenberg™ License when you share it + without charge with others.</p></div><div id="pglicense1D" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">1.D.</span></h3><p class="tei tei-p" style="margin-bottom: 1.00em">The copyright laws of the place where you are located also govern + what you can do with this work. Copyright laws in most countries are in + a constant state of change. If you are outside the United States, check + the laws of your country in addition to the terms of this agreement + before downloading, copying, displaying, performing, distributing or + creating derivative works based on this work or any other Project Gutenberg™ work. + The Foundation makes no representations concerning the copyright status + of any work in any country outside the United States.</p></div><div id="pglicense1E" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">1.E.</span></h3><p class="tei tei-p" style="margin-bottom: 1.00em">Unless you have removed all references to Project Gutenberg:</p><div id="pglicense1E1" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.E.1.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">The following sentence, with active links to, or other immediate + access to, the full Project Gutenberg™ License must appear prominently whenever any + copy of a Project Gutenberg™ work (any work on which the phrase <span class="tei tei-q">“Project Gutenberg”</span> + appears, or with which the phrase <span class="tei tei-q">“Project Gutenberg”</span> is associated) is + accessed, displayed, performed, viewed, copied or distributed: + + </p><div class="block tei tei-q" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"><p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%">This eBook is for the use of + anyone anywhere at no cost and with almost no + restrictions whatsoever. You may copy it, give it + away or re-use it under the terms of the Project + Gutenberg License included with this eBook or + online at </span><a href="http://www.gutenberg.org" class="tei tei-xref"><span style="font-size: 90%">http://www.gutenberg.org</span></a></p></div></div><div id="pglicense1E2" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.E.2.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">If an individual Project Gutenberg™ electronic work is derived from the public + domain (does not contain a notice indicating that it is posted with + permission of the copyright holder), the work can be copied and + distributed to anyone in the United States without paying any fees or + charges. If you are redistributing or providing access to a work with + the phrase <span class="tei tei-q">“Project Gutenberg”</span> associated with or appearing on the work, you + must comply either with the requirements of paragraphs <a href="#pglicense1E1" class="tei tei-ref">1.E.1</a> through 1.E.7 or obtain permission for + the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs + <a href="#pglicense1E8" class="tei tei-ref">1.E.8</a> or 1.E.9.</p></div><div id="pglicense1E3" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.E.3.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">If an individual Project Gutenberg™ electronic work is posted with the permission + of the copyright holder, your use and distribution must comply with both + paragraphs <a href="#pglicense1E1" class="tei tei-ref">1.E.1</a> through 1.E.7 and any + additional terms imposed by the copyright holder. Additional terms will + be linked to the Project Gutenberg™ License for all works posted with the permission + of the copyright holder found at the beginning of this work.</p></div><div id="pglicense1E4" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.E.4.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">Do not unlink or detach or remove the full Project Gutenberg™ License terms from + this work, or any files containing a part of this work or any other work + associated with Project Gutenberg™.</p></div><div id="pglicense1E5" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.E.5.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">Do not copy, display, perform, distribute or redistribute this + electronic work, or any part of this electronic work, without + prominently displaying the sentence set forth in paragraph <a href="#pglicense1E1" class="tei tei-ref">1.E.1</a> with active links or immediate access + to the full terms of the Project Gutenberg™ License.</p></div><div id="pglicense1E6" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.E.6.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">You may convert to and distribute this work in any binary, + compressed, marked up, nonproprietary or proprietary form, including + any word processing or hypertext form. However, if you provide access + to or distribute copies of a Project Gutenberg™ work in a format other than + <span class="tei tei-q">“Plain Vanilla ASCII”</span> or other format used in the official + version posted on the official Project Gutenberg™ web site (http://www.gutenberg.org), you must, at + no additional cost, fee or expense to the user, provide a copy, a + means of exporting a copy, or a means of obtaining a copy upon + request, of the work in its original <span class="tei tei-q">“Plain Vanilla ASCII”</span> or + other form. Any alternate format must include the full Project Gutenberg™ License + as specified in paragraph <a href="#pglicense1E1" class="tei tei-ref">1.E.1.</a></p></div><div id="pglicense1E7" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.E.7.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">Do not charge a fee for access to, viewing, displaying, performing, + copying or distributing any Project Gutenberg™ works unless you comply with + paragraph <a href="#pglicense1E8" class="tei tei-ref">1.E.8</a> or 1.E.9.</p></div><div id="pglicense1E8" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.E.8.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">You may charge a reasonable fee for copies of or providing access to + or distributing Project Gutenberg™ electronic works provided that</p><table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">• </th><td class="tei tei-item"><p class="tei tei-p" style="margin-bottom: 1.00em">You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg™ works calculated using the method you already use to + calculate your applicable taxes. The fee is owed to the owner of the + Project Gutenberg™ trademark, but he has agreed to donate royalties under this + paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days + following each date on which you prepare (or are legally required to + prepare) your periodic tax returns. Royalty payments should be clearly + marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in <a href="#pglicense4" class="tei tei-ref">Section 4, <span class="tei tei-q">“Information about donations to the + Project Gutenberg Literary Archive Foundation.”</span></a></p></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">• </th><td class="tei tei-item"><p class="tei tei-p" style="margin-bottom: 1.00em">You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he does + not agree to the terms of the full Project Gutenberg™ License. You must require such + a user to return or destroy all copies of the works possessed in a + physical medium and discontinue all use of and all access to other + copies of Project Gutenberg™ works.</p></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">• </th><td class="tei tei-item"><p class="tei tei-p" style="margin-bottom: 1.00em">You provide, in accordance with paragraph <a href="#pglicense1F3" class="tei tei-ref">1.F.3</a>, a full refund of any money paid for a + work or a replacement copy, if a defect in the electronic work is + discovered and reported to you within 90 days of receipt of the + work.</p></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">• </th><td class="tei tei-item"><p class="tei tei-p" style="margin-bottom: 1.00em">You comply with all other terms of this agreement for free + distribution of Project Gutenberg™ works.</p></td></tr></tbody></table></div><div id="pglicense1E9" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.E.9.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or + group of works on different terms than are set forth in this agreement, + you must obtain permission in writing from both the Project Gutenberg Literary Archive Foundation and Michael + Hart, the owner of the Project Gutenberg™ trademark. Contact the Foundation as set + forth in <a href="#pglicense3" class="tei tei-ref">Section 3</a> below.</p></div></div><div id="pglicense1F" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">1.F.</span></h3><div id="pglicense1F1" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.F.1.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">Project Gutenberg volunteers and employees expend considerable effort to identify, + do copyright research on, transcribe and proofread public domain works + in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ + electronic works, and the medium on which they may be stored, may + contain <span class="tei tei-q">“Defects,”</span> such as, but not limited to, incomplete, + inaccurate or corrupt data, transcription errors, a copyright or other + intellectual property infringement, a defective or damaged disk or other + medium, a computer virus, or computer codes that damage or cannot be + read by your equipment.</p></div><div id="pglicense1F2" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.F.2.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">LIMITED WARRANTY, DISCLAIMER OF DAMAGES — Except for the <span class="tei tei-q">“Right of + Replacement or Refund”</span> described in <a href="#pglicense1F3" class="tei tei-ref">paragraph + 1.F.3</a>, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any + other party distributing a Project Gutenberg™ electronic work under this agreement, + disclaim all liability to you for damages, costs and expenses, including + legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT + LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE + PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK + OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO + YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL + DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.</p></div><div id="pglicense1F3" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.F.3.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">LIMITED RIGHT OF REPLACEMENT OR REFUND — If you discover a defect in + this electronic work within 90 days of receiving it, you can receive a + refund of the money (if any) you paid for it by sending a written + explanation to the person you received the work from. If you received + the work on a physical medium, you must return the medium with your + written explanation. The person or entity that provided you with the + defective work may elect to provide a replacement copy in lieu of a + refund. If you received the work electronically, the person or entity + providing it to you may choose to give you a second opportunity to + receive the work electronically in lieu of a refund. If the second copy + is also defective, you may demand a refund in writing without further + opportunities to fix the problem.</p></div><div id="pglicense1F4" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.F.4.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">Except for the limited right of replacement or refund set forth in + <a href="#pglicense1F3" class="tei tei-ref">paragraph 1.F.3</a>, this work is provided + to you 'AS-IS,' WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR + IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTIBILITY OR + FITNESS FOR ANY PURPOSE.</p></div><div id="pglicense1F5" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.F.5.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">Some states do not allow disclaimers of certain implied warranties or + the exclusion or limitation of certain types of damages. If any + disclaimer or limitation set forth in this agreement violates the law of + the state applicable to this agreement, the agreement shall be + interpreted to make the maximum disclaimer or limitation permitted by + the applicable state law. The invalidity or unenforceability of any + provision of this agreement shall not void the remaining provisions.</p></div><div id="pglicense1F6" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.F.6.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">INDEMNITY — You agree to indemnify and hold the Foundation, the + trademark owner, any agent or employee of the Foundation, anyone + providing copies of Project Gutenberg™ electronic works in accordance with this + agreement, and any volunteers associated with the production, promotion + and distribution of Project Gutenberg™ electronic works, harmless from all + liability, costs and expenses, including legal fees, that arise directly + or indirectly from any of the following which you do or cause to occur: + (a) distribution of this or any Project Gutenberg™ work, (b) alteration, + modification, or additions or deletions to any Project Gutenberg™ work, and (c) any + Defect you cause.</p></div></div></div><div id="pglicense2" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">Section 2.</span></h2><h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">Information about the Mission of Project Gutenberg™</span></h2><p class="tei tei-p" style="margin-bottom: 1.00em">Project Gutenberg™ is synonymous with the free distribution of electronic works + in formats readable by the widest variety of computers including + obsolete, old, middle-aged and new computers. It exists because of the + efforts of hundreds of volunteers and donations from people in all walks + of life.</p><p class="tei tei-p" style="margin-bottom: 1.00em">Volunteers and financial support to provide volunteers with the + assistance they need, is critical to reaching Project Gutenberg™'s goals and + ensuring that the Project Gutenberg™ collection will remain freely available for + generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a + secure and permanent future for Project Gutenberg™ and future generations. To learn + more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see + Sections <a href="#pglicense3" class="tei tei-ref">3</a> and <a href="#pglicense4" class="tei tei-ref">4</a> and the Foundation web page at <a href="http://www.pglaf.org" class="tei tei-xref">http://www.pglaf.org</a>.</p></div><div id="pglicense3" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">Section 3.</span></h2><h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">Information about the Project Gutenberg Literary Archive Foundation</span></h2><p class="tei tei-p" style="margin-bottom: 1.00em">The Project Gutenberg Literary Archive Foundation is a non profit 501(c)(3) educational corporation + organized under the laws of the state of Mississippi and granted tax + exempt status by the Internal Revenue Service. The Foundation's EIN or + federal tax identification number is 64-6221541. Its 501(c)(3) letter + is posted at <a href="http://www.gutenberg.org/fundraising/pglaf" class="tei tei-xref">http://www.gutenberg.org/fundraising/pglaf</a>. Contributions + to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. + federal laws and your state's laws.</p><p class="tei tei-p" style="margin-bottom: 1.00em">The Foundation's principal office is located at 4557 Melan Dr. + S. Fairbanks, AK, 99712., but its volunteers and employees are + scattered throughout numerous locations. Its business office is + located at 809 North 1500 West, Salt Lake City, UT 84116, (801) + 596-1887, email business@pglaf.org. Email contact links and up to date + contact information can be found at the Foundation's web site and + official page at <a href="http://www.pglaf.org" class="tei tei-xref">http://www.pglaf.org</a></p><p class="tei tei-p" style="margin-bottom: 1.00em">For additional contact information: + + </p><div class="block tei tei-address" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"><span class="tei tei-addrLine"><span style="font-size: 90%">Dr. Gregory B. Newby</span></span><br /><span class="tei tei-addrLine"><span style="font-size: 90%">Chief Executive and Director</span></span><br /><span class="tei tei-addrLine"><span style="font-size: 90%">gbnewby@pglaf.org</span></span><br /></div></div><div id="pglicense4" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">Section 4.</span></h2><h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">Information about Donations to the Project Gutenberg Literary Archive Foundation</span></h2><p class="tei tei-p" style="margin-bottom: 1.00em">Project Gutenberg™ depends upon and cannot survive without wide spread public + support and donations to carry out its mission of increasing the number + of public domain and licensed works that can be freely distributed in + machine readable form accessible by the widest array of equipment + including outdated equipment. Many small donations ($1 to $5,000) are + particularly important to maintaining tax exempt status with the + IRS.</p><p class="tei tei-p" style="margin-bottom: 1.00em">The Foundation is committed to complying with the laws regulating + charities and charitable donations in all 50 states of the United + States. Compliance requirements are not uniform and it takes a + considerable effort, much paperwork and many fees to meet and keep up + with these requirements. We do not solicit donations in locations where + we have not received written confirmation of compliance. To SEND + DONATIONS or determine the status of compliance for any particular state + visit <a href="http://www.gutenberg.org/fundraising/donate" class="tei tei-xref">http://www.gutenberg.org/fundraising/donate</a></p><p class="tei tei-p" style="margin-bottom: 1.00em">While we cannot and do not solicit contributions from states where we + have not met the solicitation requirements, we know of no prohibition + against accepting unsolicited donations from donors in such states who + approach us with offers to donate.</p><p class="tei tei-p" style="margin-bottom: 1.00em">International donations are gratefully accepted, but we cannot make + any statements concerning tax treatment of donations received from + outside the United States. U.S. laws alone swamp our small staff.</p><p class="tei tei-p" style="margin-bottom: 1.00em">Please check the Project Gutenberg Web pages for current donation methods and + addresses. Donations are accepted in a number of other ways including + checks, online payments and credit card donations. To donate, please + visit: <a href="http://www.gutenberg.org/fundraising/donate" class="tei tei-xref">http://www.gutenberg.org/fundraising/donate</a></p></div><div id="pglicense5" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">Section 5.</span></h2><h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">General Information About Project Gutenberg™ electronic + works.</span></h2><p class="tei tei-p" style="margin-bottom: 1.00em"><span class="tei tei-name">Professor Michael S. Hart</span> is the + originator of the Project Gutenberg™ concept of a library of electronic works that + could be freely shared with anyone. For thirty years, he produced and + distributed Project Gutenberg™ eBooks with only a loose network of volunteer + support.</p><p class="tei tei-p" style="margin-bottom: 1.00em">Project Gutenberg™ eBooks are often created from several printed editions, all of + which are confirmed as Public Domain in the U.S. unless a copyright + notice is included. Thus, we do not necessarily keep eBooks in + compliance with any particular paper edition.</p><p class="tei tei-p" style="margin-bottom: 1.00em">Each eBook is in a subdirectory of the same number as the eBook's + eBook number, often in several formats including plain vanilla ASCII, + compressed (zipped), HTML and others.</p><p class="tei tei-p" style="margin-bottom: 1.00em">Corrected <em class="tei tei-emph"><span style="font-style: italic">editions</span></em> of our eBooks replace the old file + and take over the old filename and etext number. The replaced older file + is renamed. <em class="tei tei-emph"><span style="font-style: italic">Versions</span></em> based on separate sources are treated + as new eBooks receiving new filenames and etext numbers.</p><p class="tei tei-p" style="margin-bottom: 1.00em">Most people start at our Web site which has the main PG search + facility: + + <a href="http://www.gutenberg.org" class="block tei tei-xref" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"><span style="font-size: 90%">http://www.gutenberg.org</span></a></p><p class="tei tei-p" style="margin-bottom: 1.00em">This Web site includes information about Project Gutenberg™, including how to + make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and + how to subscribe to our email newsletter to hear about new eBooks.</p></div></div></div> +</div> + +</div> + + </div> +</body></html> diff --git a/19331-h/images/image01.png b/19331-h/images/image01.png Binary files differnew file mode 100644 index 0000000..01fe8a6 --- /dev/null +++ b/19331-h/images/image01.png diff --git a/19331-h/images/image02.png b/19331-h/images/image02.png Binary files differnew file mode 100644 index 0000000..1854b3b --- /dev/null +++ b/19331-h/images/image02.png diff --git a/19331-h/images/image03.png b/19331-h/images/image03.png Binary files differnew file mode 100644 index 0000000..5a82a5d --- /dev/null +++ b/19331-h/images/image03.png diff --git a/19331-h/images/image04.png b/19331-h/images/image04.png Binary files differnew file mode 100644 index 0000000..ffdf949 --- /dev/null +++ b/19331-h/images/image04.png diff --git a/19331-h/images/image05.png b/19331-h/images/image05.png Binary files differnew file mode 100644 index 0000000..bcc8ea3 --- /dev/null +++ b/19331-h/images/image05.png diff --git a/19331-h/images/image06.png b/19331-h/images/image06.png Binary files differnew file mode 100644 index 0000000..02d4778 --- /dev/null +++ b/19331-h/images/image06.png diff --git a/19331-h/images/image07.png b/19331-h/images/image07.png Binary files differnew file mode 100644 index 0000000..aef223b --- /dev/null +++ b/19331-h/images/image07.png diff --git a/19331-h/images/image08.png b/19331-h/images/image08.png Binary files differnew file mode 100644 index 0000000..08d033f --- /dev/null +++ b/19331-h/images/image08.png diff --git a/19331-h/images/image09.png b/19331-h/images/image09.png Binary files differnew file mode 100644 index 0000000..6b5861f --- /dev/null +++ b/19331-h/images/image09.png diff --git a/19331-h/images/image10.png b/19331-h/images/image10.png Binary files differnew file mode 100644 index 0000000..9bb7ad8 --- /dev/null +++ b/19331-h/images/image10.png diff --git a/19331-h/images/image11.png b/19331-h/images/image11.png Binary files differnew file mode 100644 index 0000000..a59007b --- /dev/null +++ b/19331-h/images/image11.png diff --git a/19331-h/images/image12.png b/19331-h/images/image12.png Binary files differnew file mode 100644 index 0000000..670cf9a --- /dev/null +++ b/19331-h/images/image12.png diff --git a/19331-h/images/image13.png b/19331-h/images/image13.png Binary files differnew file mode 100644 index 0000000..c16a614 --- /dev/null +++ b/19331-h/images/image13.png diff --git a/19331-h/images/image14.png b/19331-h/images/image14.png Binary files differnew file mode 100644 index 0000000..ab63b8e --- /dev/null +++ b/19331-h/images/image14.png diff --git a/19331-h/images/image15.png b/19331-h/images/image15.png Binary files differnew file mode 100644 index 0000000..4d8eb53 --- /dev/null +++ b/19331-h/images/image15.png diff --git a/19331-h/images/image16.png b/19331-h/images/image16.png Binary files differnew file mode 100644 index 0000000..5b11fca --- /dev/null +++ b/19331-h/images/image16.png diff --git a/19331-h/images/image17.png b/19331-h/images/image17.png Binary files differnew file mode 100644 index 0000000..4cf4f7e --- /dev/null +++ b/19331-h/images/image17.png diff --git a/19331-h/images/image18.png b/19331-h/images/image18.png Binary files differnew file mode 100644 index 0000000..dee5abf --- /dev/null +++ b/19331-h/images/image18.png diff --git a/19331-h/images/image19.png b/19331-h/images/image19.png Binary files differnew file mode 100644 index 0000000..a1b7a08 --- /dev/null +++ b/19331-h/images/image19.png |
