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+The Project Gutenberg EBook of Ceremonial of Hasjelti Dailjis and Mythical
+Sand Painting of the Navajo Indians by James Stevenson
+
+
+
+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 http://www.gutenberg.org/license
+
+
+
+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***
+
+
+
+
+
+Ceremonial of Hasjelti Dailjis and Mythical Sand Painting of the Navajo
+Indians
+
+
+by James Stevenson
+
+
+
+
+Edition 1, (September 2006)
+
+
+
+
+
+CONTENTS
+
+
+INTRODUCTION.
+CONSTRUCTION OF THE MEDICINE LODGE.
+FIRST DAY.
+ PERSONATORS OF THE GODS.
+SECOND DAY.
+ DESCRIPTION OF THE SWEAT HOUSES.
+ SWEAT HOUSES AND MASKS.
+ PREPARATION OF THE SACRED REEDS (CIGARETTE) AND PRAYER STICKS.
+THIRD DAY.
+ FIRST CEREMONY.
+ SECOND CEREMONY.
+ THIRD CEREMONY.
+ FOURTH CEREMONY.
+FOURTH DAY.
+ FIRST CEREMONY.
+ SECOND CEREMONY.
+ THIRD CEREMONY.
+ FOURTH CEREMONY.
+ FIFTH CEREMONY.
+ SIXTH CEREMONY.
+FIFTH DAY.
+ FIRST CEREMONY.
+ SECOND CEREMONY.
+ THIRD CEREMONY.
+SIXTH DAY.
+SEVENTH DAY.
+EIGHTH DAY.
+NINTH DAY.
+ FIRST CEREMONY.
+ SECOND CEREMONY.
+ SONG OF THE ETSETHLE.
+ PRAYER TO THE ETSETHLE.
+ CONCLUSION - THE DANCE.
+MYTHS OF THE NAVAJO.
+ CREATION OF THE SUN.
+ HASJELTI AND HOSTJOGHON.
+ THE FLOATING LOGS.
+ NAIYENESGONY AND TOBAIDISCHINNI.
+ THE BROTHERS.
+ THE OLD MAN AND WOMAN OF THE FIRST WORLD.
+
+
+
+
+
+ILLUSTRATIONS
+
+
+FIG. 115. Exterior lodge.
+FIG. 116. Interior lodge.
+FIG. 117. Gaming ring.
+FIG. 118. Sweat house.
+PLATE CXII. A, Rainbow over eastern sweat house; B, Rainbow over western
+sweat house
+PLATE CXIII. Blanket rug and medicine tubes
+PLATE CXIV. Blanket rug and medicine tubes
+PLATE CXV. Masks: 1, Naiyenesyong; 2, 3, Tobaidischinne; 4, 5, Hasjelti;
+6, Hostjoghon; 7, Hostjobokon; 8, Hostjoboard
+PLATE CXVI. Blanket rug and medicine tubes
+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
+PLATE CXVIII. Blanket rug and medicine tubes and sticks
+PLATE CXIX. Blanket rug and medicine tube
+PLATE CXX. First sand painting
+PLATE CXXI. Second sand painting
+PLATE CXXII. Third sand painting
+PLATE CXXIII. Fourth sand painting
+
+
+
+
+
+
+INTRODUCTION.
+
+
+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.
+
+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 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.
+
+ [Illustration: Figure 115]
+
+ FIG. 115. Exterior lodge.
+
+
+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:
+
+
+ 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.
+
+
+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.
+
+
+
+
+
+CONSTRUCTION OF THE MEDICINE LODGE.
+
+
+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.
+
+ [Illustration: Figure 116]
+
+ FIG. 116. Interior lodge.
+
+
+
+
+
+FIRST DAY.
+
+
+
+
+PERSONATORS OF THE GODS.
+
+
+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 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.
+
+ [Illustration: Figure 117]
+
+ FIG. 117. Gaming ring.
+
+
+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 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.
+
+
+
+
+
+SECOND DAY.
+
+
+
+
+DESCRIPTION OF THE SWEAT HOUSES.
+
+
+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.
+
+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
+_Bigelovia Douglasii_ (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 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.
+
+ [Illustration: Figure 118]
+
+ FIG. 118. Sweat house.
+
+
+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 _Bigelovia Douglasii_. 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.
+
+ [Illustration]
+
+ RAINBOW OVER SWEAT HOUSE.
+
+
+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 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.
+
+
+
+
+SWEAT HOUSES AND MASKS.
+
+
+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.
+
+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.
+
+
+
+
+PREPARATION OF THE SACRED REEDS (CIGARETTE) AND PRAYER STICKS.
+
+
+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 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.
+
+ [Illustration]
+
+
+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 (_Sialia arctica_), 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.
+
+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, _Geococcyx californianus_, 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 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:
+
+
+ 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.
+
+
+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.
+
+
+
+
+
+THIRD DAY.
+
+
+
+
+FIRST CEREMONY.
+
+
+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 _Bigelovia Douglasii_ 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
+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.
+
+ [Illustration]
+
+
+
+
+SECOND CEREMONY.
+
+
+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 have rain! Now, mothers, send down
+rain upon us!" This song was constantly repeated.
+
+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.)
+
+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.
+
+ [Illustration]
+
+ CEREMONIAL MASKS.
+
+
+
+
+THIRD CEREMONY.
+
+
+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
+ [Illustration: scalp knot symbol]
+(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.(1) 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
+ [Illustration: scalp knot symbol]
+laid across each end of the rug.
+
+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.
+
+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. 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.(2)
+
+
+
+
+FOURTH CEREMONY.
+
+
+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.)
+
+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 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.
+
+ [Illustration]
+
+
+
+
+
+FOURTH DAY.
+
+
+
+
+FIRST CEREMONY.
+
+
+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 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.
+
+
+
+
+SECOND CEREMONY.
+
+
+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.
+
+
+
+
+THIRD CEREMONY.
+
+
+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 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.(3) 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.
+
+ [Illustration]
+
+
+
+
+FOURTH CEREMONY.
+
+
+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 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.
+
+ [Illustration]
+
+
+
+
+FIFTH CEREMONY.
+
+
+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.
+
+
+
+
+SIXTH CEREMONY.
+
+
+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 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.
+
+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. 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.
+
+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.(4) 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.
+
+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 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.(5) 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.
+
+ FOODS BROUGHT INTO THE LODGE.
+Da’ttuneilgaij Pats made of wheat flour
+ and fried.
+Tab’aestch’lŏnni Corn meal pats wrapped in
+ corn husks and boiled.
+Tanä’shkiji Thick mush boiled and
+ stirred with sticks.
+Nänesk’ädi Tortillas.
+Ta’bijai Four small balls of corn
+ meal wrapped in corn
+ husks and boiled.
+Insi’dok’ui Corn bread with salt,
+ made from the new corn,
+ wrapped in corn husks and
+ baked in ashes.
+Tkäditin White corn meal mush.
+Klesa’hn Corn meal dough in
+ rectangular cakes baked
+ in ashes, hot earth, or
+ sand.
+Tsëste’lttsoi Cakes some fourth of an
+ inch thick made from
+ sweet corn mixed with
+ goat’s milk and baked on
+ a hot rock.
+Tseste’ 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.
+Tki’neshpipizi Small balls of corn meal
+ mush.
+To’tkonji Corn meal cakes
+ one-fourth of an inch in
+ thickness of old corn,
+ baked in a pan; they are
+ seasoned with salt.
+Ãlkaandt 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.
+Tkleheljoe 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.
+Ta’nätnil (beverage) 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.
+Diz’etso Peaches (fresh or dried)
+ stewed. There were also
+ several large bowls of
+ stewed mutton.
+
+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.
+
+
+
+
+
+FIFTH DAY.
+
+
+
+
+FIRST CEREMONY.
+
+
+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 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.
+
+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 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.
+
+ [Illustration]
+
+
+
+
+SECOND CEREMONY.
+
+
+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.
+
+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 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.
+
+
+
+
+THIRD CEREMONY.
+
+
+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.)
+
+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 (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.
+
+ [Illustration]
+
+
+
+
+
+SIXTH DAY.
+
+
+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.
+
+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 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.
+
+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 (_Colaptes cafer_); 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.
+
+ [Illustration]
+
+
+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.
+
+
+
+
+
+SEVENTH DAY.
+
+
+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 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.
+
+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 (_to_, water,
+and _yonily_, 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.
+
+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. 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.
+
+ [Illustration]
+
+
+
+
+
+EIGHTH DAY.
+
+
+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.)
+
+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 (_Colapteo cafer_) 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).
+
+ [Illustration]
+
+
+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 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 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.
+
+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 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.
+
+
+
+
+
+NINTH DAY.
+
+
+
+
+FIRST CEREMONY.
+
+
+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. 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.
+
+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.
+
+
+
+
+SECOND CEREMONY.
+
+
+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 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.
+
+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.
+
+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 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.
+
+
+
+SONG OF THE ETSETHLE.
+
+
+ From below (the earth) my corn comes
+ I walk with you.
+ From above water young (comes)
+ I walk with you.
+ From above vegetation (comes to the earth)
+ I walk with you.
+ From below the earth corn pollen comes
+ I walk with you.
+
+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.
+
+
+
+PRAYER TO THE ETSETHLE.
+
+
+"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."
+
+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 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.
+
+
+
+
+CONCLUSION - THE DANCE.
+
+
+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.
+
+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 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 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.
+
+
+
+
+
+MYTHS OF THE NAVAJO.
+
+
+
+
+CREATION OF THE SUN.
+
+
+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."
+
+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.
+
+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.(6) 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.
+
+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 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.
+
+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. 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.
+
+
+
+
+HASJELTI AND HOSTJOGHON.
+
+
+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."
+
+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.
+
+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.
+
+
+
+
+THE FLOATING LOGS.
+
+
+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.(7) 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.(8)"
+
+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.
+
+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.
+
+The old song priest who related this myth to me regretted that so few of
+his people now visited the sacred spot.
+
+"When I was young," he said, "many went there to pray and make offerings."
+
+
+
+
+NAIYENESGONY AND TOBAIDISCHINNI.
+
+
+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.
+
+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.
+
+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 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."
+
+
+
+
+THE BROTHERS.
+
+
+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 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.
+
+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 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."
+
+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 (_Bigelovia Douglasii_(9))
+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 passed him, but he again headed them off by hiding in the
+stalks of a large yucca.(10) 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."
+
+ [Illustration: Emblem]
+
+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 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.
+
+
+
+
+THE OLD MAN AND WOMAN OF THE FIRST WORLD.
+
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+
+
+
+
+
+FOOTNOTES
+
+
+ 1 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.
+
+ 2 Continency must be observed by the personators of the gods until all
+ paint is removed from their bodies.
+
+ 3 The suds were crossed and encircled with the pollen to give them
+ additional power to restore the invalid to health.
+
+ 4 I noticed that the priest of the sweat house on no occasion sat with
+ the song-priest and his attendants.
+
+ 5 This food is dried and made into a powder, and used as a medicine by
+ the theurgist.
+
+ 6 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."
+
+ 7 The Naaskiddi are hunchbacks; they have clouds upon their backs, in
+ which seeds of all vegetation are held.
+
+ 8 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.
+
+ 9 The _Bigelovia Douglasii_ is made into rings and used in the
+ ceremonial Hasjelti Dailjis with direct reference to this
+ occurrence.
+
+ 10 Ceremonial rings are also made of the Spanish bayonet (yucca).
+
+
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK CEREMONIAL OF HASJELTI DAILJIS AND MYTHICAL SAND PAINTING OF THE NAVAJO INDIANS***
+
+
+
+CREDITS
+
+
+July 2006
+
+ This file was produced from images generously made available
+ by the Bibliothèque nationale de France (BnF/Gallica) at
+ http://gallica.bnf.fr
+ Joshua Hutchinson
+ PM for Bureau of American Ethnology
+ Bibliothèque Nationale de France/Gallica
+ Online Distributed Proofreading Team at http://www.pgdp.net
+
+
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+***FINIS***
+ \ No newline at end of file
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+The Project Gutenberg EBook of Ceremonial of Hasjelti Dailjis and Mythical
+Sand Painting of the Navajo Indians by James Stevenson
+
+
+
+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 http://www.gutenberg.org/license
+
+
+
+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: ISO 8859-1
+
+
+***START OF THE PROJECT GUTENBERG EBOOK CEREMONIAL OF HASJELTI DAILJIS AND MYTHICAL SAND PAINTING OF THE NAVAJO INDIANS***
+
+
+
+
+
+Ceremonial of Hasjelti Dailjis and Mythical Sand Painting of the Navajo
+Indians
+
+
+by James Stevenson
+
+
+
+
+Edition 1, (September 2006)
+
+
+
+
+
+CONTENTS
+
+
+INTRODUCTION.
+CONSTRUCTION OF THE MEDICINE LODGE.
+FIRST DAY.
+ PERSONATORS OF THE GODS.
+SECOND DAY.
+ DESCRIPTION OF THE SWEAT HOUSES.
+ SWEAT HOUSES AND MASKS.
+ PREPARATION OF THE SACRED REEDS (CIGARETTE) AND PRAYER STICKS.
+THIRD DAY.
+ FIRST CEREMONY.
+ SECOND CEREMONY.
+ THIRD CEREMONY.
+ FOURTH CEREMONY.
+FOURTH DAY.
+ FIRST CEREMONY.
+ SECOND CEREMONY.
+ THIRD CEREMONY.
+ FOURTH CEREMONY.
+ FIFTH CEREMONY.
+ SIXTH CEREMONY.
+FIFTH DAY.
+ FIRST CEREMONY.
+ SECOND CEREMONY.
+ THIRD CEREMONY.
+SIXTH DAY.
+SEVENTH DAY.
+EIGHTH DAY.
+NINTH DAY.
+ FIRST CEREMONY.
+ SECOND CEREMONY.
+ SONG OF THE ETSETHLE.
+ PRAYER TO THE ETSETHLE.
+ CONCLUSION - THE DANCE.
+MYTHS OF THE NAVAJO.
+ CREATION OF THE SUN.
+ HASJELTI AND HOSTJOGHON.
+ THE FLOATING LOGS.
+ NAIYENESGONY AND TOBAIDISCHINNI.
+ THE BROTHERS.
+ THE OLD MAN AND WOMAN OF THE FIRST WORLD.
+
+
+
+
+
+ILLUSTRATIONS
+
+
+FIG. 115. Exterior lodge.
+FIG. 116. Interior lodge.
+FIG. 117. Gaming ring.
+FIG. 118. Sweat house.
+PLATE CXII. A, Rainbow over eastern sweat house; B, Rainbow over western
+sweat house
+PLATE CXIII. Blanket rug and medicine tubes
+PLATE CXIV. Blanket rug and medicine tubes
+PLATE CXV. Masks: 1, Naiyenesyong; 2, 3, Tobaidischinne; 4, 5, Hasjelti;
+6, Hostjoghon; 7, Hostjobokon; 8, Hostjoboard
+PLATE CXVI. Blanket rug and medicine tubes
+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
+PLATE CXVIII. Blanket rug and medicine tubes and sticks
+PLATE CXIX. Blanket rug and medicine tube
+PLATE CXX. First sand painting
+PLATE CXXI. Second sand painting
+PLATE CXXII. Third sand painting
+PLATE CXXIII. Fourth sand painting
+
+
+
+
+
+
+INTRODUCTION.
+
+
+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.
+
+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 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 Zui. 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 Zui 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.
+
+ [Illustration: Figure 115]
+
+ FIG. 115. Exterior lodge.
+
+
+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:
+
+
+ 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.
+
+
+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.
+
+
+
+
+
+CONSTRUCTION OF THE MEDICINE LODGE.
+
+
+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.
+
+ [Illustration: Figure 116]
+
+ FIG. 116. Interior lodge.
+
+
+
+
+
+FIRST DAY.
+
+
+
+
+PERSONATORS OF THE GODS.
+
+
+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 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.
+
+ [Illustration: Figure 117]
+
+ FIG. 117. Gaming ring.
+
+
+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 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 pion 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.
+
+
+
+
+
+SECOND DAY.
+
+
+
+
+DESCRIPTION OF THE SWEAT HOUSES.
+
+
+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.
+
+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 pion boughs, sage and
+_Bigelovia Douglasii_ (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 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.
+
+ [Illustration: Figure 118]
+
+ FIG. 118. Sweat house.
+
+
+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 _Bigelovia Douglasii_. 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 Coonino 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.
+
+ [Illustration]
+
+ RAINBOW OVER SWEAT HOUSE.
+
+
+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 pion
+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 pion 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 pion 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 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.
+
+
+
+
+SWEAT HOUSES AND MASKS.
+
+
+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.
+
+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.
+
+
+
+
+PREPARATION OF THE SACRED REEDS (CIGARETTE) AND PRAYER STICKS.
+
+
+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 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.
+
+ [Illustration]
+
+
+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 (_Sialia arctica_), 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.
+
+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, _Geococcyx californianus_, 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 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:
+
+
+ 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.
+
+
+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.
+
+
+
+
+
+THIRD DAY.
+
+
+
+
+FIRST CEREMONY.
+
+
+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 _Bigelovia Douglasii_ 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
+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.
+
+ [Illustration]
+
+
+
+
+SECOND CEREMONY.
+
+
+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 have rain! Now, mothers, send down
+rain upon us!" This song was constantly repeated.
+
+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.)
+
+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.
+
+ [Illustration]
+
+ CEREMONIAL MASKS.
+
+
+
+
+THIRD CEREMONY.
+
+
+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
+ [Illustration: scalp knot symbol]
+(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.(1) 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
+ [Illustration: scalp knot symbol]
+laid across each end of the rug.
+
+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.
+
+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. 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.(2)
+
+
+
+
+FOURTH CEREMONY.
+
+
+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.)
+
+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 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.
+
+ [Illustration]
+
+
+
+
+
+FOURTH DAY.
+
+
+
+
+FIRST CEREMONY.
+
+
+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 pion
+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 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.
+
+
+
+
+SECOND CEREMONY.
+
+
+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.
+
+
+
+
+THIRD CEREMONY.
+
+
+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 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.(3) 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 pion tree. The body of
+the invalid was dried by rubbing with meal.
+
+ [Illustration]
+
+
+
+
+FOURTH CEREMONY.
+
+
+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 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.
+
+ [Illustration]
+
+
+
+
+FIFTH CEREMONY.
+
+
+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.
+
+
+
+
+SIXTH CEREMONY.
+
+
+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 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.
+
+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. 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.
+
+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.(4) 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.
+
+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 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.(5) 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 Zui 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.
+
+ FOODS BROUGHT INTO THE LODGE.
+Da'ttuneilgaij Pats made of wheat flour
+ and fried.
+Tab'aestch'lonni Corn meal pats wrapped in
+ corn husks and boiled.
+Tan'shkiji Thick mush boiled and
+ stirred with sticks.
+Nnesk'di Tortillas.
+Ta'bijai Four small balls of corn
+ meal wrapped in corn
+ husks and boiled.
+Insi'dok'ui Corn bread with salt,
+ made from the new corn,
+ wrapped in corn husks and
+ baked in ashes.
+Tkditin White corn meal mush.
+Klesa'hn Corn meal dough in
+ rectangular cakes baked
+ in ashes, hot earth, or
+ sand.
+Tsste'lttsoi Cakes some fourth of an
+ inch thick made from
+ sweet corn mixed with
+ goat's milk and baked on
+ a hot rock.
+Tseste' 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.
+Tki'neshpipizi Small balls of corn meal
+ mush.
+To'tkonji Corn meal cakes
+ one-fourth of an inch in
+ thickness of old corn,
+ baked in a pan; they are
+ seasoned with salt.
+lkaandt 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.
+Tkleheljoe Yeast is prepared for
+ this bread in the same
+ manner as that for the
+ lkaandt 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.
+Ta'ntnil (beverage) Is the same preparation
+ as the yeast used in the
+ lkaandt except in this
+ case a drink is made of
+ it by pouring boiling
+ water over it.
+Diz'etso Peaches (fresh or dried)
+ stewed. There were also
+ several large bowls of
+ stewed mutton.
+
+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.
+
+
+
+
+
+FIFTH DAY.
+
+
+
+
+FIRST CEREMONY.
+
+
+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 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.
+
+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 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.
+
+ [Illustration]
+
+
+
+
+SECOND CEREMONY.
+
+
+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.
+
+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 was razed as usual, and the pine boughs and
+stones were placed to the north of the house in a small pion 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.
+
+
+
+
+THIRD CEREMONY.
+
+
+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.)
+
+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 (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.
+
+ [Illustration]
+
+
+
+
+
+SIXTH DAY.
+
+
+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.
+
+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 pion; the wives
+or goddesses carry pion sprigs in both hands; the rattle brings male
+rains, and the pion, carried by the women, female rains; these rains meet
+upon the earth, conceive and bring forth all 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.
+
+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 (_Colaptes cafer_); 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.
+
+ [Illustration]
+
+
+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
+pion tree about one hundred yards north of the lodge. A chant closed the
+ceremony.
+
+
+
+
+
+SEVENTH DAY.
+
+
+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 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.
+
+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 (_to_, water,
+and _yonily_, 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.
+
+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. The painting was obliterated
+in the usual manner and the sand carried out and deposited at the base of
+a pion tree some 200 yards from the lodge.
+
+ [Illustration]
+
+
+
+
+
+EIGHTH DAY.
+
+
+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.)
+
+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 (_Colapteo cafer_) 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 pion, 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).
+
+ [Illustration]
+
+
+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 pion
+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 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 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.
+
+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 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.
+
+
+
+
+
+NINTH DAY.
+
+
+
+
+FIRST CEREMONY.
+
+
+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 pion, 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. 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.
+
+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 pion tree,
+Tobaidischinni depositing his in a cedar tree, and Ahsonnutli hers in the
+heart of a shrub.
+
+
+
+
+SECOND CEREMONY.
+
+
+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 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.
+
+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 pion 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.
+
+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 pion bough.
+Hasjelti wore a suit of velvet ornamented with silver buttons; he never
+speaks except by signs. They 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.
+
+
+
+SONG OF THE ETSETHLE.
+
+
+ From below (the earth) my corn comes
+ I walk with you.
+ From above water young (comes)
+ I walk with you.
+ From above vegetation (comes to the earth)
+ I walk with you.
+ From below the earth corn pollen comes
+ I walk with you.
+
+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.
+
+
+
+PRAYER TO THE ETSETHLE.
+
+
+"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."
+
+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 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.
+
+
+
+
+CONCLUSION - THE DANCE.
+
+
+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.
+
+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 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 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.
+
+
+
+
+
+MYTHS OF THE NAVAJO.
+
+
+
+
+CREATION OF THE SUN.
+
+
+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."
+
+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.
+
+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.(6) 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.
+
+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 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.
+
+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. 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.
+
+
+
+
+HASJELTI AND HOSTJOGHON.
+
+
+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."
+
+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.
+
+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.
+
+
+
+
+THE FLOATING LOGS.
+
+
+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.(7) 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.(8)"
+
+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.
+
+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.
+
+The old song priest who related this myth to me regretted that so few of
+his people now visited the sacred spot.
+
+"When I was young," he said, "many went there to pray and make offerings."
+
+
+
+
+NAIYENESGONY AND TOBAIDISCHINNI.
+
+
+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.
+
+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.
+
+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 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."
+
+
+
+
+THE BROTHERS.
+
+
+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 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.
+
+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 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."
+
+The camp was surrounded by pion 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 (_Bigelovia Douglasii_(9))
+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 passed him, but he again headed them off by hiding in the
+stalks of a large yucca.(10) 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."
+
+ [Illustration: Emblem]
+
+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 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.
+
+
+
+
+THE OLD MAN AND WOMAN OF THE FIRST WORLD.
+
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+
+
+
+
+
+FOOTNOTES
+
+
+ 1 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.
+
+ 2 Continency must be observed by the personators of the gods until all
+ paint is removed from their bodies.
+
+ 3 The suds were crossed and encircled with the pollen to give them
+ additional power to restore the invalid to health.
+
+ 4 I noticed that the priest of the sweat house on no occasion sat with
+ the song-priest and his attendants.
+
+ 5 This food is dried and made into a powder, and used as a medicine by
+ the theurgist.
+
+ 6 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."
+
+ 7 The Naaskiddi are hunchbacks; they have clouds upon their backs, in
+ which seeds of all vegetation are held.
+
+ 8 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.
+
+ 9 The _Bigelovia Douglasii_ is made into rings and used in the
+ ceremonial Hasjelti Dailjis with direct reference to this
+ occurrence.
+
+ 10 Ceremonial rings are also made of the Spanish bayonet (yucca).
+
+
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK CEREMONIAL OF HASJELTI DAILJIS AND MYTHICAL SAND PAINTING OF THE NAVAJO INDIANS***
+
+
+
+CREDITS
+
+
+July 2006
+
+ This file was produced from images generously made available
+ by the Bibliothque nationale de France (BnF/Gallica) at
+ http://gallica.bnf.fr
+ Joshua Hutchinson
+ PM for Bureau of American Ethnology
+ Bibliothque Nationale de France/Gallica
+ Online Distributed Proofreading Team at http://www.pgdp.net
+
+
+
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+ <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
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+]]]777888GGG777]]]777888[[[ü000^^^666999YYY666000___:::444'''&&&___PPP:::XXX%%%000aaa444;;;yyy'''&&&WWW<<<CCC<<<888VVVbbb 222///ccc=== ///TTTUUU\\\ddd(((555TTT]]]ddd???TTTttt~~~fffqqqqqqqqqqqqRRRqqq&&&MMMqqq???qqqfffqqqqqqqqqqqq***AAAFFF000qqqQQQqqqqqq)))qqqqqqqqqqqq TTTqqq
+
+
+111uuuAAA888PPPyyy$$$BBBTTTpppCCCTTTCCCNNNwww]]]TTTMMMxxx***888LLLuuummmEEE///LLLtttTTTKKK⠠GGG888iiisssyyy냃TTTiii{{{IIITTTJJJ888ܥ{{{aaaڦfffתkkkTTTsssӭӭ888fffϰ ))))))wwwTTTTTT888888>>>uuuwwwcccUUU888MMMRRRtttxxxfff888VVVRRRtttxxxVVV999888RRRsssgggDDDQQQ888yyy:::888RRR888{{{XXX;;;888dddqqqiiiPPPTTTppp|||888TTTooo|||хTTTooo~~~???TTTφQQQdddoooIIIIIIIIIIIIIIIIIIYYYIIIJJJOOOIIIIIIIIIIIINNNsssIIIgggIIINNNޘޑYYY{{{IIIIIIOOOޘ___IIIsss~~~lllTTT|||뭭___믯ddd鰰ȋooodddppp貲洴䴴Ŏddd䵵⵵෷๹޹޺ܺuuuڼھ]]]>>>bbb)))䉉ʞ䉉䋋ʠ⋋⋋Ƞ⌌Ƞ⌌Ȣ๹๹qqq555ھ着>>>)))uuu
+
+
+www
+
+
+EEE """ttt ttt
+
+
+xxx
+
+
+FFFttt"""CCC ttt
+
+
+yyy GGGsss###BBB sss
+
+
+ BBBIIIqqq###
+
+
+{{{ IIIppp$$$
+
+
+|||@@@JJJ%%%ooo
+
+
+~~~???KKKooo%%%&&&>>>mmmLLL
+
+
+>>>MMMlll&&&lll&&&&&&===NNN
+
+
+!!!<<<kkkNNNOOO(((EEE;;;iiiIII
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+EEE
+
+
+ \\\---
+
+
+EEE
+
+
+ !!!
+
+
+
+
+
+
+
+
+
+
+
+!!!EEE
+
+
+
+
+
+777!!!
+
+
+777,,,
+
+
+!!!777777\\\:::MMM...RRR***888TTTuuuuuu888ddduuuccc䋋UUU!!!bbb⌌uuuuuu666aaauuuNNNEEE555aaaXXXNNNuuu444___EEE///EEE333^^^YYY///!!!]]]]]]uuuOOO!!!ْhhh111EEE\\\הhhhuuuuuu[[[ՕuuuEEEuuuuuu!!!XXXkkkuuuјuuuuuuuuuWWWuuuRRRuuuϛuuuTTTuuuΝuuuuuuEEE̞uuuTTTEEEʞuuuuuuuuu***uuuUUUuuuQQQuuu)))qqqqqq̉qqqqqqsssqqqsssqqqܥqqqڦڦڦ٨qqq٨qqq٨תwww񔔔ѯMMMPPP###ddddddIIIIIILLLfffJJJIIIcccfffJJJIIIbbboooΆbbbdddRRRMMMdddRRRhhhaaaTTThhhaaảIIIaaaUUUdddddd~~~Ȍkkk貲NNNkkkddd󲲲tttUUUxxxڨڠuuuuuuEEE---ooo񵵵ﷷ빹빹뺺麺\\\)))))) PPP+++,,,OOO~~~QQQ***---xxx***NNNRRR|||...MMM000***MMMTTT{{{... ---TTTPPP///,,,UUUOOO///***KKKVVVxxxYYY333 '''JJJwww[[[444)))IIIWWWwww111{{{555+++IIIXXXuuuXXX"""+++GGGttt]]]YYY333)))FFFmmmTTT\\\888III\\\ III;;;:::###///555\\\\\\\\\:::555GGG''')))::: fff YYY'''CCCppplll666+++蒒mmm[[[+++sss撒ppp888qqq䔔qqq+++lllbbb\\\LLLooobbb999TTToooppp:::TTTmmmTTTlllܚTTTgggfff+++ٝTTTٞuuuTTTgggbbbӢaaaѣaaaYYYbbbTTTaaaxxxbbb555\\\yyy)))PPP###888---)))yyy\\\888[[[\\\888&&&666YYY]]]222555XXX333&&&666XXX444555WWW444777VVVXXX555---444VVVbbb'''444UUU[[[CCC444TTTccc===cccTTTddd(((777ttt~~~CCCł===///AAA 888
+
+
+EEE !!!
+
+
+ wwwDDDFFFttt""""""""" xxxCCCxxxsssGGGGGG###!!!ssssssyyy###111uuuAAAqqq{{{III$$$uuupppppp|||$$$%%%!!!@@@ooo~~~KKKGGGEEEooommm~~~uuu&&&!!!>>>&&&&&&EEE===uuuJJJ!!!NNN(((EEEOOOggg裣888444<<<EEE$$$qqq$$$BBBﯯNNN888888888>>>uuuttt^^^興ccc***uuuuuuuuu䉉uuuuuuuuu⋋uuu!!!uuuuuuuuuuuuuuuޏuuuuuuuuuڑuuuuuuْuuuuuuuuuוјuuuuuuuuuuuuuuu̝uuuuuu̞uuuuuuʠuuuuuuȢuuuuuuuuuuuu333)))JJJssssssssssssssstttsssssssssܦuuuuuuuuuڨ٪٪sss
+
+
+
+
+
+///&&&<<<<<<777YYYKKK<<<CCC%%%///!!!
+
+
+
+
+
+www
+
+
+EEE """DDD ttt
+
+
+
+
+
+xxxCCCFFF """CCC tttyyy
+
+
+GGGsssGGG
+
+
+yyyBBBIIIqqqIII###
+
+
+{{{AAAIIIpppJJJppp
+
+
+ @@@JJJ%%% %%%???KKKooo%%%ooo&&&&&&>>>LLLmmmLLL
+
+
+>>>MMMlll&&&&&&&&&!!!===kkkNNNNNNJJJ!!!<<<kkkOOO(((!!!;;;iiiuuuuuuEEE:::hhhbbbRRRJJJ
+
+
+888---iiioooqqq888VVVBBB䕕sss]]]VVVqqq䕕VVVggglllKKK:::---ttt^^^fffVVV???iiiܛ___ڝٞٞiiiנբբxxxmmmbbbѥccc___VVVdddccc---cccΨdddVVV666]]]KKK///AAAPPPVVVIIIRRR===
+
+
+EEE !!!uuu uuu
+
+
+wwwDDDFFFttt""" """ xxx FFFsss###
+
+
+!!!BBBGGGsssyyyIII
+
+
+ AAAqqq{{{$$$$$$EEE@@@JJJpppJJJJJJ@@@ooo%%%KKKooommm~~~&&&&&&!!!>>>___&&&!!!===uuu'''!!!kkkkkkaaauuuEEEiiiEEEuuuEEEiii냃uuu)))uuu:::999
+
+
+Ǣ
+
+
+QQQggg***999ggg
+
+
+Ƞ
+
+
+RRR***111bbbTTTLLLuuu䉉dddMMM⋋ddduuuuuuuuuuuuuuuuuuuuu___uuuuuuuuu܏ggguuuڑuuuuuuuuuْuuuuuuuuuٔhhhוuuuuuuQQQјuuuuuuuuuuuuuuuϛuuuuuuuuuΛuuu̝uuuuuuTTTTTTuuuuuuuuuʠuuuuuuuuuQQQoooUUUuuu***uuu***BBB///tttttttttttttttttttttuuutttuuutttܨܨwwwtttڪtttxxxxxx٫٫׫׫RRRhhh***tttPPP{{{ttttttttttttCCCCCCPPPuuuhhh
+
+
+ooo{{{888ӯӰ񗗗Ѱ蝝ȹ111)))PPP---!!!EEEEEEaaabbbFFFEEEEEEEEE___bbbFFFEEE___iiimmmGGGEEE___cccJJJ___dddQQQJJJJJJ~~~ddd~~~IIIEEE]]]~~~QQQEEE]]]|||ppp|||fff]]]|||qqq~~~gggaaa{{{ȉKKKaaa{{{ljhhh\\\yyyNjKKKUUUaaaRRR
+
+
+ooo///kkkwwwNNNNNNtttaaauuuuuubbbaaatttoookkksss빹鹹ǕpppqqqǕǗ輼澾yyy侾kkkkkk~~~kkkaaaxxxaaaiiiccc&&&***)))RRR...QQQTTT//////---PPPTTTXXXUUU///---OOO~~~///UUU000---OOO|||[[[444"""...NNN...111...MMM{{{WWW###...LLLXXX222...LLLYYY...KKKxxxkkk444NNNJJJppp888WWWppp펎TTTNNNGGG]]] {{{̪FFFsss777
+
+
+ \\\!!!^^^???555:::III 
+
+
+ %%%///:::,,,BBB+++IIIBBB%%%&&&xxx777 ^^^CCC배鰰Ȏppp鲲Ȏqqq贴贴浵䷷⹹຺຺޼޼ܾpppܾpppWWW___پ )))hhh䅅䅅țⅅțↆↆⴴഴŞ޵Ş޵޵ð몪||| PPPuuu
+
+
+
+
+
+www
+
+
+EEEDDD"""DDD ttt
+
+
+xxx
+
+
+FFFCCC"""ttt yyy GGGsss###
+
+
+yyyBBBIIIqqq###  AAAIIIpppJJJ$$$
+
+
+|||@@@JJJ@@@JJJ%%%???KKK???%%%ooo&&&&&&>>>mmm >>>MMMlll&&&&&&===kkk'''<<<kkkNNNOOO(((!!!;;;OOOiii))))))!!!hhhhhh:::QQQgggQQQQQQ***:::::::::qqqNNN::::::VVVIII::::::sss EEE:::###
+
+
++++'''!!!ddddddMMMEEE䋋ddduuu777⌌---uuuuuuuuuEEEaaaaaaXXX///EEE___uuu!!!^^^uuu///EEEhhhOOOEEE\\\\\\PPPuuuהuuu酅uuuՕuuuuuuEEEYYY՗uuuuuuӘuuuuuuXXXkkk555uuu...Ϛkkk666uuuϛuuuTTTuuuΝuuuTTTuuuTTTmmmTTTEEE+++TTTfffuuu!!!RRRmmm999uuuQQQQQQggg))))))uuuަuuuuuuuuuwwwuuuިܨuuuxxxxxxxxxڪګuuuګ٫׭;;;///ttthhh)))___~~~888XXX+++ddd
+
+
+222555ڋٹٹ󢢢ٺ󢢢׌󃃃׺񣣣׎񣣣׼񥥥񥥥ռ便ӾӾ먨냃骪555))))))EEE !!!uuu
+
+
+wwwFFF """ttt
+
+
+ xxx
+
+
+FFFsss### ﰰ
+
+
+yyyBBByyyBBBGGG
+
+
+!!!AAAIIIAAAIIIIII|||@@@JJJpppJJJ @@@KKKooo%%%KKK!!!???mmm~~~&&&!!!>>>mmm&&&555&&&===MMMJJJ!!!kkkkkkNNN(((!!!<<<VVV!!!iiihhhPPP)))uuu:::bbb***!!!gggggg***WWW&&&Ƞ888RRR
+
+
+wwwEEE """DDD
+
+
+xxxCCCFFF """ttt ttt
+
+
+yyyBBBGGGsss###sss
+
+
+
+
+
+yyyBBBIIIqqq#########{{{AAApppJJJppp$$$
+
+
+ @@@pppJJJ
+
+
+~~~~~~ooo%%% ~~~>>>LLLmmmLLL >>>lll&&&lllMMM&&&===kkk!!!<<<kkkOOO(((!!!;;;iiibbb))):::hhhPPP)))!!!:::gggQQQ
+
+
+
+
+888666XXX
+
+
+EEE !!!
+
+
+wwwDDDFFFtttFFF  xxxCCCxxxsssGGG###EEEBBBGGGsss### ###!!!AAA{{{qqqIIIIII$$$|||@@@JJJppp|||
+
+
+EEE@@@~~~___!!!???mmm~~~ &&&!!!>>>mmmLLL
+
+
+===MMMlllMMMuuuJJJkkkNNNEEEiiiiii((((((uuu냃uuuKKKEEEhhh酅uuuuuu!!!ggg~~~
+
+
+DDDKKKhhhppp>>>ccc***EEEddd扉LLLEEEuuuuuuuuu⋋uuuuuuuuuuuuuuuuuufffuuuuuu___XXXuuu܏uuuuuu^^^ڑuuuuuuuuuuuuٔuuuוuuuuuuuuuјuuuuuuuuuuuuuuuuuuuuu̝uuuuuuuuu̞uuuuuuEEEʠuuuuuuEEEȢuuuuuuEEEQQQ龾
+
+
+
+
+
+www
+
+
+EEE """DDD
+
+
+ xxxCCCFFFCCC""" yyyBBBGGGBBByyysss sss
+
+
+yyyBBBIIIAAA###qqq
+
+
+{{{AAAIIIpppJJJ$$$ppp
+
+
+|||@@@JJJppp%%%
+
+
+!!!???~~~oooKKK&&&&&&!!!>>>LLLmmm !!!>>>MMMlllMMM&&&===NNN'''!!!<<<kkkOOOJJJ!!!;;;iiibbb)));;;hhhhhhPPP)))!!!:::gggQQQQQQ***KKK bbbiii
+
+
+ wwwDDDFFFtttFFF"""""" xxxCCCsssGGGGGG###!!!BBBsssyyy ###CCCAAAqqqIII $$$!!!@@@JJJJJJJJJ
+
+
+!!!@@@ooo~~~ %%%!!!???mmm~~~LLL!!!>>>mmm&&&
+
+
+!!!===lllMMMuuu<<<kkkNNNNNN(((EEEOOObbbJJJ!!!iii냃uuuuuuuuu酅QQQuuu!!!gggKKKȠ
+
+
+@@@III???+++EEE***{{{BBBJJJtttsssuuuLLL\\\蘘fff222III昘ggg???IIIGGGqqq222iiihhh^^^222FFF⛛ooouuu\\\PPPggguuu222ޠPPPܠڢڣ^^^]]]PPPצqqq___ggg~~~]]]ӨѪtttPPPuuubbb222<<<ccc|||LLL]]];;;cccxxxLLL:::>>>|||ggg[[[>>>뢢>>>CCCJJJ|||\\\???\\\YYYyyy\\\???DDD[[[yyyiii~~~>>>XXXxxx]]]xxx>>>YYYAAA^^^YYYwwwӈXXXuuuǂ>>>[[[uuudddωmmm[[[󫫫DDD󭭭ooosss񛛛΋hhhKKKȣ000KKKJJJ
+
+
+www
+
+
+EEE """DDD ttt
+
+
+
+
+
+xxx FFFttt"""
+
+
+ BBBGGGsssyyy###### BBByyyqqq###III AAA{{{pppJJJJJJ111|||@@@JJJppp%%% ???KKKooo%%%&&&&&&~~~>>>>>>&&&&&&lll&&&lll&&&EEE===kkkNNNNNN!!!kkkkkk(((OOO(((!!!;;;iiiOOOOOOKKKEEE:::hhh)))))):::gggQQQccc***KKK??? fff
+
+
+yyy
+
+
+qqqyyy222{{{hhh{{{먨\\\sss봴봴׵跷跷湹湹人⼼྾྾))) VVV000222UUU000555WWW///222###555XXX333888111RRRXXX444888&&&111QQQ888///QQQ~~~999###PPPVVV:::111OOO|||;;;777111NNN]]]{{{'''111ddd<<<(((111MMMyyy^^^888111LLLxxxNNN(((111LLLwww>>>999111pppwwwggg)))%%%$$$KKKooo$$$;;;\\\JJJ777***[[[
+
+
+
+
+wwwDDDFFFttt""""""""" xxxCCCFFFsss###]]]###yyyBBBsssyyyIIIEEEAAA{{{^^^GGGEEEpppppp|||JJJ%%%!!!ooooooKKK___%%%EEE???mmm&&&LLL
+
+
+>>>mmmLLLMMM&&&===uuuuuu!!!<<<kkkNNNJJJuuuiiibbbuuuuuu;;;냃bbbKKKuuuQQQuuuEEEgggKKKȠ
+
+
+״׵󝝝յ󝝝񝝝Ѻ뢢μξ飣̾555))))))***@@@@@@@@@~~~\\\]]]AAA@@@\\\|||iiiqqq@@@\\\{{{^^^MMM^^^\\\{{{^^^̀XXX\\\yyylllʀFFFYYYyyyNNN@@@YYYxxxDDDaaa\\\xxxaaaOOO@@@\\\wwwEEEbbbhhhwwwDžFFF\\\uuupppFFF\\\[[[uuu󭭭ņooo\\\tttRRRddd\\\tttyyyfffLLLKKKbbb&&&>>>VVV###@@@YYYsss^^^>>>!!!qqqﲲqqq\\\ppp񞞞hhhpppʑiii\\\iii\\\ooo{{{mmm跷uuuhhhmmmyyy湹wwwÕooowww⼼⾾ξppp\\\ttt\\\ssssss\\\fff@@@VVV222|||!!!UUUWWW]]]FFF333000UUURRRXXX444222TTTkkk444RRRYYY555222RRR[[[:::^^^wwwlll~~~]]]777PPPOOO|||]]](((222OOO{{{mmm888222񏏏___UUUVVV풒풒ppp222pppwwwKKK
+
+
+
+
+JJJtttccc;;;111{{{PPPdddFFF昘fff111xxxpppggg>>>,,,:::???uuu⛛@@@tttޝޞyyy***ܠddd٢٣եgggզ___Ѩ\\\;;;Ѫtttaaa111aaa111:::bbb~~~KKK\\\@@@~~~\\\]]]|||@@@@@@\\\@@@~~~]]]qqqWWW\\\|||^^^\\\{{{̀^^^[[[ʀ___yyyttt___hhhmmmȂaaaXXXȃaaaXXXxxxoooщbbb\\\wwwыbbb\\\wwwpppŅcccxxx\\\󝝝ppphhhÈppphhhtttKKKDz888mmmKKK___qqqgggsssﰰ񞞞sss봴ٴiii\\\鵵跷跷湹湹⼼྾hhhddd )))PPP||||||||||||Ŕ~~~|||Ô୭ޭޭޯܯڰڂٲJJJKKK |||״󝝝uuu
+
+
+www EEE """ ttt
+
+
+ xxx
+
+
+FFFttt"""###
+
+
+ BBBGGGsss### ###!!!BBBqqq{{{III AAA{{{ppp{{{JJJ
+
+
+ @@@|||pppJJJ%%%%%%!!!???~~~oooKKK &&&~~~>>>mmmLLL>>>MMMlll&&&lll&&&&&&!!!===kkkNNN!!!<<<kkkNNNOOO(((!!!;;;iii)))))):::hhhPPP)))EEE:::gggQQQKKKooo 
+
+
+888fffTTTLLL!!!888ddduuu,,,EEEcccuuu,,,!!!bbb⌌fff---EEE666aaaWWWfffNNN!!!555aaafffNNN!!!___ggguuuEEEuuuuuuڒuuuuuuEEE]]]\\\uuuuuuuuu111\\\uuu222uuuՕuuuuuuuuuQQQӘuuuuuu///uuuuuuuuuRRRuuuVVVuuuTTTuuuΝuuuuuuuuuuuuEEETTTfff888uuufffUUU!!!***ggg999::: )))~~~\\\~~~~~~ŕ~~~୭௯ޯހ×ޯܰܰܲڲڲڲέ???KKK777@@@%%%EEE~~~ٴ׵󝝝׷󝝝շξ)))???|||뒒\\\??????[[[|||~~~\\\{{{@@@VVV[[[{{{iii]]]YYY{{{kkk^^^yyy󛛛yyysss___\\\xxx___Ȃ___\\\䪪EEEWWWwww󛛛EEEWWWwwwǃbbbWWWuuuŅbbbuuuPPP󭭭ÆoootttcccÆ\\\qqq
+
+
+KKKǢ666"""JJJ---fffﰰ񞞞봴봴񞞞FFF鵵񞞞ȑ跷跷湹湹人⼼྾྾hhhdddddd555)))WWW111222UUU%%%WWW000333%%%TTTXXXXXX&&&000TTT444999&&&222,,,[[[///QQQ[[[666...PPP\\\~~~777;;;///PPP]]]|||777<<<(((---+++|||888(((///NNN{{{444888+++NNNyyy999\\\MMMxxxaaa999222LLLxxx:::???:::---LLLbbbwwwhhhbbb&&&JJJKKKooo%%%pppJJJuuuAAA<<<222{{{www===222IIIfffccc\\\yyysssggg>>>222FFFqqqggg???222FFFppp???hhh222EEEpppxxx@@@oooddd222mmm\\\222CCCllllllBBB222sss\\\ڢgggڢ{{{iii{{{ggghhhեqqqզyyyGGGPPPӨ222tttiii\\\cccuuu222;;;cccuuuiii222;;;wwwLLL)))uuu΋[[[KKK000GGG]]])))uuuUUU000000###TTTVVVPPP111###RRRWWW222WWW222///RRR]]]777!!![[[PPPpppRRR000PPPUUU[[[555000OOO[[[]]][[[NNN{{{\\\TTT000^^^000^^^UUU000LLL333888000푑sss888000KKK풒aaa[[[uuuKKKϪbbbIII\\\aaaOOOyyy蕕[[[uuuEEE䘘䘘>>>[[[uuu⚚gggtttޝܞڠpppڠףףեӦѨѨhhhaaa000ggg)))***AAAAAA~~~]]]^^^~~~BBBAAA\\\AAAkkkBBBXXX\\\|||\\\___CCC___]]]|||̀___]]]{{{ʂ[[[]]]{{{uuu[[[]]]yyybbbEEEbbb]]]yyyoooPPP\\\]]]xxxcccccc]]]xxx⭭Džccc\\\wwwGGGddd]]]wwwyyyddd]]]uuuÈfff]]]TTT^^^MMM,,, aaa'''???\\\###'''tttgggﲲhhh]]]sss]]]qqqڴ񠠠iii[[[pppٵkkk񠠠]]]ooo跷չ溺人似⼼྾]]]hhh )))OOO{{{{{{{{{{{{{{{|||{{{|||ޫޭ{{{~~~{{{~~~ܯ{{{ܯگڀٰٲ{{{VVVKKKKKKNNN:::---OOO\\\ײ״״մ󛛛յ񛛛յ힞μμ̼飣̾飣!!!
+
+
+EEEuuu!!!uuu
+
+
+ wwwDDDFFFttt""" """ xxxCCCFFFsssxxx222EEEBBBsssyyyIII!!!qqq{{{^^^$$$uuupppppp|||$$$%%%EEEoooooo~~~___uuuEEEooommm~~~&&&III!!!>>>uuu!!!===lllMMM!!!kkkNNNuuuEEE<<<iiibbbuuuuuu냃bbbuuuuuuhhh酅uuuuuuuuugggUUU Ƞ
+
+
+ϫccc&&&DžXXXPPP|||uuuXXX藗昘暚tttPPPyyy䚚ttt@@@PPP&&&ޞܠܢڢ٥ץզӨJJJѪϫ|||ϫwwwLLL222;;; ΎKKK///666NNNѵ󭭭ࣣVVV///111TTT///TTTVVV\\\{{{///RRRWWWŀWWW!!!QQQ888!!!///QQQTTTYYY444XXXPPP~~~ppp...OOO|||999555000OOO\\\{{{ttt666...NNN\\\{{{bbb\\\777000MMMyyy]]]777...LLLxxx^^^888000qqq444888000KKK___www???888000JJJuuu$$$KKKooo$$$KKKKKK---IIIttt777;;;000ssspppaaa000lll旗qqq<<<000FFF旗fff%%%OOOEEEpppsssXXX000DDDoooggg>>>OOODDDooohhh OOO000llltttOOOfffܞdddܞOOOڠ٢ooowww000aaaףxxxDDDOOO===xxxEEEqqqgggӦWWWcccyyyGGGbbb{{{hhh000\\\tttJJJOOO999aaauuu000!!!AAAiii]]]AAAAAAFFF~~~BBB^^^\\\|||׆YYY]]]̀iiiPPP{{{ӈaaa]]]yyybbbiiiyyyӉmmmiiimmmxxxыcccϋooo󭭭iii󯯯όpppiii񯯯Ύ]]]񠠠DzVVVggg]]]sssiii뵵ttt~~~蹹www溺⼼hhh~~~iiifffxxx!!!{{{Œ{{{{{{|||{{{ޫܭ%%%666ٲյ̼)))uuu
+
+
+www
+
+
+EEEDDD"""DDD ttt
+
+
+ xxxCCCFFFttt"""###ttt!!!BBByyysss ### BBByyyqqq{{{III###EEEqqq{{{ppp{{{JJJEEE@@@pppJJJ%%%!!!ooooooKKK&&&&&&!!!>>>LLLmmm&&&
+
+
+>>>lll&&&&&&EEE===NNNEEEkkkkkkuuu(((EEEiiiOOO)))!!!:::)))111!!!:::QQQ777ooo ###OOO888RRRfff++++++!!!888TTTMMM!!!777cccuuu,,,EEE⌌VVVMMMuuubbbaaauuu...!!!aaauuuuuu!!!444܏XXXuuuuuuܑuuuOOOEEEڒhhhuuuuuu]]]uuu녅uuuuuuՕuuuuuuuuu՗uuuuuuuuuuuuuuuXXXјkkkRRRuuuϚaaauuuuuuuuuuuuuuulllTTTEEETTTuuuuuuEEETTTfffuuu!!!***RRRfff999***QQQ999$$$ ⯯௯ర޲޲޲ܴܲ܅(((888BBB ׹󠠠
+
+
+==={{{YYYYYY======XXXyyy|||JJJ[[[XXXyyy|||[[[gggMMM---楥iii䦦󚚚]]]uuu󚚚^^^uuu񚚚YYYપ񚚚YYYłsssUUU󫫫񭭭ȴ
+
+
+ wwwDDDFFFFFFFFF""" xxxCCCxxxsssxxxGGGFFFCCCBBBsssyyyIII!!!qqq{{{uuuGGGEEE@@@|||JJJ%%%uuu@@@~~~%%%uuuEEE~~~LLLuuu!!!uuu&&&!!!===aaauuukkkkkkNNNuuuuuu<<<iiiJJJEEE냃uuuKKKEEE:::酅bbbKKK!!!膆(((Ƞ
+
+
+www
+
+
+EEE """ttt ttt xxx
+
+
+FFFCCCxxx######BBBGGGsssGGGGGG
+
+
+ BBBIIIqqq######
+
+
+ AAA{{{ppp{{{ppp$$$$$$ @@@pppJJJ%%%!!!~~~ooo%%%KKK&&&>>>mmm&&&
+
+
+!!!>>>lll&&&&&&kkk'''''''''<<<kkk!!!;;;iii)))hhhhhhPPP))))))!!!:::ggg***QQQ??? VVVddd888fffLLL!!!888dddTTT,,,!!!777uuu,,,EEE777⌌VVVMMM!!!666aaafffuuu!!!555aaauuuEEE444___XXXOOOEEE^^^uuuuuuEEE]]]ڒhhh000uuu222ْ\\\111!!!111הuuuuuuuuuuuuQQQuuuYYY՗iiiQQQ///___uuu!!!XXXkkkuuuuuuuuu666uuuVVVlllTTTuuu,,,Νlll777!!!TTTTTTmmm888EEE+++TTTfffuuu!!!***RRRmmm999!!!***QQQggg
+
+
+!!!Ș⯯ⰰⰰర111888ಲ޲޴ܴܵܵ###,,, ---;;;̀lllٷٹ󢢢񣣣\\\
+
+
+yyyXXX{{{RRRfffyyy{{{YYYWWWxxx[[[|||<<<XXX|||[[[gggwwwiiiVVV䥥󘘘<<<uuuXXXuuuӆCCCXXXtttшCCCXXXtttਨŀ^^^XXXmmmÂ___XXXsssުÂWWWܫqqqڭ777 ȴ---YYYGGGqqqbbbgggoooﯯoooװʎ벲ղfffXXXlll贴赵hhh混䷷⹹⺺຺༼޼޾ܾ랞aaa\\\,,,''''''WWWYYY^^^555YYY555333WWWYYYaaa[[[666222VVV[[[]]]bbb;;;$$$444UUUccc<<<777333UUUccc<<<444TTT]]]===222RRRfff***444RRR^^^XXX999***///~~~999???999...PPP@@@+++...PPP{{{hhh;;;444OOO{{{ppp;;;///GGG<<<ccc<<<444NNNxxx=== '''ooo&&&KKK###qqqoooqqq >>>LLLwwwxxx&&&444LLLxxxNNN444KKKggg@@@444JJJhhh@@@444{{{䛛AAA444IIIssskkkDDD444yyyqqqkkkggg___iiippplllCCCQQQxxxhhhooommm___ܢܢ|||٥צ~~~iii___צըӪggguuulll444LLL444>>>dddxxxMMM444===dddxxxQQQﹹ,,,KKK222[[[oooUUU]]]YYY\\\YYY)))RRR|||///QQQ~~~TTT///...mmm000///VVVYYYXXX~~~111XXXNNNӗNNNNNN{{{oooXXXooo333///LLLppp444///LLL[[[xxxVVV[[[555///KKKwww\\\555|||$$$]]]XXXlllXXX{{{UUUXXXyyysss///Ϊ
+
+
+ wwwDDDEEEDDD"""
+
+
+ xxx FFFtttxxxFFF###!!!BBBsssyyyGGG### qqqqqq###III!!!AAAIIIppp{{{JJJ$$$ @@@ppp|||KKK%%%~~~???KKKooo~~~&&&&&&!!!mmmmmmLLL&&&>>>lll&&&===kkkNNN'''<<<kkk666JJJ!!!;;;iii)))))):::hhh)))111!!!ggggggQQQQQQ***<<<ooo KKK???oooddd
+
+
+fffRRR++++++!!!888dddddd,,,!!!cccdddMMMEEEbbb⌌fffMMM!!!666aaafff...!!!555ގ///!!!444XXXuuuuuu^^^YYYuuuEEE333hhhOOOuuuuuuuuuuuuuuuuuuՕuuuuuuYYY՗iiiQQQEEEӘuuuuuu!!!XXXјkkkRRREEEWWWkkkuuuEEEϛbbbuuuEEEuuuTTT!!!TTT888EEE+++ʞfff888!!!RRRRRRfff999!!!***QQQgggQQQ
+
+
+OOO
+
+
+!!! EEEDDD"""
+
+
+ CCCFFFCCCFFF###### yyyBBBsssyyy###!!!BBByyyqqq###III###!!!AAAppp{{{JJJ$$$|||@@@ppp|||KKK%%%!!!oooooo~~~KKK&&&!!!>>>mmmLLL&&&llllllMMMMMM&&&!!!===MMMkkk''''''<<<kkkOOO(((!!!;;;iii(((OOO)))!!!PPP111EEEggggggQQQ888 KKK^^^ddd888fffccc+++!!!888dddEEE777cccdddMMMuuu777VVVMMM!!!666aaauuuNNNEEEaaauuu///uuu___XXXEEEܑuuuuuuEEEuuuOOOEEE]]]uuuPPPEEEהuuu222[[[Օuuuuuu՗uuuuuuuuuuuuuuuuuuјuuuuuuuuuϚ666uuuϛuuuuuuΝuuuuuuuuuTTTTTTdddTTTuuuTTTfffEEERRRRRRfff999EEE***QQQggg)))䆆ʛ䲲ⴴⴴⴴ൵൵޷޷޷ܹ///xxxooo AAA﨨뫫)))FFFxxx999999UUUwwwxxxyyyWWWUUUuuuyyyWWWVVVuuuggg{{{XXXTTTttt{{{ttt|||VVV|||YYYVVVsssӅVVVqqqަ999fffLLL\\\VVVppp󨨨___񪪪񪪪UUUʦoooRRR___VVV|||믯배Ѱ鲲Ȏppp貲贴洴浵䵵⹹๹޺ܼܼھ靝VVV^^^)))***YYY[[[bbb777555YYY\\\aaa888===&&&***XXX]]]888>>>888555WWW888???888333WWW???555VVVggg___:::666UUU:::AAAddd666UUUaaa---333888BBB---444RRR <<<666RRR~~~lllxxx===666QQQ|||lllDDD>>>///PPP{{{fff>>>333sss{{{999***###KKKooo???yyy===[[[NNNgggxxxGGG666NNNxxxhhhAAA666MMMiii000666LLLuuussskkk666mmm|||CCCbbbKKKtttlll111666JJJsssmmmDDDsssEEEbbbIIIࠠFFFbbbGGGppppppޣGGGxxxܣåRRRuuuڦ٦mmmרӀתmmmsssժMMMbbbhhhxxx666@@@xxx777666@@@yyyOOO666???{{{QQQ~~~񨨨???===|||YYYoooYYY)))///QQQUUU---000---+++OOO***...+++OOO~~~~~~RRR...+++|||///TTTWWW,,,{{{lllWWWMMMVVV000yyyVVV000,,,~~~xxxmmm>>>JJJwwwXXXXXX,,,JJJwwwXXX222)))IIIuuuYYYYYY,,,GGGttt000>>>PPPFFFtttWWWFFF뎎\\\[[[,,,mmmllloooΨ
+
+
+ xxxtttsssxxxGGGFFFEEEsssyyyIII###EEE{{{IIIuuuuuu@@@|||uuuGGGooo~~~___GGGEEE~~~uuuIIIEEE>>>___IIIEEElllMMM'''uuu<<<NNNJJJEEE탃uuuJJJ!!!iii냃uuuKKKuuuhhhQQQuuu!!!gggQQQUUUȠ
+
+
+
+
+
+www EEEDDD"""ttt
+
+
+ xxxCCCFFFttt""" ttt### yyyBBBGGGsssyyyGGG###yyyBBB{{{III### AAA{{{ppp{{{JJJ|||@@@ppp||| %%%!!!???ooo~~~KKK&&&!!!>>>mmmLLLLLL&&&AAA>>>MMMlll&&&&&&&&&!!!lllkkk''''''!!!<<<kkkOOO(((!!!;;;iiiOOO)))EEE:::hhhPPP)))!!!:::gggcccKKK222 KKKooofff
+
+
+888fff888+++888䉉TTT,,,!!!ccccccUUU,,,EEEbbbVVVuuu!!!bbbaaauuuuuuaaa999///!!!___܏gggOOOEEE^^^uuu///!!!333]]][[[[[[uuuEEE222\\\PPPuuuuuuuuuEEEՕuuuuuuuuuiii333uuuuuuuuu!!!јaaauuuuuuϚkkkuuuuuuuuuuuuuuuUUUuuuuuuuuu,,,uuu888!!!TTTTTTuuuUUU!!!RRRfff999EEE***QQQggg:::)))̞䉉䵵䵵⵵๹๹޹޺tttooo000wwwNNNqqqܼھ󦦦پ///hhhdddwwwTTT888888TTTuuufffwwwUUURRRtttxxx񔔔VVVttt񔔔sssWWWޣ???dddqqqXXXiii|||YYYTTToookkk~~~PPPooo===󨨨mmm񨨨ת헗~~~ooo̴kkk(((WWW헗뭭aaa鰰똘ϰ貲貲洴෷޺ܺڼھ蛛TTT]]]{{{+++[[[]]]ccc888~~~,,,+++[[[]]]bbb888]]],,,666YYY333---888XXXggg:::888XXX______...888WWWBBB;;;888WWWbbb...888VVVbbbkkkCCC===888UUUlllccc===dddUUUddd>>>888TTT???888RRR~~~fff???888|||ggg@@@888|||ggg'''
+
+
+'''KKKFFF___{{{bbbPPPyyyiiiiiidddOOOdddxxxkkk888NNN杝lllkkk333MMMwww~~~888LLLmmmuuuEEEddd~~~xxxFFFlllJJJdddqqq888ܥ׀ڦ׀KKKFFF٨dddתNNNիiiiyyyddd888iiiyyyPPPdddqqqhhhPPP///___gggYYY888///󲲲]]]ggg{{{ooobbb555\\\戈...)))///{{{,,,+++OOOQQQ~~~---***---TTTNNN|||fffUUUTTT|||iii...MMM{{{VVVLLLyyyggg///+++~~~xxxTTT|||xxxhhh+++JJJwww111+++IIIXXX222+++YYYQQQGGG!!!XXX+++444oooYYYLLLqqqoooΨ
+
+
+ www wwwCCCFFF """CCCxxxtttsssxxx]]]CCCBBByyy]]]FFFuuuAAA{{{uuuGGGEEE@@@|||ppp|||uuu%%%EEEooo~~~___GGGBBBooo~~~___
+
+
+!!!mmmmmmEEE!!!llllllMMMaaa'''!!!kkkNNNJJJEEEuuuuuuuuuiii냃PPPuuuuuu:::酅bbbuuu!!!999ggg222
+
+
+ DDDooo󨨨kkkooo@@@lllTTT|||^^^ddduuu뭭LLLTTThhhoooTTThhhʋaaaTTTgggQQQVVVTTTxxxTTTfffdddddddddqqq䵵ÏⷷÑsss๹ttt޺uuuܺüTTT^^^TTTlll]]]888IIIqqq]]]888888\\\ggg^^^999888[[[oooVVVUUU|||VVVBBBWWWXXXppp888őbbbWWWyyy===888VVVÒqqqXXX888888񔔔YYYUUU888UUURRR헗ttt|||kkkoooѯoooiiiCCC̉fff隚yyy蝝杝^^^FFFUUUlllࢢࣣޣޥܦڦ٪ת׫ӭӯѰAAA)))澾뾾TTTooo777xxxooo***๹lll)))PPPKKK+++NNN***NNNQQQ|||MMMxxx,,,+++MMM~~~|||RRR+++LLL~~~{{{iii...***LLLyyyTTT///+++KKKxxxggg'''JJJxxxVVVOOO+++IIIwwwVVV000+++IIIWWWuuuTTT...(((GGGtttTTTXXX!!!+++FFFtttXXX222+++FFFsssYYY]]]+++EEEqqq[[[333&&&\\\ ooo
+
+
+"""KKKooo(((kkk[[[FFF󾾾CCCooo]]]BBBmmm[[[ +++AAA撒@@@䔔555888@@@kkkmmm[[[+++???iiiooo888LLL>>>ccc+++ccc:::===ܘ@@@WWWܚbbbڛLLLٝgggמYYY^^^ՠ___ѣ[[[^^^aaaΦuuuXXX\\\pppCCC+++444\\\AAAPPP|||fffJJJJJJdddfff׋fffdddgggfffppppppfffiiiqqqʋsssfff鰰яsssfffϑsss~~~fff󴴴fff|||󴴴|||oooooo 999{{{uuuﷷwwwxxxȗ뺺达mmmmmm))))))ppppppppp٦KKKoooooottt***"""$$$...uuu
+
+
+
+
+
+www
+
+
+EEE """DDD ttt
+
+
+ xxxCCCFFFtttxxx###111BBBGGGsssGGGGGG
+
+
+ BBBqqqIIIIII
+
+
+ AAA{{{JJJ$$$!!!@@@|||ppp|||KKK%%%!!!???ooo~~~KKK&&&!!!>>>mmmLLL&&&
+
+
+!!!>>>MMMlllMMM&&&&&&111===kkk''''''!!!<<<aaa(((;;;iiiOOO)))EEEhhhhhhPPP)))!!!:::gggQQQ ???ooo 777oooKKK]]]fff
+
+
+///@@@888fffTTT+++!!!dddTTTuuu!!!777䋋ddd,,,EEEbbb⌌VVV---!!!bbbaaauuuuuu!!!aaaaaafff///uuu___gggOOOuuu^^^uuu///uuu]]]uuu000EEEuuuuuu111\\\uuuuuuuuuՕuuuuuuuuuuuuuuuӘuuuuuuјuuuuuuuuukkkuuuEEEϛlllTTTuuuΝuuuuuuTTT888uuu!!!TTTmmmUUUuuuRRRRRRuuu999EEE***QQQgggggg{{{)))̋䵵̴䷷䷷๹๹຺Ӧoooooo<<<000OOO󔔔ھ))))))777uuuRRRTTT777777RRRbbbwwwwwwTTTRRRtttfff񔔔777RRRfffWWWpppܣڥ{{{oooڥ|||YYYRRRmmm~~~󦦦񨨨lll񨨨着ccc???̴ޒccc뭭믯ooo沲Ǣ沲䴴111qqq෷޹޺ܼڼ\\\)))&&&]]]888888\\\&&&[[[^^^cccggg&&&[[[:::___:::888YYY555(((888XXXaaa888XXX666///666WWWkkk ===888VVV===ccc777VVV\\\EEE///666UUU]]]FFF???fffTTTfff???666TTT~~~gggaaaRRR~~~gggAAA888RRR|||hhhiii+++ooo'''KKKooo~~~FFFttt """\\\PPP{{{iiiCCC~~~CCC888OOODDDfffNNN杝lllfffNNNwwwmmm888mmmwwwoooFFF888LLL⠠llltttUUUKKKtttqqqmmm222qqqmmm222ޥܥfff٨ׂwww٪ՂիffftttkkkՃӃqqq888BBBiii|||QQQ///AAAhhhQQQYYYѾ྾׾Ѿʾ<<<ooohhhyyyWWWoooKKKbbbRRR@@@QQQ)))))))))OOOKKK******NNN|||++++++)))MMM||||||MMM///,,,***LLLQQQ{{{hhh---***KKKyyyRRR---)))KKKTTT~~~***JJJxxx~~~///RRRIIIwwwUUU***GGGVVV///%%%***ttt000hhh000RRRFFFtttXXX111~~~www 222***www파iiiWWW***mmm~~~~~~***pppWWWKKKooo̦
+
+
+ wwwDDDFFFttt"""""" CCCsssxxxGGG###yyyssssssyyyIII###!!!AAA{{{$$$GGGEEE@@@|||ppp|||uuu
+
+
+EEEoooKKKKKKGGGEEE???mmm~~~&&&!!!>>>LLL&&&&&&!!!===lllaaa'''EEE<<<kkkNNNuuuiiibbbuuuEEEYYY냃bbbKKKuuuhhhhhhuuuuuu!!!ggg~~~oooȠ
+
+
+oooKKK000եoooѫ񑑑oooȵǵaaauuu
+
+
+www
+
+
+EEE """DDD ttt
+
+
+
+
+
+xxx FFFtttFFF###
+
+
+ BBBGGGsssGGGGGG###!!!BBByyyqqqIIIIII AAA{{{{{{ $$$|||@@@ppp|||%%%~~~???~~~ooo%%%&&&&&&~~~>>>LLLmmm&&&&&&&&&>>>lll&&&&&&EEE===kkk!!!<<<kkkaaaJJJ!!!;;;iii666!!!:::PPPKKK!!!:::gggccc*** ooo KKKoooLLLuuubbb;;;888fffTTT+++!!!888ddd,,,,,,uuu777UUUMMM!!!bbbuuu---uuubbbfffNNN!!!aaaaaafffEEE______uuu///EEE333YYYuuu
+
+
+!!!333]]][[[000!!!]]]\\\hhhPPPuuuהuuuPPPՕuuuuuuuuuuuuuuuӘuuuuuuuuu555uuuuuuuuuuuuϛbbbuuuuuuUUUΝuuuTTT!!!TTTdddTTT!!!TTTmmm!!!***RRRfff999!!!***QQQggg999///)))@@@掎Ύ掎΢掎乹乹乹乹⺺⺺⺺༼༼KKKooo
+
+
+ooo|||333EEERRR|||bbbkkkDDD999EEEgggPPPyyyEEEgggPPPyyymmmmmmgggOOOxxx999NNNWWWpppGGG999wwwpppoooggguuuqqqJJJ999LLLuuusssooo999~~~॥ڂKKKgggޥpppJJJܦقppp999{{{wwwUUU٪׃NNNgggGGGoooﯯmmmPPPխPPP999wwwlllsss999kkk|||;;;---CCCkkk[[[;;;111CCCKKK~~~iii)))"""Ӻں人䦦ӺںӺ\似\<<<oookkkwwwVVVTTTں???ooo󺺺󺺺̺)))hhhNNN******MMMOOO|||***xxx(((***)))LLL|||{{{MMMPPP+++***LLLyyyQQQ,,,QQQKKKyyyRRR---QQQJJJRRRxxx---***(((IIIwwwPPPTTT...'''IIIuuu,,,***GGGuuuRRRUUU***FFFttt~~~***EEEsss[[[WWWVVV***uuuqqqXXXVVV~~~DDD틋XXXVVV~~~tttpppYYY~~~%%%sss鎎KKKooo̦VVV'''oooooo~~~444~~~qqq菏~~~XXX***摑~~~~~~~~~ooo䒒^^^~~~QQQ䒒~~~~~~~~~@@@888***dddaaa~~~~~~ޗ~~~~~~ޗ~~~~~~~~~iii~~~ښ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~՞~~~]]]~~~Ӡ~~~~~~~~~Ӡ~~~~~~Ѣ~~~aaaϣ~~~~~~\\\uuu[[[QQQwww~~~~~~[[[oooBBBKKK222ppp)))LLLLLLLLLggghhhMMMLLLLLLLLLhhhMMMLLLLLLiiiMMMffffff|||ςLLLggg|||NNNLLLNNNkkkOOOLLLgggkkkOOOLLLccclllPPPLLL___PPPLLLbbbmmmQQQLLLaaammmQQQmmmaaaȏooogggȈoooggg~~~YYYppp!!!ooo ///FFFUUU***999ooo着|||[[[qqq|||ŒqqqﹹŔmmmggg{{{ÔgggyyyÕsssgggyyytttgggyyytttxxx뼼uuugggxxx龾ggg޾wwwuuu~~~yyy{{{yyy{{{oooqqq|||dddqqqpppLLLgggppp___LLL)))ξ>>>mmmmmmPPPmmmmmmmmmmmmooommmmmmooommmmmmooommmmmmpppmmmpppmmmpppmmmqqqmmmmmmqqqmmmsssmmmsssզtttը***oooEEE^^^;;;Քmmm===ooo뚚Ӫ󎎎Ѫ󏏏Ѫmmmѫ񏏏ϫ񑑑www񑑑ί풒̯픔̰디ʲ땕镕闗闗ȴ藗uuuǴ蘘ǵmmm///PPP)))EEE !!!
+
+
+wwwDDDFFFttt""" """ xxxCCCFFFsss###
+
+
+!!!BBBGGGsssGGGIII!!!AAAqqq{{{III$$$ @@@JJJppp|||JJJ
+
+
+!!!@@@ooo%%%%%%???mmm~~~&&&&&&!!!>>>&&&===MMMlllMMMaaauuu!!!kkkkkkNNNNNN(((EEEJJJ!!!hhhbbb)))!!!:::hhhbbbKKKgggQQQKKKooo
+
+
+KKKooo555777ooo(((hhh\\\QQQggg̈\\\QQQ뫫땕]]]QQQffffff^^^QQQddd^^^cccxxxȋQQQcccoooQQQcccaaaQQQbbb闗bbb䴴tttsssqqq___cccÏsssܹccc\\\tttccc\\\uuuQQQ[[[AAAQQQ[[[LLLiii{{{~~~YYY"""JJJ)))___VVV;;;:::333;;; ;;;999]]]aaa000999\\\kkk666000VVV\\\bbbXXX888[[[cccȑccc>>>:::YYY>>>FFF111888YYY\\\GGG???:::XXX@@@fff222888WWW]]]gggAAA555www^^^tttAAA888wwwBBBVVViiiVVVttt혘iii888ttt~~~DDDKKKooo
+
+
+|||~~~&&&NNN(((***MMMٷ&&&OOO{{{'''***PPP'''***)))KKKGGG+++QQQ)))JJJxxxOOOQQQ'''IIIEEE---%%%GGGTTTEEEPPP+++%%%GGGTTT$$$...qqq&&&%%%UUU$$$///###EEEVVVsssooo&&&DDDqqqYYY000)))DDDXXX~~~CCCpppXXX )))BBBooo222YYY ooo!!!iiiOOO~~~hhh000ooopppAAAmmm\\\333)))@@@lllkkk)))???kkk]]]555)))>>>iiiaaa^^^~~~)))fffiii^^^666)))===hhh___""")))dddgggaaaYYY~~~;;;ppp~~~)));;;~~~888)))hhhddd~~~VVVKKK~~~~~~bbbpppWWWPPP^^^ם~~~~~~)))888qqq\\\KKKqqqXXXKKK\\\^^^iii>>>~~~iii~~~)))[[[~~~YYYKKK444\\\ttt~~~)))333\\\tttAAA)))333[[[kkkmmm)))222YYY!!!BBB ---666RRRhhhhhhMMMMMMMMMiiiщfffgggщiiihhhϋkkkoooϋkkkhhhΌlllhhhlllPPPlllhhhӑMMMhhh̆MMMhhh̎MMMhhhϒkkkhhhUUUuuu󵵵ϔuuu󵵵ȉppphhh跷KKKooo
+
+
+~~~!!!oooKKKqqq混̕sssﹹ|||ﹹtttooo뼼{{{뼼龾|||龾龾~~~hhhxxxoooppp hhh)))υlllllllllܠlllڢڢڢ٣ooolllppplllץllllllզ~~~sssӨQQQ
+
+
+www
+
+
+EEE """DDD ttt
+
+
+
+
+
+xxxCCCFFF xxxCCC ttt
+
+
+ BBBGGGBBBGGG###
+
+
+yyyBBBIIIqqq###qqq###{{{AAAIIIpppJJJ ppp
+
+
+|||@@@JJJppp%%%@@@
+
+
+!!!???KKKoooKKKooo &&&!!!>>>LLLmmm&&&
+
+
+
+
+
+MMMlllMMM&&&&&&EEE===MMMkkkNNN'''<<<kkk(((((((((;;;iii))))))hhhPPPggggggQQQQQQ
+
+
+&&&KKKoooRRRddd ^^^oooUUU888fff+++888dddTTTddd,,,!!!777䋋UUU111EEE777bbbVVV!!!666aaafff...!!!555aaa//////!!!444___XXXOOO!!!^^^gggOOOڒhhh000!!!\\\hhhuuuEEE\\\הuuuuuuppp[[[]]]QQQuuuYYY՗^^^EEEXXX___uuu!!!јuuuuuu!!!Ϛaaa666uuuVVVlllTTTuuu,,,ΝuuuuuuuuuTTTTTTwwwaaa888EEEʞfff888!!!RRRRRR999!!!QQQQQQggg)))pppXXX描hhh湹Σ湹人䑑人人⼼⼼⼼⼼྾྾(((
+
+
+
+
+
+www
+
+
+FFFCCC"""ttt  FFFsss###GGG###!!!BBBGGGIII### AAA{{{qqq{{{ CCC@@@|||pppJJJ %%%EEE@@@KKKooo%%% %%%!!!???mmm~~~ &&&!!!>>>mmm !!!===lllMMM555'''!!!<<<aaa
+
+
+!!!<<<탃OOO111EEEiiiPPP)))uuu:::hhhQQQuuu!!!999gggNNNwwwȠ///RRR \\\hhhRRRuuuddd扉uuuuuu!!!uuuuuuuuu⋋uuu---uuuuuu...uuuWWW...!!!555XXXNNNuuu___YYYuuuuuu^^^ڑuuuuuuuuuْuuuuuuuuu111ٔuuuuuuuuuuuuuuu[[[ՕiiiuuuuuuӗiiiuuuuuuXXXuuuuuuEEEњuuuuuuuuullluuuuuuΛuuuuuuuuuuuuuuuuuuuuuUUUuuuRRRʠuuuuuuEEEQQQQQQgggUUUEEE***ggg###ϑ摑ΑΑΥ溺Φ䒒Φ䒒̑䔔̦䔔̨└̨⼼⾾⾾྾222ooo]]]uuuooo׾aaaAAAooo***󯯯񯯯ﲲﲲ :::333sssOOOPPPqqq444333NNN333sssNNNPPPppp444333999ppptttQQQCCC:::MMMooouuuQQQ555333MMMooouuu^^^666333LLLmmmTTT666333LLLmmmwwwTTT777333999lllxxxUUU888333JJJlllxxx\\\UUUGGG333___kkkhhhGGGVVVOOOiiiyyyIIILLLiiiiiibbbWWWhhhJJJ333JJJhhhӦ:::XXX000 ~~~hhh777oooggg~~~NNNOOOfffkkkOOOyyy뫫kkkdddʈlllbbbdddpppʈlllOOOcccȉlllOOOuuummmOOOaaaNj___Njbbb___pppooobbbaaaⴴÌppp^^^qqqOOOOOO\\\sss[[[ܹfffOOOYYYttt@@@~~~ggggggOOOXXX|||[[[@@@~~~))) ___;;;;;; ::: aaa<<< ;;;^^^gggkkkEEE***999]]]EEE 888\\\qqq>>>888\\\cccFFF???999[[[dddoooddd???999YYYfff333999YYYfffAAAIII VVVXXXgggAAA;;;WWWhhhBBBVVVWWW񗗗CCCuuuiiiCCCUUUkkkDDDVVVttt횚KKKooo
+
+
+KKKooohhh000ooo@@@lllWWW[[[(((???\\\QQQ(((>>>kkk\\\444(((ggg䑑]]]|||###===hhh^^^!!!<<<ggg666###;;;mmmTTT(((;;;fffmmm888JJJ:::ܗ|||888(((aaa;;;888JJJccc|||JJJٚ||||||כ|||WWW(((՝|||WWW(((՞qqq<<<|||666Ӟ||||||OOO[[[Ѡ|||||||||444Ϣ|||||||||XXX\\\sss"""|||[[[ttt[[[(((222YYYiiimmmAAA(((111XXX 666)))NNNiiiiiiNNNNNNPPPoooiiiOOOgggiiikkkOOOkkkgggkkkыNNNdddόhhhiiiTTTQQQiiiiiimmmΎiiifffmmmNNNhhhRRRkkkhhhNNNiiipppϔllliiiʑqqqiiiȒwwwiiiUUUwww,,,KKK"""%%%ooo:::xxxpppssspppﺺyyyuuuiii뼼뼼뾾ǚ龾pppsss䃃ppp⃃iiiqqq???)))kkkσkkkϼkkkkkklllkkklllڠkkkkkk٢kkkmmmkkk٢kkkoookkkoookkkףkkkեkkkեӦQQQQQQQQQKKKooo333󌌌񎎎蕕Ŵ666uuu
+
+
+wwwEEE """DDD ttt
+
+
+xxx
+
+
+FFF """CCC ttt
+
+
+yyyBBBGGGsss###
+
+
+
+
+
+yyy IIIqqq###qqq
+
+
+
+
+
+IIIppp$$$$$$ppp
+
+
+|||
+
+
+JJJppp%%%
+
+
+???KKK???~~~???KKK
+
+
+~~~
+
+
+LLL&&&mmm >>>&&&lll ===MMMkkk'''
+
+
+<<<kkkNNNOOO(((;;;iiiOOObbb!!!:::hhh!!!:::ggg***666 
+
+
+KKKooofff
+
+
+///ooo틋888fffRRRTTT+++!!!888dddTTTMMM!!!ccccccUUUMMM!!!777VVV---!!!bbbaaaWWWWWWNNN555aaaWWW//////!!!444܏gggOOOEEE333uuuOOO!!!333]]]uuu000!!!uuuPPPEEEה\\\222uuu[[[ՕiiiQQQuuuYYY^^^uuuEEEXXXuuuQQQ!!!///јEEE555!!!aaa666uuuϛbbbTTTuuuuuu777!!!TTTmmm111EEE+++fff888!!!***RRRfff999!!!***gggQQQgggQQQ
+
+
+
+
+
+YYY䢢OOOooo@@@ǎtttkkkǕOOOkkkŕqqqkkk~~~ŏkkk|||×kkk|||ØOOO||||||kkktttkkkyyyyyy|||wwwkkkkkkuuukkktttkkksssVVVsssbbbOOOUUU)));;;iiiiiiiiiiiiiiikkkiiiiiiiiikkkiiillliiiiiillliiiiiillliiimmmiiiiiimmmiii~~~~~~mmmiii~~~iiiooo||||||oooiiiooo|||ppp{{{pppiii###
+
+
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+<!--
+The Project Gutenberg EBook of Ceremonial of Hasjelti Dailjis and Mythical Sand
+Painting of the Navajo Indians
+By James Stevenson
+
+
+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 http://www.gutenberg.org/license
+
+
+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
+-->
+
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+ <titleStmt>
+ <title>Ceremonial of Hasjelti Dailjis and Mythical Sand Painting of the Navajo Indians</title>
+ <author>James Stevenson</author>
+ </titleStmt>
+ <editionStmt>
+ <edition n="1">Edition 1</edition>
+ </editionStmt>
+ <publicationStmt>
+ <publisher>Project Gutenberg</publisher>
+ <date value="2006-9">September 2006</date>
+ <idno type="etext-no">19331</idno>
+ <availability>
+ <p>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 online at www.gutenberg.org/license</p>
+ </availability>
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+ <date value="2006-7">July 2006</date>
+ <respStmt>
+ <name>Joshua Hutchinson<lb /></name>
+ <name>PM for Bureau of American Ethnology<lb /></name>
+ <name>Bibliothèque Nationale de France/Gallica<lb /></name>
+ <name>Online Distributed Proofreading Team at http://www.pgdp.net</name>
+ </respStmt>
+ <item>This file was produced from images generously made available by the Bibliothèque nationale de France (BnF/Gallica) at http://gallica.bnf.fr</item>
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+<text lang="en">
+ <front>
+ <div>
+ <divGen type="pgheader" />
+ </div>
+
+ <div>
+ <divGen type="encodingDesc" />
+ </div>
+
+ <div rend="page-break-before: right">
+ <divGen type="titlepage" />
+ </div>
+
+ <div rend="page-break-before: right">
+ <head>Contents</head>
+ <divGen type="toc" />
+ </div>
+
+ <div rend="page-break-before: right">
+ <head>Illustrations</head>
+ <divGen type="fig" />
+ </div>
+</front>
+
+<body>
+<div rend="page-break-before: right">
+<pb n="335" /><anchor id="Pg335" />
+<index index="toc" />
+<index index="pdf" />
+<head>INTRODUCTION.</head>
+
+<p>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>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<pb n="236" /><anchor id="Pg236" />
+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>
+
+<figure url="images/image01.png" rend="w90">
+<index index="fig" />
+<head>FIG. 115. Exterior lodge.</head>
+<figDesc>Illustration: Figure 115</figDesc></figure>
+
+<p>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>
+
+<quote rend="display">
+<p>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.</p>
+</quote>
+
+<p>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>
+
+<div rend="page-break-before: right">
+<pb n="480" /><anchor id="Pg480" />
+<index index="toc" />
+<index index="pdf" />
+<head>CONSTRUCTION OF THE MEDICINE LODGE.</head>
+
+<p>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>
+
+<figure url="images/image02.png" rend="w90">
+<index index="fig" />
+<head>FIG. 116. Interior lodge.</head>
+<figDesc>Illustration: Figure 116</figDesc></figure>
+</div>
+
+<div>
+<index index="toc" />
+<index index="pdf" />
+<head>FIRST DAY.</head>
+<p></p>
+
+<div>
+<index index="toc" />
+<index index="pdf" />
+<head>PERSONATORS OF THE GODS.</head>
+
+<p>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<pb n="238" /><anchor id="Pg238" />
+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>
+
+<figure url="images/image03.png" rend="w50; floatleft">
+<index index="fig" />
+<head>FIG. 117. Gaming ring.</head>
+<figDesc>Illustration: Figure 117</figDesc></figure>
+
+<p>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<pb n="239" /><anchor id="Pg239" />
+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>
+<index index="toc" />
+<index index="pdf" />
+<head>SECOND DAY.</head>
+
+<p></p>
+
+<div>
+<index index="toc" />
+<index index="pdf" />
+<head>DESCRIPTION OF THE SWEAT HOUSES.</head>
+
+<p>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>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
+<hi rend="font-style: italic">Bigelovia Douglasii</hi> (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<pb n="240" /><anchor id="Pg240" />
+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>
+
+<figure url="images/image04.png" rend="w90">
+<index index="fig" />
+<head>FIG. 118. Sweat house.</head>
+<figDesc>Illustration: Figure 118</figDesc></figure>
+
+<p>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 <hi rend="font-style: italic">Bigelovia Douglasii</hi>. 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><figure url="images/image05.png" rend="w90">
+<index index="fig" level1="PLATE CXII. A, Rainbow over eastern sweat house; B, Rainbow over western sweat house" />
+<head>RAINBOW OVER SWEAT HOUSE.</head>
+<figDesc>Illustration</figDesc></figure></p>
+
+<pb n="241" /><anchor id="Pg241" />
+
+<p>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<pb n="242" /><anchor id="Pg242" />
+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>
+<index index="toc" />
+<index index="pdf" />
+<head>SWEAT HOUSES AND MASKS.</head>
+
+<p>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>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>
+<index index="toc" />
+<index index="pdf" />
+<head>PREPARATION OF THE SACRED REEDS (CIGARETTE) AND PRAYER STICKS.</head>
+
+<p>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<pb n="243" /><anchor id="Pg243" />
+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>
+
+<figure url="images/image06.png" rend="w90">
+<index index="fig" level1="PLATE CXIII. Blanket rug and medicine tubes" />
+<head></head>
+<figDesc>Illustration</figDesc></figure>
+
+<p>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 (<hi rend="font-style: italic">Sialia arctica</hi>),
+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>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, <hi rend="font-style: italic">Geococcyx californianus</hi>,
+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<pb n="244" /><anchor id="Pg244" />
+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>
+
+<quote rend="display">
+<p>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.</p>
+</quote>
+
+<p>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>
+<index index="toc" />
+<index index="pdf" />
+<head>THIRD DAY.</head>
+
+<p></p>
+
+<div>
+<index index="toc" />
+<index index="pdf" />
+<head>FIRST CEREMONY.</head>
+
+<p>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 <hi rend="font-style: italic">Bigelovia Douglasii</hi>
+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<pb n="245" /><anchor id="Pg245" />
+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>
+
+<figure url="images/image07.png" rend="w90">
+<index index="fig" level1="PLATE CXIV. Blanket rug and medicine tubes" />
+<head></head>
+<figDesc>Illustration</figDesc></figure>
+</div>
+
+<div>
+<index index="toc" />
+<index index="pdf" />
+<head>SECOND CEREMONY.</head>
+
+<p>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<pb n="246" /><anchor id="Pg246" />
+have rain! Now, mothers, send down rain upon us!" This song was
+constantly repeated.</p>
+
+<p>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>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>
+
+<figure url="images/image08.png" rend="w90">
+<index index="fig" level1="PLATE CXV. Masks: 1, Naiyenesyong; 2, 3, Tobaidischinne; 4, 5, Hasjelti; 6, Hostjoghon; 7, Hostjobokon; 8, Hostjoboard" />
+<head>CEREMONIAL MASKS.</head>
+<figDesc>Illustration</figDesc></figure>
+</div>
+
+<div>
+<pb n="247" /><anchor id="Pg247" />
+<index index="toc" />
+<index index="pdf" />
+<head>THIRD CEREMONY.</head>
+
+<p>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 <figure url="images/image09.png" rend="w05"><figDesc>Illustration: scalp knot symbol</figDesc></figure>
+(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.<note place="foot"><p>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></note>
+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 <figure url="images/image10.png" rend="w05"><figDesc>Illustration: scalp knot symbol</figDesc></figure>
+laid across each end
+of the rug.</p>
+
+<p>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>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.<pb n="248" /><anchor id="Pg248" />
+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.<note place="foot"><p>Continency must be observed by the personators of the gods until all paint is removed from their
+bodies.</p></note></p>
+</div>
+
+<div>
+<index index="toc" />
+<index index="pdf" />
+<head>FOURTH CEREMONY.</head>
+
+<p>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>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<pb n="249" /><anchor id="Pg249" />
+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>
+
+<figure url="images/image11.png" rend="w90">
+<index index="fig" level1="PLATE CXVI. Blanket rug and medicine tubes" />
+<head></head>
+<figDesc>Illustration</figDesc></figure>
+</div>
+</div>
+
+
+<div>
+<index index="toc" />
+<index index="pdf" />
+<head>FOURTH DAY.</head>
+
+<p></p>
+
+<div>
+<index index="toc" />
+<index index="pdf" />
+<head>FIRST CEREMONY.</head>
+
+<p>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<pb n="250" /><anchor id="Pg250" />
+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>
+<index index="toc" />
+<index index="pdf" />
+<head>SECOND CEREMONY.</head>
+
+<p>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>
+<index index="toc" />
+<index index="pdf" />
+<head>THIRD CEREMONY.</head>
+
+<p>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<pb n="251" /><anchor id="Pg251" />
+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.<note place="foot"><p>The suds were crossed and encircled with the pollen to give them additional power to restore the
+invalid to health.</p></note> 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>
+
+<figure url="images/image12.png" rend="w90">
+<index index="fig" level1="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" />
+<head></head>
+<figDesc>Illustration</figDesc></figure>
+</div>
+
+<div>
+<pb n="252" /><anchor id="Pg252" />
+<index index="toc" />
+<index index="pdf" />
+<head>FOURTH CEREMONY.</head>
+
+<p>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<pb n="253" /><anchor id="Pg253" />
+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>
+
+<figure url="images/image13.png" rend="w90">
+<index index="fig" level1="PLATE CXVIII. Blanket rug and medicine tubes and sticks" />
+<head></head>
+<figDesc>Illustration</figDesc></figure>
+</div>
+
+<div>
+<index index="toc" />
+<index index="pdf" />
+<head>FIFTH CEREMONY.</head>
+
+<p>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>
+<index index="toc" />
+<index index="pdf" />
+<head>SIXTH CEREMONY.</head>
+
+<p>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<pb n="254" /><anchor id="Pg254" />
+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>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.<pb n="255" /><anchor id="Pg255" />
+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>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.<note place="foot"><p>I noticed that the priest of the sweat house on no occasion
+sat with the song-priest and his attendants.</p></note> 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>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<pb n="256" /><anchor id="Pg256" />
+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.<note place="foot"><p>This food is dried and made into a powder, and used as a medicine by the theurgist.</p></note> 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>
+
+<table rend="latexcolumns: 'p{3cm} p{5cm}'">
+<head>FOODS BROUGHT INTO THE LODGE.</head>
+
+<row>
+<cell>Da'ttuneilgaij</cell>
+<cell>Pats made of wheat flour and fried.</cell>
+</row>
+
+<row>
+<cell>Tab'aestch'lŏnni</cell>
+<cell>Corn meal pats wrapped in corn husks and boiled.</cell>
+</row>
+
+<row>
+<cell>Tanä'shkiji</cell>
+<cell>Thick mush boiled and stirred with sticks.</cell>
+</row>
+
+<row>
+<cell>Nänesk'ädi</cell>
+<cell>Tortillas.</cell>
+</row>
+
+<row>
+<cell>Ta'bijai</cell>
+<cell>Four small balls of corn meal wrapped in corn husks and boiled.</cell>
+</row>
+
+<row>
+<cell>Insi'dok'ui</cell>
+<cell>Corn bread with salt, made from the new corn, wrapped in corn husks and baked in ashes.</cell>
+</row>
+
+<row>
+<cell>Tkäditin</cell>
+<cell>White corn meal mush.</cell>
+</row>
+
+<row>
+<cell>Klesa'hn</cell>
+<cell>Corn meal dough in rectangular cakes baked in ashes, hot earth, or sand.</cell>
+</row>
+
+<row>
+<cell>Tsëste'lttsoi</cell>
+<cell>Cakes some fourth of an inch thick made from sweet corn mixed with goat's milk and baked on a hot rock.</cell>
+</row>
+
+<row>
+<cell>Tseste'</cell>
+<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.</cell>
+</row>
+
+<row>
+<cell>Tki'neshpipizi</cell>
+<cell>Small balls of corn meal mush.</cell>
+</row>
+
+<pb n="257" /><anchor id="Pg257" />
+
+<row>
+<cell>To'tkonji</cell>
+<cell>Corn meal cakes one-fourth of an inch in thickness
+of old corn, baked in a pan; they are seasoned
+with salt.</cell>
+</row>
+
+<row>
+<cell>Ãlkaandt</cell>
+<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.</cell>
+</row>
+
+<row>
+<cell>Tkleheljoe</cell>
+<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.</cell>
+</row>
+
+<row>
+<cell>Ta'nätnil (beverage)</cell>
+<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.</cell>
+</row>
+
+<row>
+<cell>Diz'etso</cell>
+<cell>Peaches (fresh or dried) stewed.
+There were also several large bowls of stewed mutton.</cell>
+</row>
+</table>
+
+<p>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>
+<index index="toc" />
+<index index="pdf" />
+<head>FIFTH DAY.</head>
+
+<p></p>
+
+<div>
+<index index="toc" />
+<index index="pdf" />
+<head>FIRST CEREMONY.</head>
+
+<p>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<pb n="258" /><anchor id="Pg258" />
+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>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<pb n="259" /><anchor id="Pg259" />
+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>
+
+<figure url="images/image14.png" rend="w90">
+<index index="fig" level1="PLATE CXIX. Blanket rug and medicine tube" />
+<head></head>
+<figDesc>Illustration</figDesc></figure>
+</div>
+
+<div>
+<index index="toc" />
+<index index="pdf" />
+<head>SECOND CEREMONY.</head>
+
+<p>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>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<pb n="260" /><anchor id="Pg260" />
+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>
+<index index="toc" />
+<index index="pdf" />
+<head>THIRD CEREMONY.</head>
+
+<p>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>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<pb n="261" /><anchor id="Pg261" />
+(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>
+
+<figure url="images/image15.png" rend="w90">
+<index index="fig" level1="PLATE CXX. First sand painting" />
+<head></head>
+<figDesc>Illustration</figDesc></figure>
+</div>
+</div>
+
+<div>
+<index index="toc" />
+<index index="pdf" />
+<head>SIXTH DAY.</head>
+
+<p>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>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<pb n="262" /><anchor id="Pg262" />
+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>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 (<hi rend="font-style: italic">Colaptes cafer</hi>); 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>
+
+<figure url="images/image16.png" rend="w90">
+<index index="fig" level1="PLATE CXXI. Second sand painting" />
+<head></head>
+<figDesc>Illustration</figDesc></figure>
+
+<pb n="263" /><anchor id="Pg263" />
+
+<p>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>
+<index index="toc" />
+<index index="pdf" />
+<head>SEVENTH DAY.</head>
+
+<p>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<pb n="264" /><anchor id="Pg264" />
+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>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
+(<hi rend="font-style: italic">to</hi>, water, and <hi rend="font-style: italic">yonily</hi>, 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>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.<pb n="265" /><anchor id="Pg265" />
+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>
+
+<figure url="images/image17.png" rend="w90">
+<index index="fig" level1="PLATE CXXII. Third sand painting" />
+<head></head>
+<figDesc>Illustration</figDesc></figure>
+</div>
+
+<div>
+<index index="toc" />
+<index index="pdf" />
+<head>EIGHTH DAY.</head>
+
+<p>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>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
+(<hi rend="font-style: italic">Colapteo cafer</hi>) 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>
+
+<pb n="266" /><anchor id="Pg266" />
+
+<figure url="images/image19.png" rend="w90">
+<index index="fig" level1="PLATE CXXIII. Fourth sand painting" />
+<head></head>
+<figDesc>Illustration</figDesc></figure>
+
+<p>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<pb n="267" /><anchor id="Pg267" />
+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<pb n="268" /><anchor id="Pg268" />
+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>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<pb n="269" /><anchor id="Pg269" />
+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>
+<index index="toc" />
+<index index="pdf" />
+<head>NINTH DAY.</head>
+<p></p>
+
+<div>
+<index index="toc" />
+<index index="pdf" />
+<head>FIRST CEREMONY.</head>
+
+<p>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.<pb n="270" /><anchor id="Pg270" />
+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>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>
+<index index="toc" />
+<index index="pdf" />
+<head>SECOND CEREMONY.</head>
+
+<p>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<pb n="271" /><anchor id="Pg271" />
+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>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>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<pb n="272" /><anchor id="Pg272" />
+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>
+<index index="toc" />
+<index index="pdf" />
+<head>SONG OF THE ETSETHLE.</head>
+
+<lg>
+<l rend="margin-left: 2">From below (the earth) my corn comes</l>
+<l rend="margin-left: 4">I walk with you.</l>
+<l rend="margin-left: 2">From above water young (comes)</l>
+<l rend="margin-left: 4">I walk with you.</l>
+<l rend="margin-left: 2">From above vegetation (comes to the earth)</l>
+<l rend="margin-left: 4">I walk with you.</l>
+<l rend="margin-left: 2">From below the earth corn pollen comes</l>
+<l rend="margin-left: 4">I walk with you.</l>
+</lg>
+
+<p>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>
+<index index="toc" />
+<index index="pdf" />
+<head>PRAYER TO THE ETSETHLE.</head>
+
+<p>"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>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<pb n="273" /><anchor id="Pg273" />
+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>
+<index index="toc" />
+<index index="pdf" />
+<head>CONCLUSION - THE DANCE.</head>
+
+<p>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>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<pb n="274" /><anchor id="Pg274" />
+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<pb n="275" /><anchor id="Pg275" />
+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>
+<index index="toc" />
+<index index="pdf" />
+<head>MYTHS OF THE NAVAJO.</head>
+
+<p></p>
+
+<div>
+<index index="toc" />
+<index index="pdf" />
+<head>CREATION OF THE SUN.</head>
+
+<p>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>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>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.<note place="foot"><p>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></note> 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>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<pb n="276" /><anchor id="Pg276" />
+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>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.<pb n="277" /><anchor id="Pg277" />
+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>
+<index index="toc" />
+<index index="pdf" />
+<head>HASJELTI AND HOSTJOGHON.</head>
+
+<p>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>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>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>
+<index index="toc" />
+<index index="pdf" />
+<pb n="278" /><anchor id="Pg278" />
+<head>THE FLOATING LOGS.</head>
+
+<p>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.<note place="foot"><p>The Naaskiddi are hunchbacks; they have clouds upon their backs, in which seeds of all vegetation
+are held.</p></note> 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.<note place="foot"><p>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></note>"</p>
+
+<p>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>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>
+
+<pb n="279" /><anchor id="Pg279" />
+
+<p>The old song priest who related this myth to me regretted that so
+few of his people now visited the sacred spot.</p>
+
+<p>"When I was young," he said, "many went there to pray and make
+offerings."</p>
+</div>
+
+<div>
+<index index="toc" />
+<index index="pdf" />
+<head>NAIYENESGONY AND TOBAIDISCHINNI.</head>
+
+<p>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>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>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<pb n="280" /><anchor id="Pg280" />
+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>
+<index index="toc" />
+<index index="pdf" />
+<head>THE BROTHERS.</head>
+
+<p>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<pb n="281" /><anchor id="Pg281" />
+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>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<pb n="282" /><anchor id="Pg282" />
+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>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 (<hi rend="font-style: italic">Bigelovia Douglasii</hi><note place="foot"><p>The <hi rend="font-style: italic">Bigelovia Douglasii</hi> is made into rings and used in the ceremonial Hasjelti Dailjis with direct
+reference to this occurrence.</p></note>) 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<pb n="283" /><anchor id="Pg283" />
+passed him, but he again headed them off by hiding in the stalks of a
+large yucca.<note place="foot"><p>Ceremonial rings are also made of the Spanish bayonet (yucca).</p></note> 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>
+
+<figure url="images/image18.png" rend="w50">
+<figDesc>Illustration: Emblem</figDesc>
+</figure>
+
+<p>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<pb n="284" /><anchor id="Pg284" />
+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>
+<index index="toc" />
+<index index="pdf" />
+<head>THE OLD MAN AND WOMAN OF THE FIRST WORLD.</head>
+
+<p>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>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>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>
+
+<pb n="285" /><anchor id="Pg285" />
+
+<p>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>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>
+
+</body>
+
+<back rend="page-break-before: right">
+<div>
+<pgIf output="pdf">
+ <then>
+ <div>
+ <divGen type="footnotes" />
+ </div>
+ </then>
+ <else>
+ <div>
+ <head>Footnotes</head>
+ <divGen type="footnotes" />
+ </div>
+ </else>
+</pgIf>
+</div>
+
+<div rend="page-break-before: right">
+<divGen type="pgfooter" />
+</div>
+
+</back>
+
+ </text>
+</TEI.2>
+
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+The Project Gutenberg EBook of Ceremonial of Hasjelti Dailjis and Mythical
+Sand Painting of the Navajo Indians by James Stevenson
+
+
+
+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 http://www.gutenberg.org/license
+
+
+
+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: US-ASCII
+
+
+***START OF THE PROJECT GUTENBERG EBOOK CEREMONIAL OF HASJELTI DAILJIS AND MYTHICAL SAND PAINTING OF THE NAVAJO INDIANS***
+
+
+
+
+
+Ceremonial of Hasjelti Dailjis and Mythical Sand Painting of the Navajo
+Indians
+
+
+by James Stevenson
+
+
+
+
+Edition 1, (September 2006)
+
+
+
+
+
+CONTENTS
+
+
+INTRODUCTION.
+CONSTRUCTION OF THE MEDICINE LODGE.
+FIRST DAY.
+ PERSONATORS OF THE GODS.
+SECOND DAY.
+ DESCRIPTION OF THE SWEAT HOUSES.
+ SWEAT HOUSES AND MASKS.
+ PREPARATION OF THE SACRED REEDS (CIGARETTE) AND PRAYER STICKS.
+THIRD DAY.
+ FIRST CEREMONY.
+ SECOND CEREMONY.
+ THIRD CEREMONY.
+ FOURTH CEREMONY.
+FOURTH DAY.
+ FIRST CEREMONY.
+ SECOND CEREMONY.
+ THIRD CEREMONY.
+ FOURTH CEREMONY.
+ FIFTH CEREMONY.
+ SIXTH CEREMONY.
+FIFTH DAY.
+ FIRST CEREMONY.
+ SECOND CEREMONY.
+ THIRD CEREMONY.
+SIXTH DAY.
+SEVENTH DAY.
+EIGHTH DAY.
+NINTH DAY.
+ FIRST CEREMONY.
+ SECOND CEREMONY.
+ SONG OF THE ETSETHLE.
+ PRAYER TO THE ETSETHLE.
+ CONCLUSION - THE DANCE.
+MYTHS OF THE NAVAJO.
+ CREATION OF THE SUN.
+ HASJELTI AND HOSTJOGHON.
+ THE FLOATING LOGS.
+ NAIYENESGONY AND TOBAIDISCHINNI.
+ THE BROTHERS.
+ THE OLD MAN AND WOMAN OF THE FIRST WORLD.
+
+
+
+
+
+ILLUSTRATIONS
+
+
+FIG. 115. Exterior lodge.
+FIG. 116. Interior lodge.
+FIG. 117. Gaming ring.
+FIG. 118. Sweat house.
+PLATE CXII. A, Rainbow over eastern sweat house; B, Rainbow over western
+sweat house
+PLATE CXIII. Blanket rug and medicine tubes
+PLATE CXIV. Blanket rug and medicine tubes
+PLATE CXV. Masks: 1, Naiyenesyong; 2, 3, Tobaidischinne; 4, 5, Hasjelti;
+6, Hostjoghon; 7, Hostjobokon; 8, Hostjoboard
+PLATE CXVI. Blanket rug and medicine tubes
+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
+PLATE CXVIII. Blanket rug and medicine tubes and sticks
+PLATE CXIX. Blanket rug and medicine tube
+PLATE CXX. First sand painting
+PLATE CXXI. Second sand painting
+PLATE CXXII. Third sand painting
+PLATE CXXIII. Fourth sand painting
+
+
+
+
+
+
+INTRODUCTION.
+
+
+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.
+
+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 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 Zuni. 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 Zuni 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.
+
+ [Illustration: Figure 115]
+
+ FIG. 115. Exterior lodge.
+
+
+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:
+
+
+ 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.
+
+
+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.
+
+
+
+
+
+CONSTRUCTION OF THE MEDICINE LODGE.
+
+
+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 deg., 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.
+
+ [Illustration: Figure 116]
+
+ FIG. 116. Interior lodge.
+
+
+
+
+
+FIRST DAY.
+
+
+
+
+PERSONATORS OF THE GODS.
+
+
+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 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.
+
+ [Illustration: Figure 117]
+
+ FIG. 117. Gaming ring.
+
+
+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 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 pinon 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.
+
+
+
+
+
+SECOND DAY.
+
+
+
+
+DESCRIPTION OF THE SWEAT HOUSES.
+
+
+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.
+
+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 pinon boughs, sage and
+_Bigelovia Douglasii_ (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 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.
+
+ [Illustration: Figure 118]
+
+ FIG. 118. Sweat house.
+
+
+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 _Bigelovia Douglasii_. 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 Coconino 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.
+
+ [Illustration]
+
+ RAINBOW OVER SWEAT HOUSE.
+
+
+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 pinon
+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 pinon 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 pinon 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 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.
+
+
+
+
+SWEAT HOUSES AND MASKS.
+
+
+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.
+
+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.
+
+
+
+
+PREPARATION OF THE SACRED REEDS (CIGARETTE) AND PRAYER STICKS.
+
+
+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 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.
+
+ [Illustration]
+
+
+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 (_Sialia arctica_), 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.
+
+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, _Geococcyx californianus_, 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 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:
+
+
+ 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.
+
+
+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.
+
+
+
+
+
+THIRD DAY.
+
+
+
+
+FIRST CEREMONY.
+
+
+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 _Bigelovia Douglasii_ 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
+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.
+
+ [Illustration]
+
+
+
+
+SECOND CEREMONY.
+
+
+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 have rain! Now, mothers, send down
+rain upon us!" This song was constantly repeated.
+
+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.)
+
+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.
+
+ [Illustration]
+
+ CEREMONIAL MASKS.
+
+
+
+
+THIRD CEREMONY.
+
+
+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
+ [Illustration: scalp knot symbol]
+(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.(1) 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
+ [Illustration: scalp knot symbol]
+laid across each end of the rug.
+
+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.
+
+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. 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.(2)
+
+
+
+
+FOURTH CEREMONY.
+
+
+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.)
+
+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 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.
+
+ [Illustration]
+
+
+
+
+
+FOURTH DAY.
+
+
+
+
+FIRST CEREMONY.
+
+
+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 pinon
+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 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.
+
+
+
+
+SECOND CEREMONY.
+
+
+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.
+
+
+
+
+THIRD CEREMONY.
+
+
+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 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.(3) 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 pinon tree. The body of
+the invalid was dried by rubbing with meal.
+
+ [Illustration]
+
+
+
+
+FOURTH CEREMONY.
+
+
+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 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.
+
+ [Illustration]
+
+
+
+
+FIFTH CEREMONY.
+
+
+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.
+
+
+
+
+SIXTH CEREMONY.
+
+
+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 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.
+
+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. 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.
+
+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.(4) 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.
+
+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 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.(5) 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 Zuni 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.
+
+ FOODS BROUGHT INTO THE LODGE.
+Da'ttuneilgaij Pats made of wheat flour
+ and fried.
+Tab'aestch'lonni Corn meal pats wrapped in
+ corn husks and boiled.
+Tanae'shkiji Thick mush boiled and
+ stirred with sticks.
+Naenesk'aedi Tortillas.
+Ta'bijai Four small balls of corn
+ meal wrapped in corn
+ husks and boiled.
+Insi'dok'ui Corn bread with salt,
+ made from the new corn,
+ wrapped in corn husks and
+ baked in ashes.
+Tkaeditin White corn meal mush.
+Klesa'hn Corn meal dough in
+ rectangular cakes baked
+ in ashes, hot earth, or
+ sand.
+Tseste'lttsoi Cakes some fourth of an
+ inch thick made from
+ sweet corn mixed with
+ goat's milk and baked on
+ a hot rock.
+Tseste' 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.
+Tki'neshpipizi Small balls of corn meal
+ mush.
+To'tkonji Corn meal cakes
+ one-fourth of an inch in
+ thickness of old corn,
+ baked in a pan; they are
+ seasoned with salt.
+Alkaandt 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.
+Tkleheljoe Yeast is prepared for
+ this bread in the same
+ manner as that for the
+ Alkaandt 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.
+Ta'naetnil (beverage) Is the same preparation
+ as the yeast used in the
+ Alkaandt except in this
+ case a drink is made of
+ it by pouring boiling
+ water over it.
+Diz'etso Peaches (fresh or dried)
+ stewed. There were also
+ several large bowls of
+ stewed mutton.
+
+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.
+
+
+
+
+
+FIFTH DAY.
+
+
+
+
+FIRST CEREMONY.
+
+
+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 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.
+
+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 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.
+
+ [Illustration]
+
+
+
+
+SECOND CEREMONY.
+
+
+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.
+
+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 was razed as usual, and the pine boughs and
+stones were placed to the north of the house in a small pinon 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.
+
+
+
+
+THIRD CEREMONY.
+
+
+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.)
+
+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 (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.
+
+ [Illustration]
+
+
+
+
+
+SIXTH DAY.
+
+
+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.
+
+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 pinon; the wives
+or goddesses carry pinon sprigs in both hands; the rattle brings male
+rains, and the pinon, carried by the women, female rains; these rains meet
+upon the earth, conceive and bring forth all 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.
+
+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 (_Colaptes cafer_); 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.
+
+ [Illustration]
+
+
+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
+pinon tree about one hundred yards north of the lodge. A chant closed the
+ceremony.
+
+
+
+
+
+SEVENTH DAY.
+
+
+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 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.
+
+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 (_to_, water,
+and _yonily_, 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.
+
+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. The painting was obliterated
+in the usual manner and the sand carried out and deposited at the base of
+a pinon tree some 200 yards from the lodge.
+
+ [Illustration]
+
+
+
+
+
+EIGHTH DAY.
+
+
+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.)
+
+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 (_Colapteo cafer_) 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 pinon, 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).
+
+ [Illustration]
+
+
+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 pinon
+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 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 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.
+
+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 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.
+
+
+
+
+
+NINTH DAY.
+
+
+
+
+FIRST CEREMONY.
+
+
+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 pinon, 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. 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.
+
+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 pinon tree,
+Tobaidischinni depositing his in a cedar tree, and Ahsonnutli hers in the
+heart of a shrub.
+
+
+
+
+SECOND CEREMONY.
+
+
+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 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.
+
+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 pinon 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.
+
+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 pinon bough.
+Hasjelti wore a suit of velvet ornamented with silver buttons; he never
+speaks except by signs. They 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.
+
+
+
+SONG OF THE ETSETHLE.
+
+
+ From below (the earth) my corn comes
+ I walk with you.
+ From above water young (comes)
+ I walk with you.
+ From above vegetation (comes to the earth)
+ I walk with you.
+ From below the earth corn pollen comes
+ I walk with you.
+
+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.
+
+
+
+PRAYER TO THE ETSETHLE.
+
+
+"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."
+
+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 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.
+
+
+
+
+CONCLUSION - THE DANCE.
+
+
+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.
+
+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 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 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.
+
+
+
+
+
+MYTHS OF THE NAVAJO.
+
+
+
+
+CREATION OF THE SUN.
+
+
+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."
+
+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.
+
+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.(6) 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.
+
+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 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.
+
+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. 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.
+
+
+
+
+HASJELTI AND HOSTJOGHON.
+
+
+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."
+
+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.
+
+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.
+
+
+
+
+THE FLOATING LOGS.
+
+
+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.(7) 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.(8)"
+
+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.
+
+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.
+
+The old song priest who related this myth to me regretted that so few of
+his people now visited the sacred spot.
+
+"When I was young," he said, "many went there to pray and make offerings."
+
+
+
+
+NAIYENESGONY AND TOBAIDISCHINNI.
+
+
+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.
+
+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.
+
+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 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."
+
+
+
+
+THE BROTHERS.
+
+
+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 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.
+
+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 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."
+
+The camp was surrounded by pinon 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 (_Bigelovia Douglasii_(9))
+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 passed him, but he again headed them off by hiding in the
+stalks of a large yucca.(10) 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."
+
+ [Illustration: Emblem]
+
+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 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.
+
+
+
+
+THE OLD MAN AND WOMAN OF THE FIRST WORLD.
+
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+
+
+
+
+
+FOOTNOTES
+
+
+ 1 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.
+
+ 2 Continency must be observed by the personators of the gods until all
+ paint is removed from their bodies.
+
+ 3 The suds were crossed and encircled with the pollen to give them
+ additional power to restore the invalid to health.
+
+ 4 I noticed that the priest of the sweat house on no occasion sat with
+ the song-priest and his attendants.
+
+ 5 This food is dried and made into a powder, and used as a medicine by
+ the theurgist.
+
+ 6 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."
+
+ 7 The Naaskiddi are hunchbacks; they have clouds upon their backs, in
+ which seeds of all vegetation are held.
+
+ 8 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.
+
+ 9 The _Bigelovia Douglasii_ is made into rings and used in the
+ ceremonial Hasjelti Dailjis with direct reference to this
+ occurrence.
+
+ 10 Ceremonial rings are also made of the Spanish bayonet (yucca).
+
+
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK CEREMONIAL OF HASJELTI DAILJIS AND MYTHICAL SAND PAINTING OF THE NAVAJO INDIANS***
+
+
+
+CREDITS
+
+
+July 2006
+
+ This file was produced from images generously made available
+ by the Bibliotheque nationale de France (BnF/Gallica) at
+ http://gallica.bnf.fr
+ Joshua Hutchinson
+ PM for Bureau of American Ethnology
+ Bibliotheque Nationale de France/Gallica
+ Online Distributed Proofreading Team at http://www.pgdp.net
+
+
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