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diff --git a/19331.txt b/19331.txt new file mode 100644 index 0000000..682817b --- /dev/null +++ b/19331.txt @@ -0,0 +1,3136 @@ +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 + + + +A WORD FROM PROJECT GUTENBERG + + +This file should be named 19331.txt or 19331.zip. + +This and all associated files of various formats will be found in: + + + http://www.gutenberg.org/dirs/1/9/3/3/19331/ + + +Updated editions will replace the previous one -- the old editions will be +renamed. + +Creating the works from public domain print editions means that no one +owns a United States copyright in these works, so the Foundation (and +you!) can copy and distribute it in the United States without permission +and without paying copyright royalties. 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