159. These pictures, the medicine men aver, are transmitted from teacher to pupil in each order and for each ceremony unaltered from year to year and from generation to generation. That such is strictly the case I cannot believe. There are no standard pictures on hand anywhere. No permanent design for reference is ever in existence, and there is, so far as I can learn, no final authority in the tribe to settle any disputes that may arise. Few of these great ceremonies can be performed in the summer months. Most of the figures are therefore carried over from winter to winter in the memories of fallible men. But this much I do credit, that any innovations which may creep into their work are unintentional and that if changes occur they are wrought very slowly. The shamans and their faithful followers believe, or profess to believe, that the direst vengeance of the gods would visit them if these rites were varied in the least in picture, prayer, song, or ceremonial. The mere fact that there are different schools among the medicine men may be regarded as an evidence that changes have occurred.

160. FIRST PICTURE. The picture of the first day (Plate XV) is said to represent the visit of Dsilyi' Neyáni to the home of the snakes at Qo¢estsò. (Paragraph 53.)



161. In the center of the picture was a circular concavity, about six inches in diameter, intended to represent water, presumably the house of water mentioned in the myth. In all the other pictures where water was represented a small bowl was actually sunk in the ground and filled with water, which water was afterwards sprinkled with powdered charcoal to give the impression of a flat, dry surface. Why the bowl of water was omitted in this picture I do not know, but a medicine man of a different fraternity from that of the one who drew the picture informed me that with men of his school the bowl filled with water was used in the snake picture as well as in the others. Closely surrounding this central depression are four parallelograms about four inches by ten inches in the original pictures. The half nearer the center is red; the outer half is blue; they are bordered with narrow lines of white. The same figures are repeated in other paintings. They appear in this drawing, and frequently in others, as something on which the gods seem to stand. They are the ca'bitlòl, or rafts of sunbeam, the favorite vessels on which the divine ones navigate the upper deep. In the Navajo myths, when a god has a particularly long and speedy journey to make, he takes two sunbeams and, placing them side by side, is borne off in a twinkling whither he wills. Red is the color proper to sunlight in their symbolism, but the red and blue together represent sunbeams in the morning and evening skies when they show an alternation of blue and red. It will be seen later that the sunbeam shafts, the halo, and the rainbow are represented by the same colors. In form, however, the halo is circular, and the rainbow is distinguished by its curvature, and it is usually anthropomorphic, while the sunbeam and the halo are not. External to these sunbeam rafts, and represented as standing on them, are the figures of eight serpents, two white ones in the east, two blue ones in the south, two yellow ones in the west, and two black ones in the north. These snakes cross one another (in pairs) so as to form four figures like the letter X. In drawing these X's the snake which appears to be beneath is made first complete in every respect, and then the other snake is drawn over it in conformity with their realistic laws of art before referred to. The neck, in all cases, is blue, crossed with four bands of red. The necks of the gods in all the pictures, it will be observed, are made thus, but the bars in the manlike figures run transversely, while those in the snake-like run diagonally. Three rows of V-shaped figures, four in each row, are seen on the backs of the snakes; these are simply to represent mottlings. Outside of these eight snakes are four more of much greater length; they form a frame or boundary to the picture, except in the west, where the mountain of Dsilyà-içín lies beyond them. There is a white snake in the east, lying from north to south and bounding the picture in the east; a blue snake, of similar size and shape, in the south; a yellow one in the west, and a black one in the north. They seem as if following one another around the picture in the direction of the sun's apparent course, the head of the east snake approximating the tail of the south snake, and so on.

162. In the northeast is seen the yay, Niltci, who accompanied the Navajo prophet to the home of the snakes. In the extreme west is a black circular figure representing the mountain of Dsilyà-içín. In the original picture the mountain was in relief—which I have not attempted to represent—a little mound of about ten or twelve inches high. The description of the mountain given in the myth is duly symbolized in the picture, the halo added. The green spot in the center is designed to represent a twig of spruce which was stuck in the mound of sand to indicate the spruce tree door. From the summit of the mountain to the middle of the central waters is drawn a wide line in corn meal, with four footprints, depicted at intervals, in the same material. This represents the track of a bear. Immediately south of this track is the figure of an animal drawn in gray pigment. This is the grizzly himself, which here, I have reason to believe, is used as a symbol of the Navajo prophet. The bear, in the sacred language of the shamans, is appropriately called Dsilyi' Neyáni, since he is truly reared within the mountains. His track, being represented by a streak of meal, has reference to the same thing as the name akáninili and the practice of the couriers (paragraph 102), who are dressed to represent the prophet, throwing corn meal in front of them when they travel.

163. The SECOND PICTURE is said to be a representation of the painting, which the prophet saw in the home of the bears in the Carrizo Mountains (paragraph 40). In the center of this figure is the bowl of water covered with black powder, to which I referred before. The edge of the bowl is adorned with sunbeams, and external to it are the four ca'bitlol, or sunbeam rafts, on which seem to stand four gods, or yays.

164. The divine forms are shaped alike but colored differently. They lie with heads extended outward, one to each of the four cardinal points of the compass, the faces looking forward, the arms half extended on either side, with the hands raised to a level with the shoulders. They wear around their loins skirts of red sunlight, adorned with sunbeams. They have ear pendants, bracelets, and armlets, blue and red (of turquoise and coral), the prehistoric and emblematic jewels of the Navajo. Their forearms and legs are black, showing in each a zigzag mark to represent lightning on the surface of the black rain clouds. In the north god these colors are, for artistic reasons, reversed. Each bears, attached to his right hand with a string, a rattle, a charm, and a basket. The rattle is of the shape of those used by the medicine men in this particular dance, made of raw hide and painted to symbolize the rain cloud and lightning. The left hand is empty; but beside each one is a highly conventionalized picture of a plant. The left hand remains empty, as it were, to grasp this plant, to indicate that the plant at the left hand belongs to the god whose corresponding hand is unoccupied and extended towards it. The proprietorship of each god in his own particular plant is further indicated by making the plant the same color as the god. The body of the eastern god is white; so is the stalk of corn at his left, in the southeast. The body of the southern god is blue; so is the beanstalk beside him, in the southwest. The body of the western god is yellow; so is his pumpkin vine, in the northwest. The body of the north god is black; so is the tobacco plant, which is under his special protection, in the northeast.

165. Each of the four sacred plants is represented as growing from five white roots in the central waters and spreading outwards to the periphery of the picture. The gods form one cross whose limbs are directed to the four cardinal points; the plants form another cross having a common center with the first named cross, but whose limbs extend to the intermediate points of the compass.

166. On the head of each yay is an eagle plume lying horizontally and pointing to the right. A similar arrangement of four plumes, all pointing in one direction (contrary to the sun's apparent course), may be observed on the baskets carried by the gods.



167. The gods are represented with beautiful embroidered pouches, each of a different pattern. In old days the most beautiful things in art the Navajo knew of were the porcupine quill embroideries of the northern races. The art of garnishing with quills, and later with beads, seems never to have been practiced to any extent by the Navajo women. They obtained embroideries of the Ute and other northern tribes, and their ancient legends abound in allusions to the great esteem in which they held them. (See, for instance, paragraphs 32, 34.) Hence, to represent the grandeur and potency of their gods, they adorn them with these beautiful and much coveted articles.

168. Surrounding the picture on about three-fourths of its circumference is the anthropomorphic rainbow or rainbow deity. It consists of two long stripes, each about two inches wide in the original picture, one of blue, one of red, bordered and separated by narrow lines of white. At the southeastern end of the bow is a representation of the body below the waist, such as the other gods have, consisting of pouch, skirt, legs, and feet. At the northeastern end we have head, neck, and arms. The head of the rainbow is rectangular, while the heads of the other forms in this picture are round. In the pictures of the Yàybichy dance we frequently observe the same difference in the heads. Some are rectangular, some are round; the former are females, the latter males; and whenever any of these gods are represented, by characters, in a dance, those who enact the females wear square stiff masks, like our dominoes, while those who enact the males wear roundish, baglike masks, of soft skin, that completely envelop the head. The rainbow god in all these pictures wears the rectangular mask. Iris, therefore, is with the Navajo as well as with the Greeks a goddess.

169. All the other gods bear something in their hands, while the hands of the rainbow are empty. This is not without intention. When the person for whose benefit the rites are performed is brought in to be prayed and sung over, the sacred potion is brewed in a bowl, which is placed on the outstretched hands of the rainbow while the ceremony is in progress and only taken from these hands when the draught is to be administered. Therefore the hands are disengaged, that they may hold the gourd and its contents when the time comes (paragraph 106).

170. In the east, where the picture is not inclosed by the rainbow, we see the forms of two birds standing with wings outstretched, facing one another, their beaks close together. These represent certain birds of blue plumage called by the Navajo çòli (Sialia arctica). This bluebird is of the color of the south and of the upper regions. He is the herald of the morning. His call of "çòli çòli" is the first that is heard when the gray dawn approaches. Therefore is he sacred, and his feathers form a component part of nearly all the plume sticks used in the worship of this people. Two bluebirds, it is said, stand guard at the door of the house wherein these gods dwell; hence they are represented in the east of the picture.

171. Here is an appropriate occasion to speak of a part of Navajo symbolism in color to which reference has already several times been made. In the majority of cases the east is represented by white, the south by blue, the west by yellow, the north by black; the upper world by blue and the lower by a mixture of white and black in spots. The colors of the south and west seem to be permanent: the south is always blue and the west is always yellow, as far as I can learn; but the colors of the east and north are interchangeable. The cases are rare where white is assigned to the north and black to the east; but such cases occur, and perhaps in each instance merit special study. Again, black represents the male and blue the female.

172. The THIRD PICTURE commemorates the visit of Dsilyi' Neyáni to Çaçò'-behogan, or "Lodge of Dew" (paragraph 56). To indicate the great height of the Bitsès-ninéz the figures are twice the length of any in the other pictures, except the rainbows, and each is clothed in four garments, one above the other, for no one garment, they say, can be made long enough to cover such giant forms. Their heads all point to the east, instead of pointing in different directions, as in the other pictures. The Navajo relate, as already told (paragraph 56), that this is in obedience to a divine mandate; but probably there is a more practical reason, which is this: if they had the cruciform arrangement there would not be room on, the floor of the lodge for the figures and at the same time for the shaman, assistants, and spectators. Economy of space is essential; but, although drawn nearly parallel to one another, the proper order of the cardinal points is not lost sight of. The form immediately north of the center of the picture is done first, in white, and represents the east. That immediately next to it on the south comes second in order, is painted in blue, and represents the south. The one next below that is in yellow, and depicts the goddess who stood in the west of the House of Dew-Drops. The figure in the extreme north is drawn last of all, in black, and belongs to the north. As I have stated before, these bodies are first made naked and afterwards clothed. The exposed chests, arms, and thighs display the colors of which the entire bodies were originally composed. The glòï (weasel, Putorius) is sacred to these goddesses. Two of these creatures are shown in the east, guarding the entrance to the lodge. The appendages at the sides of the heads of the goddesses represent the glòï-bitcà, or headdresses of glòï skins of different colors which these mythic personages are said to wear. Each one bears attached to her right hand a rattle and a charm, or plume stick, such as the gods in the second picture carry; but, instead of the basket shown before, we see a conventionalized representation of a branch of choke cherry in blossom; this consists of five diverging stems in blue, five roots, and five cruciform blossoms in white. The choke cherry is a sacred tree, a mountain plant; its wood is used in making certain sacrificial plume sticks and certain implements of the dance; it is often mentioned in the songs of this particular rite. Some other adjuncts of this picture—the red robes embroidered with sunbeams, the arms and legs clothed with clouds and lightning, the pendants from the arms, the blue and red armlets, bracelets, and garters—have already been described when speaking of the second picture. The object in the left hand is a wand of spruce.



173. The rainbow which incloses the picture on three sides is not the anthropomorphic rainbow. It has no head, neck, arms, or lower extremities. Five white eagle plumes adorn its southeastern extremity. Five tail plumes of some blue bird decorate the bend in the southwest. The plumes of the red shafted flicker (Colaptes auratus var. mexicanus) are near the bend in the northwest and the tail of the magpie terminates the northeastern extremity. Throughout the myth, it will be remembered, not only is the House of Dew-Drops spoken of as adorned with hangings and festoons of rainbows, but many of the holy dwellings are thus embellished.

174. The FOURTH PICTURE represents the kátso-yisçàn, or great plumed arrows. These arrows are the especial great mystery, the potent healing charm of this dance. The picture is supposed to be a fac simile of a representation of these weapons, shown to the prophet when he visited the abode of the Tsilkè-¢igini, or young men gods, where he first saw the arrows (paragraph 47). There are eight arrows. Four are in the center, lying parallel to one another—two pointing east and two others, alternate, pointing west. The picture is bordered by the other four, which have the same relative positions and directions as the bounding serpents in the first picture. The shafts are all of the same white tint, no attention being paid to the colors of the cardinal points; yet in drawing and erasing the picture the cardinal points are duly honored. Among the central arrows, the second from the top, or north margin of the design, is that of the east; it is drawn and erased first. The next below it is the arrow of the south; the third is that of the west. The one on top belongs to the north; it is drawn and erased last. The heads are painted red to represent the red stone points used; the fringed margins show the irregularities of their edges. The plumes at the butt are indicated, as are also the strings by which the plumes are tied on and the notches to receive the bowstring.

175. The ground of this picture is crossed with nebulous black streaks. These were originally present in all the pictures. I have omitted them in all but this, lest they might obscure the details of the reduced copies. It has been explained to me (although in the myth it is expressly stated only in one case, paragraph 40) that all these pictures were drawn by the gods upon the clouds and thus were shown to the Navajo prophet. Men cannot paint on the clouds, but according to the divine mandate they do the best they can on sand, and then sprinkle the sand with charcoal, in the manner indicated, to represent the cloudy scrolls whereon the primal designs of the celestial artists were painted.

SACRIFICES OF DSILYÍDJE QACÀL.

176. The sacrifices made to the gods during these ceremonies consist of nothing more than a few sticks and feathers, with the occasional addition of strings and beads—a form of sacrificial offering common among various tribes of the Southwest, including the sedentary Indians, of the pueblos. During the six days' work in the medicine lodge and the corral, I saw but one lot of these sticks prepared (paragraphs 86, 87); but I think this lot represented two sets, i.e., sacrifices to two different mythical beings. It is, however, indicated in the myth that a considerable number of these sacrifices, called by the Navajo keçàn (Englished, kethàwn), belong to the mountain chant and may properly be offered during its celebration. I have seen among the Navajo a few varieties of these devotional offerings and I have obtained descriptions of many. Although I cannot rely on the minute accuracy of these descriptions, I will present them for such value as they may possess in illustrating the general character of this system of worship, a system which might profitably occupy for years the best labors of an earnest student to elucidate.

177. Fig. 58 represents a kethàwn belonging, not to the mountain chant, but to the klèdji-qaçàl, or chant of the night. It is sacred to the Youth and the Maiden of the Rock Crystal, divine beings who dwell in Tsisnàtcini, a great mountain north of the Pueblo of Jemez. The original is in the National Museum at Washington. It consists of two sticks coated with white earth and joined by a cotton string a yard long, which is tied to each stick by a clove hitch. A black bead is on the center of the string; a turkey feather and an eagle feather are secured with the clove hitch to one of the sticks.





178. Fig. 59 depicts a kethàwn pertaining also to the klèdji-qaçàl. It is called keçàn-yalçi', or talking kethàwn. The sticks are willow. The one to the left is painted black, to represent a male character (Qastcèbaka) in the myth and ceremony of klèdji-qaçàl. The other stick is painted blue, to denote a female character (Qastcèbaäd) in the same rites. The blue stick has a diagonal facet at the top to indicate the square topped female mask (paragraph 168). The naturally round end of the black stick sufficiently indicates the round male mask. The cord wrapped around the two sticks is similar to that described in the paragraph immediately preceding. About the middle of the cord is a long white shell bead, shown in the cut. The breast feathers of the turkey and the downy feathers of the eagle are attached to the sticks. This kethàwn I saw once in the possession of a Navajo qaçàli. I was permitted to sketch it, but could not purchase it. The interpretation given of its symbolism is that of the qaçàli who owned it. In the myth of klèdji-qaçàl it is said that the beneficent god Qastcèëlçi used this kethàwn when he removed from the prophet Co the evil spell which had been cast on the latter by the wind god.



179. In Schoolcraft's Archives of Aboriginal Knowledge, Philadelphia, 1860, Vol. III, page 306, is a cut illustrating an article undoubtedly of a similar nature to that shown in Fig. 59. It is a sacrificial plume stick of the Moki. The Moki interpreter explained to Mr. Schoolcraft that it contained a message from the Indians to the President and the particulars of this message are fully set forth in his text. At first I doubted if the object could have any other purpose than a sacrificial one and was inclined to discredit the statement of the Moki interpreter. But on learning that the Navajo had a similar arrangement of sticks and feathers, which was called by the significant name of keçànyalçi', or talking kethàwn, I was more inclined to believe that some of these kethàwns may answer a double purpose and be used to convey messages, or at least serve as mnemonic aids to envoys.

180. The cac-bikeçàn (bear kethàwn) spoken of in the myth consisted of two sticks, each a span long, one painted black (male), the other painted blue (female). Each had red and blue bands at the ends and in the middle. There were no feathers or beads. (Paragraph 40.)

181. The glòï-bikeçàn, or sacrifices to the weasels, were four in number, two yellow and two white. In preparing the sticks one end was always to be held to the north, the other towards the south. At each end a narrow circle of red and a narrow circle of blue were painted; the red being to the north, i.e., outside of the blue at one end and inside of it at the other. The weasel men directed that the sticks should be buried in the ground in the same direction in which they were held when being made, lying from north to south with the outer red ring at the north. (Paragraph 41.)

182. Four sticks pertained to the klictsò-bikeçàn: one was black, with four white deer tracks painted on it; another was blue, with four yellow deer tracks; a third was white, with four black deer tracks; the fourth was yellow, with four blue deer tracks. The Great Serpent said to the Navajo prophet: "There are certain moles who, when they dig in the ground, scatter the earth in a long winding heap like the form of a crawling snake. In such a heap of earth will you bury these kethàwns." (Paragraph 42.)

183. There are two sticks belonging to the kethàwn of the lightning god (i¢nì'-bikeçàn). One is black, with a white zigzag stripe from end to end; the other blue, with a yellow zigzag stripe from end to end. (Paragraph 43.)

184. The Estsàn-¢igìni, or Holy Women, showed the prophet but one kethàwn stick. It was painted white and decorated with three pairs of circular bands, red and blue, the blue in each case being next to the body of the painter while he holds the stick in decorating it. This kethàwn must be buried at the base of a young spruce tree, with the first blue circle next to the tree. (Paragraph 45.)

185. Pour sticks were shown by the Tcikè-cac-nátlehi. They were black, sprinkled with specular iron ore to make them shine; decorated with three pairs of bands, red and blue, applied as in the kethàwns of the Estsàn-¢igìni; and buried under a young piñon, with the first blue band or circle next to the tree. (Paragraph 46.)

186. The two kethàwns seen by Dsilyi' Neyáni at Big Oaks, the home of the ¢igin-yosíni, were both banded at the ends with blue and red and had marks to symbolize the givers. One was white, with two pairs of stripes, red and blue, running lengthwise. The other was yellow, with many stripes of black and yellow running lengthwise. (Paragraph 49.)

187. At Last Mountain, the home of the skunks, two kethàwns, evidently intended to symbolize these animals, were shown to the prophet and his divine companions. Both the sticks were black: one had three white longitudinal stripes on one side; the other had three longitudinal rows of white spots, three spots in each row, on one side. (Paragraph 50.)

188. The two sticks shown by the squirrels, Glo'dsilkàï and Glo'dsiljíni, were painted blue, sprinkled with specular iron ore, and surrounded at the ends with red and blue bands. One was to be planted at the base of a pine tree and one at the base of a spruce tree.

189. At Dsilyà-içín the porcupines exhibited two kethàwns. They were very short, being equal in length to the middle joint of the little finger. One was black and one was blue. Each had red and blue terminal bands and each had a number of white dots on one side to represent porcupine quills. "Bury them," said ¢asàni, "under a piñon tree." (Paragraph 52.)

190. At Qo¢estò four kethàwns, rather elaborately decorated, were shown. Two were half white and half black, the black part having white spots and the white part having black spots on it. The other two were half blue and half yellow, the yellow being spotted with blue and the blue with yellow. There were red and blue rings at the ends. (Paragraph 53.)

191. The Tçikè-¢igìni showed their visitors two kethàwns, one black and one blue. Each was a span long and was surrounded with three pairs of bands, blue and red, put on in the manner observed in making the kethàwns of the Estsàn-¢igìni. (Paragraph 184.) To the center of the black kethàwn five blue feathers were tied. To the center of the blue kethàwn five yellow feathers were fastened. Five black beads were interred with the black stick—one tied to the center, one stuck in the end, and three laid loose in the ground. Five blue turquoise beads were similarly buried with the blue stick. Such kethàwns must be buried at the foot of a spruce tree, with the heads towards the mountains of ¢epéntsa. By "head" is meant the end held the farther from the body of the painter when the paint is applied, the end having the red band at its extremity. (Paragraph 54.)



ORIGINAL TEXTS AND TRANSLATIONS OF SONGS, &C.

192. The songs of the dsilyídje qaçàl are very numerous and their recitation is governed by many rules, a few of which only have been discovered by the writer.

193. A list has been recorded of thirteen sets of songs which may properly be sung at night in the medicine lodge, when the ceremonies of the day are done, and in the corral on the last night, when there is no special song in progress pertaining to a particular alili or dance. The list which follows exhibits the order in which these songs may be sung on any particular night. For example, if the singers begin with a song from set III, they cannot follow immediately with a song from sets I or II, but mast select from some of the following sets, as set IV or V. Again, in each set the songs have a certain order of sequence which must not be reversed. For convenience these will be called

SONGS OF SEQUENCE.

+ -+ + - Order. Indian name English name of set. Number in of set. each set. + -+ + - I. Atsátleï Bigin Songs of the First Dancers 16 II. Tsintsò Bigin Songs of the Great Stick, 12 or Plumed Wand III. [¢]epè Bigin Songs of the Mountain Sheep 12 IV. I'¢nì Bigin Songs of the Lightning 12 V. Tsilkè-¢igìni Songs of the Holy Young Men 12 Bigin VI. Tcikè-cac-nátlehi Songs of Young 16 Bigin Women Who Become Bears VII. Dsilyi' Neyáni Songs of Reared Within 8 Bigin the Mountains VIII. Tsáhagin Awl songs 8 IX. Nahikï-gin Whitening songs 8 X. [¢]asàni Bigin Songs of the Porcupines 7 XI. Nanisè Bigin Songs of the Plants 8 XII. Tsin¢ilçòï Bigin Songs of the Exploding Stick 26 XIII. Yikàï-gin Daylight songs 16 + + - Total 161 + + -

194. Besides those referred to in the above list, there are more which are appropriate to different acts in the ceremony, such as the songs sung at the obliteration of the pictures, at the building of the corral, at the departure of the akáninili, &c.

195. In some cases a number of songs in the same set are nearly alike; the addition or substitution of one verse, or even of one word, may be the only difference. Such songs usually follow one another in immediate succession; often, on the other hand, we find a great variety in subject and in style.

196. Some songs are self-explanatory or readily understood, but the greater number cannot be comprehended without a full knowledge of the mythology and of the symbolism to which they refer; they merely hint at mythic conceptions. Many contain archaic expressions, for which the shaman can assign a meaning, but whose etymology cannot now be learned; and some embody obsolete words whose meaning is lost even to the priesthood. There are many vocables known to be meaningless and recited merely to fill out the rhythm or to give a dignified length to the song. For the same reasons a meaningless syllable is often added or a significant syllable duplicated.

197. Other poetical licenses are taken, such as the omission of a syllable, the change of accent, the substitution of one vowel for another. The most familiar words are often distorted beyond recognition. For these various reasons the task of noting and translating these songs is one of considerable difficulty.

198. FIRST SONG OF THE FIRST DANCERS.

Qaniè qaò yaè, qaniè qaò yaè Qaniè iè oayè oayè.

1. Qadjinäìa qaò yaè, 2. Kaç dsil ¢ilhyíli qaò yaè, 3. 'Çaltsoï tsèë qaò yaè, 4. Cija cigèlgo qaò yaè. Náhi ìni èhi oayè, náhi ini èhi oöhè. 5. Niqoyastcàdje qaò yaè, 6. Kaç dsil çolíji qaò yaè, 7. Kini bitsèë qaò yaè, 8. Cija cigèlgo qaò yaè. Náhi ìni, etc. 9. Qadjinäìa qaò yaè, 10. Kaç dsil litsòï qaò yaè, 11. Bitselitsòï qaò yaè, 12. Cija cigèlgo qaò yaè. Náhi ìni, etc. 13. Niqoyastcàdje qaò yaè, 14. Kaç dsil lakàie qaò yaè, 15. A'a'i tsèe qaò yaè, 16. Cija cigèlgo qaò yaè. Náhi ìni, etc.

199. Translation.—1, 9. Qadjinàï, "Place-where-they-came-up," a locality in the San Juan Mountains where, according to their mythology, the Navajo emerged from the lower world to this. 5, 13. Niqoyastcàdje, another name for Qadjinàï. 2, 6, 10, 14. Kaç, now; dsil, mountain; ¢ilhyíli, black; çolíji, blue; litsòï, yellow; lakàie, white. These verses refer to four mountains surrounding Qadjinàï, which are designated by colors only to indicate their topographical positions. 3, 7, 11, 15. 'Çaltsoï = aça litsòï, "yellow wing," a large bird of prey; kini, hen hawk; bitselitsòï, "yellow tail," a bird of undetermined species; a'a'i, magpie; tse, a tail; bitse, its tail. 4, 8, 12, 16. Cija, my treasure; cigèl, my desideratum, my ultimatum, the only thing I will accept. When supposed to be said by a god, as in this song, it means the particular sacrifice which is appropriate to him. In this case probably the feathers spoken of are "cigèl" and the mountains "cija." The refrain "qaò yaè" is a poetic modification of qaa', it looms up, or sticks up, said of some lofty object visible in the distance, whose base cannot be seen.

200. Free translation.

Place-whence-they-came-up looms up, Now the black mountain looms up, The tail of the "yellow wing" looms up, My treasure, my sacrifice, loom up.

Land-where-they-moved-out looms up, Now the blue mountain looms up, The tail of the hen-hawk looms up, My treasure, my sacrifice, loom up.

Place-whence-they-came-up looms up, Now the yellow mountain looms up, The tail that is yellow looms up, My treasure, my sacrifice, loom up.

Land-where-they-moved-out looms up, Now the white mountain looms up, The tail of the magpie looms up, My treasure, my sacrifice, loom up.

201. FIRST SONG OF THE MOUNTAIN SHEEP.

1. Yìki ¢asizìni, 2. Kaç Tsilkè-¢igìni, 3. Kaç kátso-yisçàni, 4. Tsí¢a baälìli, 5. Bíja-ye¢igíngo. 6. Kaç Tcikè ¢igìni, 7. Kátsoye yisçàni, 8. Yìki ¢asizìni, 9. Tsí¢a baälìli, 10. Bíja-ye¢igíngo.

202. Translation.—1, 8. Yìki, upon it; ¢asizin, he stands on high. 2, 6. Kaç, now; tsilkè, young man; tcikè, young woman; ¢igìni, holy. 3. Kátso-yisçàn, the great plumed arrow; kátsoye yisçàn, with the great plumed arrow. 4, 9. Tsí¢a, truly, verily; baälìli, an alili, a show, a rite, or implement used in a dance for him. 5, 10. Bíja, his treasure, his special property, his peculiar belonging; ye, with, a prefix forming nouns which denote the means; ¢igíngo, positively holy or supernatural. Bíja-ye¢igíngo might be translated "charm" or "talisman."

203. Free translation.

He stands high upon it; Now the Holy Young Man [Young Woman, in second stanza], With the great plumed arrow, Verily his own sacred implement, His treasure, by virtue of which he is truly holy.

204. A reference to the myth, and the description of the ceremonies will probably be sufficient to give the reader an understanding of this song. This set of songs, it is said, was first sung by the black sheep which stood on the rock as a sign to the Navajo fugitive; hence the name. (See paragraphs 35, 47, 48, 54.)

205. SIXTH SONG OF THE MOUNTAIN SHEEP.

Binaçoöláe [four times] oäyèhe oöhè.

1. Kaç Tsilkè-¢igìni, 2. Ca'bitlòli yèë, 3. Tsí¢a bialìli, 4. Bíja ye¢igíngo, 5. Binaçoöláe oäyèhe oöhè. 6. Kaç Tcikè-¢igìni, 7. Natsilíçi yèë, 8. Tsí¢a bialìli, 9. Bíja ye¢igíngo, 10. Binaçoöláe oäyèhe oöhè.

206. Translation.—1, 6. Kaç, now; tsilkè, young man; tcikè, young woman; ¢igìni holy one, god or goddess. 2. Ca'bitlòl, sunbeam, sunbeams; ye, with. 3, 8. Tsi¢a, verily; bialìli (paragraph 3), his dance or sacred implement. 4, 9. Bíja, his special property, his treasure; ye¢igíngo, that by means of which he is ¢igín, i.e., holy or supernatural. 5, 10. Binaçòla, it is encircled. 7. Natsiliç, the rainbow.

207. Free translation.

Now the Holy Young Man, With the sunbeam, Verily his own sacred implement, His treasure which makes him holy, Is encircled.

Now the Holy Young Woman, With the rainbow, Verily her own sacred implement, Her treasure which makes her holy, Is encircled.

208. Which is to say that the great plumed arrows which they bear are adorned with sunbeams and rainbows. They "shine in glory." (See references in paragraph 204)

209. TWELFTH SONG OF THE MOUNTAIN SHEEP.

1. Nayunáni tcènia, 2. Kaç biçèïltsos tcènia, 3. Biqolçègo, tcènia. 4. Nayunáni tcènia, 5. Kaç biçènackòji tcènia, 6. Biqolçègo, tcènia.

210. Translation.—1, 4. Nayunáni, again on the other side, i.e., across two valleys. 2. Biçè, his horns; iltsos, slender; biçèïltsos, slender horns, i.e., the deer, by metonomy. 3, 6. Biqolçègo, it is becoming to him. 5. Biçè, his horns; nackòj, turgid, filled out, stuffed; biçènackòji, turgid horns—metonymically, the mountain sheep, Ovis montana. The refrain, tcènia, he appears, he comes in sight.

211. Free translation.

Far beyond he appears; Now "Slender Horn" appears. His antlers are becoming. He appears. Far beyond he appears; Now "Turgid Horn" appears. His horns are becoming. He appears.

212. This song, it is said, refers to the time when the prophet saw the vision of the black sheep on the rock. (Paragraph 35.) The reason for introducing the deer into the song is not obvious.

213. FIRST SONG OF THE THUNDER.

1. Çòna! Çòna! A'ⱥɨyèhe oöhè [repeat], 2. Yùçakoö ani'; 3. I'¢ni'djië ani'; 4. Kos ¢ilhyíl biyì'dje, 5. Nabizàç qolègo, 6. Çòna! Çòna! A'ⱥɨyèhe oöhè 7. Çòna! Çòna! A'ⱥɨyèhe oöhè [repeat], 8. Yùyakoö ani'; 9. Anilçàni ani'; 10. Nánise bicqàko, 11. Nabizaç qolègo, 12. Çòna! Çòna! A'ⱥɨyèhe oöhè.

214. Translation.—1, 6, 7, 12. Çòna, an imitation of the thunder, not a word. 2, 8. Yùçako, above; yùyako, below; ani', any sound, the sound of the voice. 3. I'¢ni'dji pertaining to the thunder. 4. Kos, cloud; ¢ilhyíl, black, dark; biyì'dje, within, or toward within it. 5, 11. Nabizaç qolègo, again and again sounds his moving voice. 9. Anilçàni, a general name for large meadow grasshoppers. 10. Nánise, plants in general; biçqàko, in among them.

215. Free translation.

Thonah! Thonah! There is a voice above, The voice of the thunder. Within the dark cloud, Again and again it sounds, Thonah! Thonah!

Thonah! Thonah! There is a voice below, The voice of the grasshopper. Among the plants, Again and again it sounds, Thonah! Thonah!

216. TWELFTH SONG OF THE THUNDER.

Aïena. Beqojònigo ani'i [four times] oöhè.

1. Yùçakoö ani'i; 2. I'¢ni'djië ani'i; 3. Kos ¢ilhyíl biyì'dje, 4. Nàbizaç qolègo, 5. Beqojònigo ani'i, oöhè. 6. Yùyakoö ani'i; 7. Anilçàni ani'i; 8. Nánise biçqàko, 9. Nàbizaç qolègo, 10. Beqojònigo ani'i, oöhè.

217. Translation.—Aïena, a meaningless beginning to many songs, which may be omitted. 1. Yùçako, above. 2. I'¢ni'dji, pertaining to the thunder. 3. Kos, cloud; ¢ilhyíl, dark; biyì'dje, within it. 4, 9. Nàbizaç, his voice again, his voice repeated; qolègo, sounds along, sounds moving. 5, 10. (Be, a prefix forming nouns of the cause or instrument; qojòni, local or terrestrial beauty; go, a suffix to qualifying words); beqojònigo, productive of terrestrial beauty; ani', a voice, a sound. 6. Yùyako, below. 7. Anilçani, grasshopper. 8. Nánise, plants; biçqàko, in among them.

218. Free translation.

The voice that beautifies the land! The voice above, The voice of the thunder Within the dark cloud Again and again it sounds, The voice that beautifies the land.

The voice that beautifies the land! The voice below; The voice of the grasshopper Among the plants Again and again it sounds, The voice that beautifies the land.

219. FIRST SONG OF THE HOLY YOUNG MEN, OR YOUNG MEN GODS.

1. Oöc 'çqa nagⱥɨë, 2. Kaç Tsilkè-¢igìni, 3. Dsil ¢ilhyíl biyàgi, 4. Biyàji naïlè. 5. Aie 'çqa nagⱥɨë, 6. Kaç Tcikè-¢igini, 7. Dsil çolíj biyàgi, 8. Biyàji naïlè.

220. Translation.—1, 5. 'Çqa = biçqa, amid or among them; nagai, that, there. 2. Kaç, now; Tsilkè-¢igìni, Holy Young Man; Tcikè-¢igìni, Holy Young Woman. 3, 7. Dsil, mountain; ¢ilhyíl, black; çolíj, blue; biyàgi, at the foot of, at the base of. 4, 8. Biyàji, his child; naïlè, he lays down, he leaves.

221. Free translation.

There amid [the mountains], Now the Holy Young Man, At the foot of the black mountain, Lays down his child.

There amid [the mountains], Now the Holy Young Woman, At the foot of the blue mountain, Lays down her child.

222. The characters of Tsilkè-¢igìni and Tcikè-¢igìni are in the myth. The black mountain, pertains to the male, the blue to the female. Although not told with the rest of the myth, it was subsequently related to the writer that Tsilkè-¢igìni said to the prophet, "Whoever learns our songs will thenceforth be our child." The above song, it is said, has some reference to this promise; but a fuller explanation, no doubt, remains to be discovered.

223. SIXTH SONG OF THE HOLY YOUNG MEN.

Aïena. Altsàcië ¢igìni oöhè.

1. Altsàcië ¢igìni, altsàcië ¢igìni, altsàcië ¢igìni oöhè. 2. Kaç Tsilkè-¢igìni, bakàgië ¢igìni, 3. Dsil ¢ilhyíli eä, bakàgië ¢igìni, 4. Tsintsoï ¢ilhyíli eä bakàgië ¢igìni, 5. Tsí¢a bialìli, bíja ye¢igíngo, bakàgië ¢igìni, oöhè.

Altsàcië ¢igìni oöhè.

6. Altsàcië ¢igìni, altsàcië ¢igìni, altsàcië ¢igìni oöhè. 7. Kaç Tcikè-¢igìni, bakàgië ¢igìni, 8. Dsil çolíji cë, bakàgië ¢igìni, 9. Tsintsoï çolíji, bakàgië ¢igìni, 10. Tsí¢a bialìli, bíja ye¢igíngo, bakàgië ¢igìni, oöhè.

224. Translation.— 1, 6. Altsàcië, on each side; ¢igìni, a holy one, a god. 2, 7. Kaç, now; tsilkè, young man; tcikè, young woman; bakàgi, on the summit, on top of it. 3, 8. Dsil, mountain; ¢ilhyíl, dark, black; çolíji, blue. 4, 9. Tsintsoï, great stick, a notched stick used as a musical instrument in the dance. 5, 10. Tsí¢a bialìli, truly his dance implement; bíja ye¢igíngo, his holy treasure, his talisman, his charm, his magic wand.

225. Free translation.

There's a god on each side. Now the Holy Young Man Is the god on top of the black mountain, With his black notched stick, The implement of his dance, his magic wand.

There's a god on each side. Now the Holy Young Woman Is the god on top of the blue mountain, With her blue notched stick, The implement of her dance, her magic wand.

226. This song is said to refer to that part of the myth where it is related that the prophet, flying from the Ute, climbed a hill which was transformed into a mountain. (Paragraph 38.) Each mountain was supposed to have a holy one on it, who could, by means of his notched stick, produce the metamorphosis. The mountains were not necessarily colored black and blue, but are thus described to indicate that they lay north and south of the prophet's path. (Paragraph 171.)

227. TWELFTH SONG OF THE HOLY YOUNG MEN.

Eⱥɨèa qàla éla yaináhe, oöhè. Eⱥɨèa qàla éla yainooò yaaà yooò [three times], Eⱥɨèa qàla éla yainà, qàla èla qainàhe oöhè.

1. Dsil ilhyíli inlòooò yaaà yooò, 2. Tsintsoï ¢ilhyíli inlòooò yaaà yeeè. 3. Ci cigèlgo yainà, Qala éla qainàhe oöhè.

4. Dsil çolíji inlòooò yaaà yooò, 5. Tsintsoï ¢ilhyíli inlòooò yaaà yeeè, 6. Ci cigèlgo yainà, Qala éla qainàhe oöhè.

228. Translation.—1, 4. Dsil, mountain; çilhyíl, black; çolíj, blue. 2, 5. Tsintsò, a notched stick used in ceremonies to make music; inlo (inla'), they lie there (two long hard things lie). 3, 6. Cigèl, my ultimatum, my desideratum (said of the peculiar sacrifice which belongs to each god), something I (the god) will have and accept nothing in place of it, my special sacrifice.

229. Free translation.

There lie the black mountains; There lie the black sticks; There lie my sacrifices.

There lie the blue mountains; There lie the blue sticks; There lie my sacrifices.

230. This is supposed to be a part of the instructions which the Holy Young Men and Holy Young Women gave to the prophet. The tsintso is made of cherry, which grows only on high mountains in the Navajo country. The sticks are painted black and blue. (See paragraph 171.) The song alludes to all these facts.

231. EIGHTH SONG OF THE YOUNG WOMEN WHO BECOME BEARS.

Ço¢igìni¢a oyàhe, oöhè, Ço¢igìni¢a oyà oyà ooyàya Hⱥɨyàya hⱥɨyàya hⱥɨyàhe, oöhè.

1. Kaç Tsilkè-¢igìnië ço¢igìn¢a hⱥɨyàhe, oöhè, 2. Bitsintsòië ië ço¢igìn¢a hⱥɨyàhe oöhe, 3. Tsí¢a bialìlië bíja-ye¢igìnië, oyà oyà, oyàya, Hⱥɨyàya hⱥɨyàya hⱥɨyàhe, oöhè.

Ço¢igìni¢a oyàhe, oöhè, Ço¢igìni¢a oyà oyà ooyàya, Hⱥɨyàya hⱥɨyàya hⱥɨyàhe, oöhè.

4. Kaç Tcikè-¢igìnië ço¢igìn¢a hⱥɨyàhe, oöhè, 5. Bitsintsòië ië ço¢igin¢a hⱥɨyàhe oöhè, 6. Tsí¢a bialìlië bíja-ye¢igìnië, oyà oyà, oyàya, Hⱥɨyàya hⱥɨyàya hⱥɨyàhe, oöhè.

232. Translation.— Ço¢igìni¢a, ço¢igìni¢a, he is not a god; it is not holy; it is not divine. 1, 4. Kaç, now; tsilkè, young man; tcikè, young woman; ¢igìni, holy, supernatural. 2, 4. Bitsintsòi, his great notched stick. 3, 6. Tsí¢a, verily; bialìli, his implement of the dance or rite; bíja-ye¢igìni, his treasure which makes holy; his magic wand.

233. Free translation.

The Holy Young Man is not divine; His great notched stick is not holy; His magic wand is not holy.

The Holy Young Woman is not divine; Her great notched stick is not holy; Her magic wand is not holy.

234. This is supposed to refer to an altercation between these two gods, in which they tried to belittle each other.

235. I have another song of this series, in which the idea is conveyed that their powers depend on their magic wands or notched sticks.

236. ONE OF THE AWL SONGS.

Òwe òwe òwe yàni yàï owà[n] na a [repeat three times], Òwe òwe ìni áhe oöhè.

1. 'Ke-cac-natlèhi natcagàhi, 2. Kaç dsil ¢ilhyíli bakàgi natcagàhi, 3. Kaç ni' inzàç inçì çoholnì¢a òna, 4. Kaç ni' inzàç inçì çoniò¢a òna. 5. Tcikè-¢igìni natcagàhi, 6. Dsil çolíji bakàgi natcagàhi, 7. Kaç ni' inzàç inçì, çoholnì¢a òna, 8. Kaç ni' inzàç inçì, çoniò¢a òna.

237. Translation.—1. Ke, an abbreviation of tcikè; Tcikè-cac-natlèhi, maiden who becomes a bear; natcagà', she travels far, she walks or wanders far around. 2. Kaç, now; dsil ¢ilhyíl, black mountain; bakàgi, on top of. 3, 4, 7, 8. Ni', earth, land; inzàç, distant; inçì, it lies, it stretches; çoholnì¢a, seems not to be; çoniò¢a, not obscure or dim like a faint distance. 6. Dsil çolíji bakàgi, on top of the blue mountains.

238. Free translation.

The Maid Who Becomes a Bear walks far around On the black mountains, she walks far around. Far spreads the land. It seems not far [to her]. Far spreads the land. It seems not dim [to her].

The Holy Young Woman walks far around On the blue mountains, she walks far around. Far spreads the land. It seems not far [to her]. Far spreads the land. It seems not dim [to her].

239. FIRST SONG OF THE EXPLODING STICK.

Aïena. Aïeyà ⱥɨa aïeya iè eè ieèe [three times] ië la[n].

1. 'Ke-cac-nátlèhi dsilyi' ¢i¢ílko[n] ië na[n], 2. Dsilyi' ¢olkòlko[n]; dsil beko[n]nìçe ië na[n], Ië na[n] yahà hⱥɨà ië na[n] aï. 3. Çabasçìni ço'yi' ¢i¢ílko[n] ië na[n], 4. Ço'yi ¢olkòlko[n]; ço'beko[n]nìçe ië na[n], Ië na[n] yahà hⱥɨà ië na[n] aï.

240. Translation.—1, 3. 'Ke-cac-natlèhi = Tcikè-cac-nátlehi, Young Woman Who Becomes a Bear; Çabasçin, the Otter; ¢i¢ílko[n], he or she set on fire in many places. 2, 4. Dsil, mountains; dsilyi', in the mountains; ço', water, waters; ço'yi', in the waters; ¢olkolko[n], he set on fire as he went along; beko[n]nìçe, its fires in a line, its string of fires.

241. Free translation.

Young Woman Who Becomes a Bear set fire in the mountains In many places; as she journeyed on There was a line of burning mountains.

The Otter set fire in the waters In many places; as he journeyed on There was a line of burning waters.

242. It is related that in the ancient days, during a year of great drought, these holy ones, on their way to a council of the gods, set fire to the mountains and the waters. The smoke arose in great clouds, from which rain descended on the parched land. The song alludes to this legend.

243. LAST SONG OF THE EXPLODING STICK.

Hiè ieeè naⱥɨà ⱥɨà i a ai a[n] a[n] [twice] ie.

1. Tcikè-cac-nátlehië ¢igìni qayikàlgo; bàniya ⱥɨè. 2. Dsil aga ¢azàgië ¢igìni qayikàlgo; bàniya ⱥɨè. 3. Tsí¢a ci cigèliye ¢igìni qayikàlgo; bàniya ⱥɨè. 4. Yàne ¢oölànegoö ¢isitsaàye. Hiè ieeè naⱥɨà, etc.

5. Kaç Tcikè-¢igìni ¢igìni qayikàlgo; bàniya ⱥɨè. 6. Kos aga ¢azàgië ¢igìni qayikàlgo; bàniya ⱥɨè. 7. Tsí¢a ci cigèliye ¢igìni qayikàlgo; bàniya ⱥɨè. 8. Yàne ¢oölànegoö ¢isitsaàye. Hiè ieeè naⱥɨà, etc.

244. Translation.—1, 5. Tcikè-cac-nátlehi, Young Woman Who Becomes a Bear; Tcikè- ¢igìni, Holy Young Woman, or young woman goddess; ¢igìni qayikàl, she journeyed seeking the gods; bàniya, she found them, she met them. 2, 6. Dsil, mountains; kos, clouds; aga, peak, summit; ¢azà', many pointing upwards; (dsil aga ¢azàgi, on many mountain peaks). 3, 7. Tsí¢a, truly or true; cigèl, my desideratum, my special sacrifice. 4, 8. [¢]oölàne = ¢oölà¢a, some one does not believe it; ¢isitsà, I have heard; yàne and other vocables are meaningless.

245. Free translation.

Maid Who Becomes a Bear sought the gods and found them; On the high mountain peaks she sought the gods and found them; Truly with my sacrifice she sought the gods and found them. Somebody doubts it, so I have heard.

Holy Young Woman sought the gods and found them; On the summits of the clouds she sought the gods and found them; Truly with my sacrifice she sought the gods and found them. Somebody doubts it, so I have heard.

246. These songs are accompanied, in beating the drum, with a peculiar sharp strike like a sudden outburst or explosion. Hence, they say, the name, Tsin¢ilçòï Bigin.

247. FIRST DAYLIGHT SONG.

Çahiz¢ìle, çahiz¢ìle, ya ahⱥɨà la[n] [four times].

1. Kaç Yikⱥɨ-acikè çahiz¢ìle, ya ahⱥɨà la[n], 2. Qaïyolkal¢e çahiz¢ìle, ya ahⱥɨà la[n], 3. Bitsídje yolkàlgo çahiz¢ìle, ya ahⱥɨà la[n], 4. Bikèc¢e yolkàlgo çahiz¢ìle, ya ahⱥɨà la[n]. 5. Bitsídje qojògo çahiz¢ìle, ya ahⱥɨà la[n], 6. Bikèc¢e qojògo çahiz¢ìle, ya ahⱥɨà la[n], 7. Bizàç¢e qojògo çahiz¢ìle, ya ahⱥɨà la[n], Çahiz¢ìle, çahiz¢ìle, etc.

8. Kaç yikⱥɨ-açèç, çahiz¢ìle, ya ahⱥɨà la[n], 9. Naqotsòï¢e çahiz¢ile, ya ahⱥɨà la[n]. [Verses 3 to 7 are here repeated.] Çahiz¢ile, çahiz¢ile, etc.

248. Translation.—Çahiz¢ile = çahiz¢el, it hangs as a curtain or festoon; it hangs supported at both ends, i.e., the white curtain of dawn so hangs. 1. Yikⱥɨ-acikè, the Daylight Boy, the Navajo dawn god. 2. Qayolkàl¢e, from the place of dawn. 3. Bitsídje, before him; yolkàlgo, as it dawns, as the night passes away. 4. Bikèc¢e, from behind him. Qojògo, in a beautiful (earthly) manner. 7. Bizàç¢e, from his voice. 8. Yikⱥɨ-açèç, the Daylight Girl—the dawn goddess. 9. Naqotsòï¢e, from the land of yellow light (horizontal terrestrial yellow).

249. Free translation.

The curtain of daybreak is hanging The Daylight Boy (it is hanging), From the land of the day it is hanging; Before him, as it dawns, it is hanging; Behind him, as it dawns, it is hanging. Before him, in beauty, it is hanging; Behind him, in beauty, it is hanging; From his voice, in beauty, it is hanging.

The Daylight Girl (it is hanging), From the land of yellow light, it is hanging, &c. (substituting her for him and his).

250. LAST DAYLIGHT SONG.

Loleyèe, Loleyèe. Loleyèe, Loleyèe. Loleyèe, Loleyèe. Yahⱥièe qanaⱥɨ.

1. Qayolkàgo, Loleyèe. 2. Kaç Yikⱥɨ-acikèe. Loleyèe. Loleyèe, Loleyèe. Yahⱥɨee, qanaⱥɨ. 3. Kaç a¢a yiskàgo. Loleyèe. 4. Kaç Yikⱥɨ-açèçe. Loleyèe. Loleyèe, Loleyèe. Yahⱥɨee, qanaⱥɨ.

251. Translation.—1. Qayolkàgo, in the place of dawn. 2, 4. Yikⱥɨ-acikè and Yikⱥɨ-açèç, Daylight Boy and Daylight Girl (see paragraph 248). 3. A¢a yiskàgo, it is day all around. Refrain, loleyè, lullaby, a meaningless expression to indicate sleepiness.

252. Free translation.

Lullaby, lullaby. It is daybreak. Lullaby. Now comes the Daylight Boy. Lullaby. Now it is day. Lullaby. Now comes the Daylight Girl. Lullaby.

253. As the daylight songs are sung just at dawn, in the corral, before the dance ceases, their significance is apparent.

OTHER SONGS AND EXTRACTS.

254. SONG OF THE PROPHET TO THE SAN JUAN RIVER.

Aïena. 1. Nagⱥɨ çonilínië, nagⱥɨ çonilínië, 2. Biçhyísgo cinì' ¢eyà' Haïniyèa, haïniyèa, ⱥɨèe niò haïne-yàhe, oöhè.

3. Nagⱥɨ çointyèlië, nagⱥɨ çonilínië, 4. Biçhyísgo cinì' ¢eyà' Haïniyèa, etc.

5. Nagⱥɨ sa[n] biçòië, nagⱥɨ çonilínië, 6. Biçhyísgo cinì' ¢eyà' Haïniyèa, etc.

255. Translation.—1. Nagⱥɨ that; çonilíni, flowing water, a river. 2, 4, 6. Biçhyísgo, across it; cinì', my mind; ¢eyà', it goes, or, it comes, it wanders to or from. 3. Çointyèli, broad water. 5. Sa[n] biço, water of old age.

256. For origin and free translation of this song, see paragraph 22.

257. SONG OF THE BUILDING OF THE DARK CIRCLE.

Oeà oeà, eà eà, he he; Oeà oeà, eà eeà, he he, ee na[n] a.

1. Dsilyi' Neyáni, cayolèli cayolèli; 2. Tcoyaj ¢ilhyíli, cayolèli cayolèli; 3. Tsíca alìli, cayolèli cayolèli; 4. Bija ¢igíngo, cayolèli cayolèli. 5. Tcikè-¢igìni, cayolèli cayolèli; 6. Tcoyaj çolíji, cayolèli cayolèli; 7. Tsí¢a alìli, cayolèli cayolèli; 8. Bíja ¢igíngo, cayolèli cayolèli.

258. Translation.—1. Dsilyi' Neyáni, Reared Within the Mountains, the prophet who instituted these ceremonies; cayolèli, he carries [something long and flexible, as a branch or sapling] for me. 2, 6. Tcoyaj, a spruce sapling, diminutive of tco, spruce; ¢ilhyíl, black; çolíj, blue. 3, 7. Tsí¢a alìli (usually tsí¢a bialìli), truly a dance implement. 4, 8. Bíja ¢igíngo (usually bíja-ye¢igíngo), a holy treasure, a magic wand.

259. Free translation.

Reared Within the Mountains carries for me; A black spruce sapling, he carries for me; An implement of the rites, he carries for me; A holy treasure, he carries for me.

The Holy Young Woman carries for me; A blue spruce sapling, she carries for me; An implement of the rites, she carries for me; A holy treasure, she carries for me.

260. The evergreen poles used in the dance and in making "the dark circles," to both of which this song probably refers, were, in all cases where I have observed them, made of piñon and not of spruce; but all dances I have witnessed were at altitudes of about six thousand feet, where piñon was abundant and spruce rare. In those portions of the Navajo country with which I am familiar the spruce (Pseudotsuga douglassii) grows plentifully at the height of eight thousand feet, sparsely below that. There is good reason for believing that the spruce is the true sacred tree of these rites and that the piñon is only a convenient substitute. The song is called Ilnásjin Beniçà, "that with which the dark circle is built." It is sung by the shaman at the eastern gate, while the young men are building the corral. (Paragraph 124.) I have other slightly different versions of it, probably suitable for different occasions. The form given above is recited, under ordinary circumstances, when the patient is a woman.

261. PRAYER TO DSILYI' NEYÁNI.

1. Dsilyi' Neyáni! 2. Dsil banaçà! 3. Tsilkè! 4. Naçàni! 5. Nigèl icla'. 6. Na¢è hila'. 7. Cikè caä¢ilil. 8. Citcàç eaä¢ilil. 9. Citsès eaä¢ilil. 10. Cinì' eaä¢ilil, 11. Cinè eaä¢ilil. 12. Qojògo qa¢àlçe aci¢ilil. 13. Citsídje qojolel. 14. Cikè¢e qojolel. 15. Cizàç qaqojolel. 16. Qojòni qaslè, 17. Qojòni qaslè, 18. Qojòni qaslè, 19. Qojòni qaslè.

262. Translation.—1. The name of the prophet. 2. Dsil, mountains, banaçà, chief (or master) for them. 3. Tsilkè, young man. 4. Naçàni, chieftain. 5. Nigèl, your peculiar sacrifice, i.e., the keçàn; icla', I have made. 6. Na¢è, a smoke, i.e., the cigarettes (paragraph 87), for you; hila', is made. 7, 8, 9, 10, 11. Cikè, my feet; citcàç, my lower extremities; citsès, my body; cinì', my mind; cinè, my voice; eaä¢ilil, for me restore (as it was before) thou wilt. 12. Qojògo, in a beautiful manner; qa¢àlçe, repaired, mended; aci¢ilil, restore me thou wilt. 13, 14. Citsídje, in the direction before me; cikè¢e, from behind me; qojolel, wilt thou terrestrially beautify. 15. Cizàç, my words; qaqojolel, wilt thou personally beautify. 16, 17, 18, 19. Qojòni, in earthly beauty; qaslè, it is made, it is done.

263. In other prayers, closely resembling this in form, the shaman adds: "Beautify all that is above me. Beautify all that is below me. Beautify all things around me."

264. The division into verses is that of the chanter. He pronounces the name in the first line; the patient repeats it after him. Then he gives out the words in the second line, and so on. For free translation, see paragraph 88.

265. SONG OF THE RISING SUN DANCE.

Oöniyàye, oöniyàye oöniyàhe yáhe yáhe heyiyoè [twice].

1. Qanaïçác¢e 2. Tsilkè-çigìni 3. Kátso-yisçàni 4. Yìyolnakòe 5. Qano qakòsko. 6. Tcihanoⱥɨe 7. Akos nisínle. Yáhe, yáhe eïa ⱥɨ.

Oöniyàye, etc.

8. Inaïçác¢e 9. Tcikè-çigìni 10. Awètsal-yisçàni 11. Yìyolnakòe 12. Qana qokòsko. 13. Klehanoⱥɨe 14. Akos nisínle. Yáhe, yáhe eïa ⱥɨ.

266. Translation.—1. Qanaïçác¢e, from where it (the sun) rises. 2. Tsilkè-¢igìni, Holy Young Man. 3. Kátso-yisçàni, the great plumed arrow. 4, 11. Yiyolna', he swallowed slowly or continuously. 5, 12. Qano qakòsko, it comes out by degrees. 6. Tcihanoⱥɨ, the sun. 7, 14. Akos nisín, he is satisfied. 8. Inaïçác¢e, from where it sets. 9. Tcikè-¢igìni, Holy Young Woman. 10. Awètsal-yisçàni, prepared or plumed cliff rose, i.e., cliff rose arrow. 13. Klehanoⱥɨe, the moon.

267. Free translation.

Where the sun rises, The Holy Young Man The great plumed arrow Has swallowed And withdrawn it. The sun Is satisfied.

Where the sun sets, The Holy Young Woman The cliff rose arrow Has swallowed And withdrawn it. The moon Is satisfied.

268. This song is sung during the dance or alil described in paragraph 142. The conception of the poet seems to be that, the dance of the great plumed arrow having been properly performed, the sun should be satisfied and willing to do the bidding of the dancers, i.e., rise when desired, on the pole.

269. INSTRUCTIONS GIVEN TO THE AKÁNINILI.

1. Çi' betcána nilì[n]lel. 2. Çi' ¢a'naniltyèl¢o. 3. Çi' beniqo¢ílsinlel. Aïbinìgi nizè ¢ela'. 4. [¢]a'yiltsísgo, ¢a'bokògo tse'na akàn hyis¢inìle. 5. Tsi[n] etlol akàn bàçhyis hyis¢inìle; ako bàçhyis hyis¢ilçále. 6. Tse' elkàgi akàn hyis¢inìle. 7. Akoï kátso-yisçàn; aïbinigi djoçile, qoi¢igín¢e behoèqoi¢ilsin.

270. Translation.—1. Çi', this; betcána, a thing to rise with (as you progress); nilì[n]lel, will make for you. 2. Çi', this; ¢a'naniltyèl¢o, will carry you along anywhere. 3. Beniqo¢ílsinlel, by means of it people will know you; aïbinìgi, for this reason, or purpose; nizè, your neck; ¢ela', it hangs (once) around. 4. [¢]a'yiltsísgo, at any little valley (yiltsis, a little valley); ¢a'bokògo, at any gully or arroyo (boko', arroyo); tse'na, across; akàn, meal; hyis¢inìle, he sprinkles always across. 5. Tsi[n] etlol, the root of a tree; akàn, meal; bàçhyis, across it; hyis¢inìle, he sprinkles across; ako, then; hyis¢ilçále, he steps across. 6. Tse' elkàgi, on flat rocks; akàn, meal; hyis¢inìle, he sprinkles across. 7. Akoï, then, next; kátso-yisçàn, the great prepared arrow—so says the chanter, but he really refers to the in¢ia', or çobolçà, the plumed wand which akáninili carries; aïbinigi, for this purpose; djoçile, he carries it (in the hand); qoi¢igín¢e, from a holy place (¢igin, holy); behoèqoi¢ilsin, by means of it people know him.

271. For free translation, see paragraph 102.

272. PRAYER OF THE PROPHET TO HIS MASK.

1. [¢]a'andje qahasdsìgo ançèlini, cilì[n]. 2. Hyininàleni, cilì[n]. 3. Ayà[n]¢a[n] çocisyi'go¢olèl¢a, cilì[n]. 4. Caï¢inilìl.

273. Translation.—1. [¢]a'andje, at any time to you; qahasdsìgo, when I spoke; ançèlini, always you made or did it, i.e., granted my request or assisted me; cilì[n], my domestic animal, my pet. 2. Hyininàleni, you were alive (once); cilì[n], my pet. 3. Ayà[n]¢a[n], be sure, take care; ço¢a, negative; cisyi'go, that I die; ¢olèl, I desire, I beg (the divided negative makes one word of the sentence). 4. Caï¢inilìl, watch thou for me, or over me.

274. For free translation, see paragraph 27.

275. LAST WORDS OF THE PROPHET.

1. Aqalàni, citsíli. 2. Cakaïlçe ye qo¢igín¢e. 3. [¢]a'çonasi¢ilsèl¢a. 4. [¢]a'hoelçìgo ¢a'¢eltcílgo, nagⱥɨga cinàï anìla dsinisínle, 5. [¢]a'no'çílgo ayàc in¢i¢alàgo, anilçàni in¢i¢alàgo nagⱥɨga cinàï binibikègola' dsinisínle.

276. Translation.—1. Aqalàni, greeting (farewell, in this case); citsíli, my younger brother. 2. Cakaïlçe, for me they have come; ye, the yays, the gods; qo¢igín¢e, from a holy or supernatural place. 3. (¢a', any, on any occasion, etc.; ço¢a, negative; na, again; si¢ilsèl, you will see me); ¢a'çonasi¢ilsèl¢a, you will never see me again. 4. [¢]a'hoelçìgo, on any occasion as the rain passes, i.e., whenever it rains; ¢a'¢eltcílgo, whenever it thunders; nagⱥɨga, in that; cinàï, my elder brother; anìla, is his voice; dsinisínle, you will think so. 5. [¢]a'no'çílgo, whenever they (crops) are ripening, i.e., in harvest time; ayàc, small birds; in¢i¢alàgo, of all kinds; anilçàni, grasshoppers; nagⱥɨga, in that, in those; cinàï, my elder brother; binibikègola', is his ordering, his design (the trail of his mind); dsinisínle, so you will think.

277. For free translation, see paragraph 79.



INDEX

[Transcriber's Note: As in the Table of Contents, paragraph numbers for each Index entry have been added in {braces}.]

Akáninili, the supernatural couriers 411-414 {61-68}, 415 {72}, 417 {101}, 424 {101}, 426 {104}, 466 {269} Chanter, Navajo 385-387 {1-8} Dsilyídje qaçàl, origin of myth of 387-417 {9-80} ceremonies of 418-444 {81-153} the great pictures of 444-451 {154-175} sacrifices of 451-455 {176-191} Dsilyi' Neyáni, story of 387-417 {9-80} origin of the name 404 {41} introduction of ceremonials by 409-411 {53-60} return of, to the gods 417 {79} prayer to 420 {88}, 421 {257}, 465 {261} visit of, to home of the snakes 446 {160}, 447 {162} home of the bears seen by 447-449 {162-170} visit to Lodge of Dew by 450 {172}, 451 {173} Hoshkàwn, dance of the. (See Yucca baccata.) Keam's Cañon, Navajo dance at 432 {127}, 442 {148} Navajo rites, seasons for 386 {5} Qaçàli, or Navajo chanter 385 {2}, 387 {7} Qastcèëlçi. See Yaybichy, dance of the. Sand pictures, ceremonial 422 {93}, 423 {97}, 427 {107}, 428 {111}, 429 {115} Schoolcraft, H. R., on sacrificial sticks 453 {179} Shaman, Navajo 385 {2}, 387 {7} Sun dance, song of the rising 465 {265} Yaybichy, dance of the 435 {133}, 436 {136} Yucca baccata dance 386 {3}, 439 {143}, 441 {144}

* * * * * * * * * * * * * *

Errors and Inconsistencies (noted by transcriber)

The utterance "hu'hu'hu'hu" was printed both with and without final '.

Table of Contents: The great pictures of dsilyídje qaçàl 444 text reads "44" Sacrifices of dsilyídje qaçàl indentation changed to agree with body text

fac simile printed as two words

Index: Akáninili text reads "Akánilini" Akáninili ... 417 error for 421? Dsilyi' Neyáni ... prayer to ... 421 error for 464?

THE END