Chapter V: Part 5

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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 Ã§Ã²li (_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 "Ã§Ã²li Ã§Ã²li" 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` NeyÃ¡ni to ÃaÃ§Ã²`-behogan, or "Lodge of Dew" (paragraph 56). To indicate the great height of the BitsÃ¨s-ninÃ©z 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 glÃ²Ã¯ (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 glÃ²Ã¯-bitcÃ , or headdresses of glÃ²Ã¯ 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 kÃ¡tso-yisÃ§Ã n, 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 TsilkÃ¨-Â¢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 DSILYÃDJE QACÃL.

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 keÃ§Ã n (Englished, kethÃ wn), 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 kethÃ wn belonging, not to the mountain chant, but to the klÃ¨dji-qaÃ§Ã l, or chant of the night. It is sacred to the Youth and the Maiden of the Rock Crystal, divine beings who dwell in TsisnÃ tcini, 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 kethÃ wn pertaining also to the klÃ¨dji-qaÃ§Ã l. It is called keÃ§Ã n-yalÃ§i`, or talking kethÃ wn. The sticks are willow. The one to the left is painted black, to represent a male character (QastcÃ¨baka) in the myth and ceremony of klÃ¨dji-qaÃ§Ã l. The other stick is painted blue, to denote a female character (QastcÃ¨baÃ¤d) 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 kethÃ wn I saw once in the possession of a Navajo qaÃ§Ã li. I was permitted to sketch it, but could not purchase it. The interpretation given of its symbolism is that of the qaÃ§Ã li who owned it. In the myth of klÃ¨dji-qaÃ§Ã l it is said that the beneficent god QastcÃ¨Ã«lÃ§i used this kethÃ wn 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 keÃ§Ã nyalÃ§i`, or talking kethÃ wn, I was more inclined to believe that some of these kethÃ wns may answer a double purpose and be used to convey messages, or at least serve as mnemonic aids to envoys.

180. The cac-bikeÃ§Ã n (bear kethÃ wn) 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 glÃ²Ã¯-bikeÃ§Ã n, 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 klictsÃ²-bikeÃ§Ã n: 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 kethÃ wns." (Paragraph 42.)

183. There are two sticks belonging to the kethÃ wn of the lightning god (iÂ¢nÃ¬`-bikeÃ§Ã n). 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 EstsÃ n-Â¢igÃ¬ni, or Holy Women, showed the prophet but one kethÃ wn 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 kethÃ wn 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 TcikÃ¨-cac-nÃ¡tlehi. 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 kethÃ wns of the EstsÃ n-Â¢igÃ¬ni; and buried under a young piÃ±on, with the first blue band or circle next to the tree. (Paragraph 46.)

186. The two kethÃ wns seen by Dsilyi` NeyÃ¡ni at Big Oaks, the home of the Â¢igin-yosÃni, 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 kethÃ wns, 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`dsilkÃ Ã¯ and Glo`dsiljÃni, 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 DsilyÃ -iÃ§Ãn the porcupines exhibited two kethÃ wns. 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 Â¢asÃ ni, "under a piÃ±on tree." (Paragraph 52.)

190. At QoÂ¢estÃ² four kethÃ wns, 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 TÃ§ikÃ¨-Â¢igÃ¬ni showed their visitors two kethÃ wns, 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 kethÃ wns of the EstsÃ n-Â¢igÃ¬ni. (Paragraph 184.) To the center of the black kethÃ wn five blue feathers were tied. To the center of the blue kethÃ wn 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 kethÃ wns must be buried at the foot of a spruce tree, with the heads towards the mountains of Â¢epÃ©ntsa. 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 dsilyÃdje qaÃ§Ã l 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.

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 akÃ¡ninili, &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.

QaniÃ¨ qaÃ² yaÃ¨, qaniÃ¨ qaÃ² yaÃ¨
QaniÃ¨ iÃ¨ oayÃ¨ oayÃ¨.

1. QadjinÃ¤Ã¬a qaÃ² yaÃ¨,
2. KaÃ§ dsil Â¢ilhyÃli qaÃ² yaÃ¨,
3. `ÃaltsoÃ¯ tsÃ¨Ã« qaÃ² yaÃ¨,
4. Cija cigÃ¨lgo qaÃ² yaÃ¨.
NÃ¡hi Ã¬ni Ã¨hi oayÃ¨, nÃ¡hi ini Ã¨hi oÃ¶hÃ¨.
5. NiqoyastcÃ dje qaÃ² yaÃ¨,
6. KaÃ§ dsil Ã§olÃji qaÃ² yaÃ¨,
7. Kini bitsÃ¨Ã« qaÃ² yaÃ¨,
8. Cija cigÃ¨lgo qaÃ² yaÃ¨.
NÃ¡hi Ã¬ni, etc.
9. QadjinÃ¤Ã¬a qaÃ² yaÃ¨,
10. KaÃ§ dsil litsÃ²Ã¯ qaÃ² yaÃ¨,
11. BitselitsÃ²Ã¯ qaÃ² yaÃ¨,
12. Cija cigÃ¨lgo qaÃ² yaÃ¨.
NÃ¡hi Ã¬ni, etc.
13. NiqoyastcÃ dje qaÃ² yaÃ¨,
14. KaÃ§ dsil lakÃ ie qaÃ² yaÃ¨,
15. A`a`i tsÃ¨e qaÃ² yaÃ¨,
16. Cija cigÃ¨lgo qaÃ² yaÃ¨.
NÃ¡hi Ã¬ni, etc.

199. _Translation._--1, 9. QadjinÃ Ã¯, "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. NiqoyastcÃ dje, another name for QadjinÃ Ã¯. 2, 6, 10, 14. KaÃ§, now; dsil, mountain; Â¢ilhyÃli, black; Ã§olÃji, blue; litsÃ²Ã¯, yellow; lakÃ ie, white. These verses refer to four mountains surrounding QadjinÃ Ã¯, which are designated by colors only to indicate their topographical positions. 3, 7, 11, 15. `ÃaltsoÃ¯ = aÃ§a litsÃ²Ã¯, "yellow wing," a large bird of prey; kini, hen hawk; bitselitsÃ²Ã¯, "yellow tail," a bird of undetermined species; a`a`i, magpie; tse, a tail; bitse, its tail. 4, 8, 12, 16. Cija, my treasure; cigÃ¨l, 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 "cigÃ¨l" and the mountains "cija." The refrain "qaÃ² yaÃ¨" 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. YÃ¬ki Â¢asizÃ¬ni,
2. KaÃ§ TsilkÃ¨-Â¢igÃ¬ni,
3. KaÃ§ kÃ¡tso-yisÃ§Ã ni,
4. TsÃÂ¢a baÃ¤lÃ¬li,
5. BÃja-yeÂ¢igÃngo.
6. KaÃ§ TcikÃ¨ Â¢igÃ¬ni,
7. KÃ¡tsoye yisÃ§Ã ni,
8. YÃ¬ki Â¢asizÃ¬ni,
9. TsÃÂ¢a baÃ¤lÃ¬li,
10. BÃja-yeÂ¢igÃngo.

202. _Translation._--1, 8. YÃ¬ki, upon it; Â¢asizin, he stands on high. 2, 6. KaÃ§, now; tsilkÃ¨, young man; tcikÃ¨, young woman; Â¢igÃ¬ni, holy. 3. KÃ¡tso-yisÃ§Ã n, the great plumed arrow; kÃ¡tsoye yisÃ§Ã n, with the great plumed arrow. 4, 9. TsÃÂ¢a, truly, verily; baÃ¤lÃ¬li, an alili, a show, a rite, or implement used in a dance for him. 5, 10. BÃja, his treasure, his special property, his peculiar belonging; ye, with, a prefix forming nouns which denote the means; Â¢igÃngo, positively holy or supernatural. BÃja-yeÂ¢igÃngo 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.

BinaÃ§oÃ¶lÃ¡e [four times] oÃ¤yÃ¨he oÃ¶hÃ¨.

1. KaÃ§ TsilkÃ¨-Â¢igÃ¬ni,
2. Ca`bitlÃ²li yÃ¨Ã«,
3. TsÃÂ¢a bialÃ¬li,
4. BÃja yeÂ¢igÃngo,
5. BinaÃ§oÃ¶lÃ¡e oÃ¤yÃ¨he oÃ¶hÃ¨.
6. KaÃ§ TcikÃ¨-Â¢igÃ¬ni,
7. NatsilÃÃ§i yÃ¨Ã«,
8. TsÃÂ¢a bialÃ¬li,
9. BÃja yeÂ¢igÃngo,
10. BinaÃ§oÃ¶lÃ¡e oÃ¤yÃ¨he oÃ¶hÃ¨.

206. _Translation._--1, 6. KaÃ§, now; tsilkÃ¨, young man; tcikÃ¨, young woman; Â¢igÃ¬ni holy one, god or goddess. 2. Ca`bitlÃ²l, sunbeam, sunbeams; ye, with. 3, 8. TsiÂ¢a, verily; bialÃ¬li (paragraph 3), his dance or sacred implement. 4, 9. BÃja, his special property, his treasure; yeÂ¢igÃngo, that by means of which he is Â¢igÃn, i.e., holy or supernatural. 5, 10. BinaÃ§Ã²la, it is encircled. 7. NatsiliÃ§, 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. NayunÃ¡ni tcÃ¨nia,
2. KaÃ§ biÃ§Ã¨Ã¯ltsos tcÃ¨nia,
3. BiqolÃ§Ã¨go, tcÃ¨nia.
4. NayunÃ¡ni tcÃ¨nia,
5. KaÃ§ biÃ§Ã¨nackÃ²ji tcÃ¨nia,
6. BiqolÃ§Ã¨go, tcÃ¨nia.

210. _Translation._--1, 4. NayunÃ¡ni, again on the other side, i.e., across two valleys. 2. BiÃ§Ã¨, his horns; iltsos, slender; biÃ§Ã¨Ã¯ltsos, slender horns, i.e., the deer, by metonomy. 3, 6. BiqolÃ§Ã¨go, it is becoming to him. 5. BiÃ§Ã¨, his horns; nackÃ²j, turgid, filled out, stuffed; biÃ§Ã¨nackÃ²ji, turgid horns--metonymically, the mountain sheep, _Ovis montana_. The refrain, tcÃ¨nia, 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. ÃÃ²na! ÃÃ²na! A`[-a][-i]yÃ¨he oÃ¶hÃ¨ [repeat],
2. YÃ¹Ã§akoÃ¶ ani`;
3. I`Â¢ni`djiÃ« ani`;
4. Kos Â¢ilhyÃl biyÃ¬`dje,
5. NabizÃ Ã§ qolÃ¨go,
6. ÃÃ²na! ÃÃ²na! A`[-a][-i]yÃ¨he oÃ¶hÃ¨
7. ÃÃ²na! ÃÃ²na! A`[-a][-i]yÃ¨he oÃ¶hÃ¨ [repeat],
8. YÃ¹yakoÃ¶ ani`;
9. AnilÃ§Ã ni ani`;
10. NÃ¡nise bicqÃ ko,
11. NabizaÃ§ qolÃ¨go,
12. ÃÃ²na! ÃÃ²na! A`[-a][-i]yÃ¨he oÃ¶hÃ¨.

214. _Translation._--1, 6, 7, 12. ÃÃ²na, an imitation of the thunder, not a word. 2, 8. YÃ¹Ã§ako, above; yÃ¹yako, below; ani`, any sound, the sound of the voice. 3. I`Â¢ni`dji pertaining to the thunder. 4. Kos, cloud; Â¢ilhyÃl, black, dark; biyÃ¬`dje, within, or toward within it. 5, 11. NabizaÃ§ qolÃ¨go, again and again sounds his moving voice. 9. AnilÃ§Ã ni, a general name for large meadow grasshoppers. 10. NÃ¡nise, plants in general; biÃ§qÃ ko, 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.

AÃ¯ena.
BeqojÃ²nigo ani`i [four times] oÃ¶hÃ¨.

1. YÃ¹Ã§akoÃ¶ ani`i;
2. I`Â¢ni`djiÃ« ani`i;
3. Kos Â¢ilhyÃl biyÃ¬`dje,
4. NÃ bizaÃ§ qolÃ¨go,
5. BeqojÃ²nigo ani`i, oÃ¶hÃ¨.
6. YÃ¹yakoÃ¶ ani`i;
7. AnilÃ§Ã ni ani`i;
8. NÃ¡nise biÃ§qÃ ko,
9. NÃ bizaÃ§ qolÃ¨go,
10. BeqojÃ²nigo ani`i, oÃ¶hÃ¨.

217. _Translation._--AÃ¯ena, a meaningless beginning to many songs, which may be omitted. 1. YÃ¹Ã§ako, above. 2. I`Â¢ni`dji, pertaining to the thunder. 3. Kos, cloud; Â¢ilhyÃl, dark; biyÃ¬`dje, within it. 4, 9. NÃ bizaÃ§, his voice again, his voice repeated; qolÃ¨go, sounds along, sounds moving. 5, 10. (Be, a prefix forming nouns of the cause or instrument; qojÃ²ni, local or terrestrial beauty; go, a suffix to qualifying words); beqojÃ²nigo, productive of terrestrial beauty; ani`, a voice, a sound. 6. YÃ¹yako, below. 7. AnilÃ§ani, grasshopper. 8. NÃ¡nise, plants; biÃ§qÃ ko, 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. OÃ¶c `Ã§qa nag[-a][-i]Ã«,
2. KaÃ§ TsilkÃ¨-Â¢igÃ¬ni,
3. Dsil Â¢ilhyÃl biyÃ gi,
4. BiyÃ ji naÃ¯lÃ¨.
5. Aie `Ã§qa nag[-a][-i]Ã«,
6. KaÃ§ TcikÃ¨-Â¢igini,
7. Dsil Ã§olÃj biyÃ gi,
8. BiyÃ ji naÃ¯lÃ¨.

220. _Translation._--1, 5. `Ãqa = biÃ§qa, amid or among them; nagai, that, there. 2. KaÃ§, now; TsilkÃ¨-Â¢igÃ¬ni, Holy Young Man; TcikÃ¨-Â¢igÃ¬ni, Holy Young Woman. 3, 7. Dsil, mountain; Â¢ilhyÃl, black; Ã§olÃj, blue; biyÃ gi, at the foot of, at the base of. 4, 8. BiyÃ ji, his child; naÃ¯lÃ¨, 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 TsilkÃ¨-Â¢igÃ¬ni and TcikÃ¨-Â¢igÃ¬ni 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 TsilkÃ¨-Â¢igÃ¬ni 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.

AÃ¯ena.
AltsÃ ciÃ« Â¢igÃ¬ni oÃ¶hÃ¨.

1. AltsÃ ciÃ« Â¢igÃ¬ni, altsÃ ciÃ« Â¢igÃ¬ni, altsÃ ciÃ« Â¢igÃ¬ni oÃ¶hÃ¨.
2. KaÃ§ TsilkÃ¨-Â¢igÃ¬ni, bakÃ giÃ« Â¢igÃ¬ni,
3. Dsil Â¢ilhyÃli eÃ¤, bakÃ giÃ« Â¢igÃ¬ni,
4. TsintsoÃ¯ Â¢ilhyÃli eÃ¤ bakÃ giÃ« Â¢igÃ¬ni,
5. TsÃÂ¢a bialÃ¬li, bÃja yeÂ¢igÃngo, bakÃ giÃ« Â¢igÃ¬ni, oÃ¶hÃ¨.

AltsÃ ciÃ« Â¢igÃ¬ni oÃ¶hÃ¨.

6. AltsÃ ciÃ« Â¢igÃ¬ni, altsÃ ciÃ« Â¢igÃ¬ni, altsÃ ciÃ« Â¢igÃ¬ni oÃ¶hÃ¨.
7. KaÃ§ TcikÃ¨-Â¢igÃ¬ni, bakÃ giÃ« Â¢igÃ¬ni,
8. Dsil Ã§olÃji cÃ«, bakÃ giÃ« Â¢igÃ¬ni,
9. TsintsoÃ¯ Ã§olÃji, bakÃ giÃ« Â¢igÃ¬ni,
10. TsÃÂ¢a bialÃ¬li, bÃja yeÂ¢igÃngo, bakÃ giÃ« Â¢igÃ¬ni, oÃ¶hÃ¨.

224. _Translation._-- 1, 6. AltsÃ ciÃ«, on each side; Â¢igÃ¬ni, a holy one, a god. 2, 7. KaÃ§, now; tsilkÃ¨, young man; tcikÃ¨, young woman; bakÃ gi, on the summit, on top of it. 3, 8. Dsil, mountain; Â¢ilhyÃl, dark, black; Ã§olÃji, blue. 4, 9. TsintsoÃ¯, great stick, a notched stick used as a musical instrument in the dance. 5, 10. TsÃÂ¢a bialÃ¬li, truly his dance implement; bÃja yeÂ¢igÃngo, 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.

E[-a][-i]Ã¨a qÃ la Ã©la yainÃ¡he, oÃ¶hÃ¨.
E[-a][-i]Ã¨a qÃ la Ã©la yainooÃ² yaaÃ yooÃ² [three times],
E[-a][-i]Ã¨a qÃ la Ã©la yainÃ , qÃ la Ã¨la qainÃ he oÃ¶hÃ¨.

1. Dsil ilhyÃli inlÃ²ooÃ² yaaÃ yooÃ²,
2. TsintsoÃ¯ Â¢ilhyÃli inlÃ²ooÃ² yaaÃ yeeÃ¨.
3. Ci cigÃ¨lgo yainÃ ,
Qala Ã©la qainÃ he oÃ¶hÃ¨.

4. Dsil Ã§olÃji inlÃ²ooÃ² yaaÃ yooÃ²,
5. TsintsoÃ¯ Â¢ilhyÃli inlÃ²ooÃ² yaaÃ yeeÃ¨,
6. Ci cigÃ¨lgo yainÃ ,
Qala Ã©la qainÃ he oÃ¶hÃ¨.

228. _Translation._--1, 4. Dsil, mountain; Ã§ilhyÃl, black; Ã§olÃj, blue. 2, 5. TsintsÃ², a notched stick used in ceremonies to make music; inlo (inla`), they lie there (two long hard things lie). 3, 6. CigÃ¨l, 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.

ÃoÂ¢igÃ¬niÂ¢a oyÃ he, oÃ¶hÃ¨,
ÃoÂ¢igÃ¬niÂ¢a oyÃ oyÃ ooyÃ ya
H[-a][-i]yÃ ya h[-a][-i]yÃ ya h[-a][-i]yÃ he, oÃ¶hÃ¨.

1. KaÃ§ TsilkÃ¨-Â¢igÃ¬niÃ« Ã§oÂ¢igÃ¬nÂ¢a h[-a][-i]yÃ he, oÃ¶hÃ¨,
2. BitsintsÃ²iÃ« iÃ« Ã§oÂ¢igÃ¬nÂ¢a h[-a][-i]yÃ he oÃ¶he,
3. TsÃÂ¢a bialÃ¬liÃ« bÃja-yeÂ¢igÃ¬niÃ«, oyÃ oyÃ , oyÃ ya,
H[-a][-i]yÃ ya h[-a][-i]yÃ ya h[-a][-i]yÃ he, oÃ¶hÃ¨.

ÃoÂ¢igÃ¬niÂ¢a oyÃ he, oÃ¶hÃ¨,
ÃoÂ¢igÃ¬niÂ¢a oyÃ oyÃ ooyÃ ya,
H[-a][-i]yÃ ya h[-a][-i]yÃ ya h[-a][-i]yÃ he, oÃ¶hÃ¨.

4. KaÃ§ TcikÃ¨-Â¢igÃ¬niÃ« Ã§oÂ¢igÃ¬nÂ¢a h[-a][-i]yÃ he, oÃ¶hÃ¨,
5. BitsintsÃ²iÃ« iÃ« Ã§oÂ¢iginÂ¢a h[-a][-i]yÃ he oÃ¶hÃ¨,
6. TsÃÂ¢a bialÃ¬liÃ« bÃja-yeÂ¢igÃ¬niÃ«, oyÃ oyÃ , oyÃ ya,
H[-a][-i]yÃ ya h[-a][-i]yÃ ya h[-a][-i]yÃ he, oÃ¶hÃ¨.

232. _Translation._-- ÃoÂ¢igÃ¬niÂ¢a, Ã§oÂ¢igÃ¬niÂ¢a, he is not a god; it is not holy; it is not divine. 1, 4. KaÃ§, now; tsilkÃ¨, young man; tcikÃ¨, young woman; Â¢igÃ¬ni, holy, supernatural. 2, 4. BitsintsÃ²i, his great notched stick. 3, 6. TsÃÂ¢a, verily; bialÃ¬li, his implement of the dance or rite; bÃja-yeÂ¢igÃ¬ni, 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.

Ãwe Ã²we Ã²we yÃ ni yÃ Ã¯ owÃ [n] na a [repeat three times],
Ãwe Ã²we Ã¬ni Ã¡he oÃ¶hÃ¨.

1. `Ke-cac-natlÃ¨hi natcagÃ hi,
2. KaÃ§ dsil Â¢ilhyÃli bakÃ gi natcagÃ hi,
3. KaÃ§ ni` inzÃ Ã§ inÃ§Ã¬ Ã§oholnÃ¬Â¢a Ã²na,
4. KaÃ§ ni` inzÃ Ã§ inÃ§Ã¬ Ã§oniÃ²Â¢a Ã²na.
5. TcikÃ¨-Â¢igÃ¬ni natcagÃ hi,
6. Dsil Ã§olÃji bakÃ gi natcagÃ hi,
7. KaÃ§ ni` inzÃ Ã§ inÃ§Ã¬, Ã§oholnÃ¬Â¢a Ã²na,
8. KaÃ§ ni` inzÃ Ã§ inÃ§Ã¬, Ã§oniÃ²Â¢a Ã²na.

237. _Translation._--1. Ke, an abbreviation of tcikÃ¨; TcikÃ¨-cac-natlÃ¨hi, maiden who becomes a bear; natcagÃ `, she travels far, she walks or wanders far around. 2. KaÃ§, now; dsil Â¢ilhyÃl, black mountain; bakÃ gi, on top of. 3, 4, 7, 8. Ni`, earth, land; inzÃ Ã§, distant; inÃ§Ã¬, it lies, it stretches; Ã§oholnÃ¬Â¢a, seems not to be; Ã§oniÃ²Â¢a, not obscure or dim like a faint distance. 6. Dsil Ã§olÃji bakÃ gi, 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.

AÃ¯ena.
AÃ¯eyÃ [-a][-i]a aÃ¯eya iÃ¨ eÃ¨ ieÃ¨e [three times] iÃ« la[n].

1. `Ke-cac-nÃ¡tlÃ¨hi dsilyi` Â¢iÂ¢Ãlko[n] iÃ« na[n],
2. Dsilyi` Â¢olkÃ²lko[n]; dsil beko[n]nÃ¬Ã§e iÃ« na[n],
IÃ« na[n] yahÃ h[-a][-i]Ã iÃ« na[n] aÃ¯.
3. ÃabasÃ§Ã¬ni Ã§o`yi` Â¢iÂ¢Ãlko[n] iÃ« na[n],
4. Ão`yi Â¢olkÃ²lko[n]; Ã§o`beko[n]nÃ¬Ã§e iÃ« na[n],
IÃ« na[n] yahÃ h[-a][-i]Ã iÃ« na[n] aÃ¯.

240. _Translation._--1, 3. `Ke-cac-natlÃ¨hi = TcikÃ¨-cac-nÃ¡tlehi, Young Woman Who Becomes a Bear; ÃabasÃ§in, the Otter; Â¢iÂ¢Ãlko[n], he or she set on fire in many places. 2, 4. Dsil, mountains; dsilyi`, in the mountains; Ã§o`, water, waters; Ã§o`yi`, in the waters; Â¢olkolko[n], he set on fire as he went along; beko[n]nÃ¬Ã§e, 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.

HiÃ¨ ieeÃ¨ na[-a][-i]Ã [-a][-i]Ã i a ai a[n] a[n] [twice] ie.

1. TcikÃ¨-cac-nÃ¡tlehiÃ« Â¢igÃ¬ni qayikÃ lgo; bÃ niya [-a][-i]Ã¨.
2. Dsil aga Â¢azÃ giÃ« Â¢igÃ¬ni qayikÃ lgo; bÃ niya [-a][-i]Ã¨.
3. TsÃÂ¢a ci cigÃ¨liye Â¢igÃ¬ni qayikÃ lgo; bÃ niya [-a][-i]Ã¨.
4. YÃ ne Â¢oÃ¶lÃ negoÃ¶ Â¢isitsaÃ ye.
HiÃ¨ ieeÃ¨ na[-a][-i]Ã , etc.

5. KaÃ§ TcikÃ¨-Â¢igÃ¬ni Â¢igÃ¬ni qayikÃ lgo; bÃ niya [-a][-i]Ã¨.
6. Kos aga Â¢azÃ giÃ« Â¢igÃ¬ni qayikÃ lgo; bÃ niya [-a][-i]Ã¨.
7. TsÃÂ¢a ci cigÃ¨liye Â¢igÃ¬ni qayikÃ lgo; bÃ niya [-a][-i]Ã¨.
8. YÃ ne Â¢oÃ¶lÃ negoÃ¶ Â¢isitsaÃ ye.
HiÃ¨ ieeÃ¨ na[-a][-i]Ã , etc.

244. _Translation._--1, 5. TcikÃ¨-cac-nÃ¡tlehi, Young Woman Who Becomes a Bear; TcikÃ¨- Â¢igÃ¬ni, Holy Young Woman, or young woman goddess; Â¢igÃ¬ni qayikÃ l, she journeyed seeking the gods; bÃ niya, she found them, she met them. 2, 6. Dsil, mountains; kos, clouds; aga, peak, summit; Â¢azÃ `, many pointing upwards; (dsil aga Â¢azÃ gi, on many mountain peaks). 3, 7. TsÃÂ¢a, truly or true; cigÃ¨l, my desideratum, my special sacrifice. 4, 8. [Â¢]oÃ¶lÃ ne = Â¢oÃ¶lÃ Â¢a, some one does not believe it; Â¢isitsÃ , I have heard; yÃ ne 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, TsinÂ¢ilÃ§Ã²Ã¯ Bigin.

247. FIRST DAYLIGHT SONG.

ÃahizÂ¢Ã¬le, Ã§ahizÂ¢Ã¬le, ya ah[-a][-i]Ã la[n] [four times].

1. KaÃ§ Yik[-a][-i]-acikÃ¨ Ã§ahizÂ¢Ã¬le, ya ah[-a][-i]Ã la[n],
2. QaÃ¯yolkalÂ¢e Ã§ahizÂ¢Ã¬le, ya ah[-a][-i]Ã la[n],
3. BitsÃdje yolkÃ lgo Ã§ahizÂ¢Ã¬le, ya ah[-a][-i]Ã la[n],
4. BikÃ¨cÂ¢e yolkÃ lgo Ã§ahizÂ¢Ã¬le, ya ah[-a][-i]Ã la[n].
5. BitsÃdje qojÃ²go Ã§ahizÂ¢Ã¬le, ya ah[-a][-i]Ã la[n],
6. BikÃ¨cÂ¢e qojÃ²go Ã§ahizÂ¢Ã¬le, ya ah[-a][-i]Ã la[n],
7. BizÃ Ã§Â¢e qojÃ²go Ã§ahizÂ¢Ã¬le, ya ah[-a][-i]Ã la[n],
ÃahizÂ¢Ã¬le, Ã§ahizÂ¢Ã¬le, etc.

8. KaÃ§ yik[-a][-i]-aÃ§Ã¨Ã§, Ã§ahizÂ¢Ã¬le, ya ah[-a][-i]Ã la[n],
9. NaqotsÃ²Ã¯Â¢e Ã§ahizÂ¢ile, ya ah[-a][-i]Ã la[n].
[Verses 3 to 7 are here repeated.]
ÃahizÂ¢ile, Ã§ahizÂ¢ile, etc.

248. _Translation._--ÃahizÂ¢ile = Ã§ahizÂ¢el, it hangs as a curtain or festoon; it hangs supported at both ends, i.e., the white curtain of dawn so hangs. 1. Yik[-a][-i]-acikÃ¨, the Daylight Boy, the Navajo dawn god. 2. QayolkÃ lÂ¢e, from the place of dawn. 3. BitsÃdje, before him; yolkÃ lgo, as it dawns, as the night passes away. 4. BikÃ¨cÂ¢e, from behind him. QojÃ²go, in a beautiful (earthly) manner. 7. BizÃ Ã§Â¢e, from his voice. 8. Yik[-a][-i]-aÃ§Ã¨Ã§, the Daylight Girl--the dawn goddess. 9. NaqotsÃ²Ã¯Â¢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.

LoleyÃ¨e, LoleyÃ¨e. LoleyÃ¨e, LoleyÃ¨e.
LoleyÃ¨e, LoleyÃ¨e. Yah[-a]iÃ¨e qana[-a][-i].

1. QayolkÃ go, LoleyÃ¨e.
2. KaÃ§ Yik[-a][-i]-acikÃ¨e. LoleyÃ¨e.
LoleyÃ¨e, LoleyÃ¨e. Yah[-a][-i]ee, qana[-a][-i].
3. KaÃ§ aÂ¢a yiskÃ go. LoleyÃ¨e.
4. KaÃ§ Yik[-a][-i]-aÃ§Ã¨Ã§e. LoleyÃ¨e.
LoleyÃ¨e, LoleyÃ¨e. Yah[-a][-i]ee, qana[-a][-i].

251. _Translation._--1. QayolkÃ go, in the place of dawn. 2, 4. Yik[-a][-i]-acikÃ¨ and Yik[-a][-i]-aÃ§Ã¨Ã§, Daylight Boy and Daylight Girl (see paragraph 248). 3. AÂ¢a yiskÃ go, it is day all around. Refrain, loleyÃ¨, 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.

AÃ¯ena.
1. Nag[-a][-i] Ã§onilÃniÃ«, nag[-a][-i] Ã§onilÃniÃ«,
2. BiÃ§hyÃsgo cinÃ¬` Â¢eyÃ `
HaÃ¯niyÃ¨a, haÃ¯niyÃ¨a, [-a][-i]Ã¨e niÃ² haÃ¯ne-yÃ he, oÃ¶hÃ¨.

3. Nag[-a][-i] Ã§ointyÃ¨liÃ«, nag[-a][-i] Ã§onilÃniÃ«,
4. BiÃ§hyÃsgo cinÃ¬` Â¢eyÃ ` HaÃ¯niyÃ¨a, etc.

5. Nag[-a][-i] sa[n] biÃ§Ã²iÃ«, nag[-a][-i] Ã§onilÃniÃ«,
6. BiÃ§hyÃsgo cinÃ¬` Â¢eyÃ `
HaÃ¯niyÃ¨a, etc.

255. _Translation._--1. Nag[-a][-i] that; Ã§onilÃni, flowing water, a river. 2, 4, 6. BiÃ§hyÃsgo, across it; cinÃ¬`, my mind; Â¢eyÃ `, it goes, or, it comes, it wanders to or from. 3. ÃointyÃ¨li, broad water. 5. Sa[n] biÃ§o, 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.

OeÃ oeÃ , eÃ eÃ , he he;
OeÃ oeÃ , eÃ eeÃ , he he, ee na[n] a.

1. Dsilyi` NeyÃ¡ni, cayolÃ¨li cayolÃ¨li;
2. Tcoyaj Â¢ilhyÃli, cayolÃ¨li cayolÃ¨li;
3. TsÃca alÃ¬li, cayolÃ¨li cayolÃ¨li;
4. Bija Â¢igÃngo, cayolÃ¨li cayolÃ¨li.
5. TcikÃ¨-Â¢igÃ¬ni, cayolÃ¨li cayolÃ¨li;
6. Tcoyaj Ã§olÃji, cayolÃ¨li cayolÃ¨li;
7. TsÃÂ¢a alÃ¬li, cayolÃ¨li cayolÃ¨li;
8. BÃja Â¢igÃngo, cayolÃ¨li cayolÃ¨li.

258. _Translation._--1. Dsilyi` NeyÃ¡ni, Reared Within the Mountains, the prophet who instituted these ceremonies; cayolÃ¨li, he carries [something long and flexible, as a branch or sapling] for me. 2, 6. Tcoyaj, a spruce sapling, diminutive of tco, spruce; Â¢ilhyÃl, black; Ã§olÃj, blue. 3, 7. TsÃÂ¢a alÃ¬li (usually tsÃÂ¢a bialÃ¬li), truly a dance implement. 4, 8. BÃja Â¢igÃngo (usually bÃja-yeÂ¢igÃngo), 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 piÃ±on and not of spruce; but all dances I have witnessed were at altitudes of about six thousand feet, where piÃ±on 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 piÃ±on is only a convenient substitute. The song is called IlnÃ¡sjin BeniÃ§Ã , "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` NEYÃNI.

1. Dsilyi` NeyÃ¡ni!
2. Dsil banaÃ§Ã !
3. TsilkÃ¨!
4. NaÃ§Ã ni!
5. NigÃ¨l icla`.
6. NaÂ¢Ã¨ hila`.
7. CikÃ¨ caÃ¤Â¢ilil.
8. CitcÃ Ã§ eaÃ¤Â¢ilil.
9. CitsÃ¨s eaÃ¤Â¢ilil.
10. CinÃ¬` eaÃ¤Â¢ilil,
11. CinÃ¨ eaÃ¤Â¢ilil.
12. QojÃ²go qaÂ¢Ã lÃ§e aciÂ¢ilil.
13. CitsÃdje qojolel.
14. CikÃ¨Â¢e qojolel.
15. CizÃ Ã§ qaqojolel.
16. QojÃ²ni qaslÃ¨,
17. QojÃ²ni qaslÃ¨,
18. QojÃ²ni qaslÃ¨,
19. QojÃ²ni qaslÃ¨.

262. _Translation._--1. The name of the prophet. 2. Dsil, mountains, banaÃ§Ã , chief (or master) for them. 3. TsilkÃ¨, young man. 4. NaÃ§Ã ni, chieftain. 5. NigÃ¨l, your peculiar sacrifice, i.e., the keÃ§Ã n; icla`, I have made. 6. NaÂ¢Ã¨, a smoke, i.e., the cigarettes (paragraph 87), for you; hila`, is made. 7, 8, 9, 10, 11. CikÃ¨, my feet; citcÃ Ã§, my lower extremities; citsÃ¨s, my body; cinÃ¬`, my mind; cinÃ¨, my voice; eaÃ¤Â¢ilil, for me restore (as it was before) thou wilt. 12. QojÃ²go, in a beautiful manner; qaÂ¢Ã lÃ§e, repaired, mended; aciÂ¢ilil, restore me thou wilt. 13, 14. CitsÃdje, in the direction before me; cikÃ¨Â¢e, from behind me; qojolel, wilt thou terrestrially beautify. 15. CizÃ Ã§, my words; qaqojolel, wilt thou personally beautify. 16, 17, 18, 19. QojÃ²ni, in earthly beauty; qaslÃ¨, 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.

OÃ¶niyÃ ye, oÃ¶niyÃ ye oÃ¶niyÃ he yÃ¡he yÃ¡he heyiyoÃ¨ [twice].

1. QanaÃ¯Ã§Ã¡cÂ¢e
2. TsilkÃ¨-Ã§igÃ¬ni
3. KÃ¡tso-yisÃ§Ã ni
4. YÃ¬yolnakÃ²e
5. Qano qakÃ²sko.
6. Tcihano[-a][-i]e
7. Akos nisÃnle.
YÃ¡he, yÃ¡he eÃ¯a [-a][-i].

OÃ¶niyÃ ye, etc.

8. InaÃ¯Ã§Ã¡cÂ¢e
9. TcikÃ¨-Ã§igÃ¬ni
10. AwÃ¨tsal-yisÃ§Ã ni
11. YÃ¬yolnakÃ²e
12. Qana qokÃ²sko.
13. Klehano[-a][-i]e
14. Akos nisÃnle.
YÃ¡he, yÃ¡he eÃ¯a [-a][-i].

266. _Translation._--1. QanaÃ¯Ã§Ã¡cÂ¢e, from where it (the sun) rises. 2. TsilkÃ¨-Â¢igÃ¬ni, Holy Young Man. 3. KÃ¡tso-yisÃ§Ã ni, the great plumed arrow. 4, 11. Yiyolna`, he swallowed slowly or continuously. 5, 12. Qano qakÃ²sko, it comes out by degrees. 6. Tcihano[-a][-i], the sun. 7, 14. Akos nisÃn, he is satisfied. 8. InaÃ¯Ã§Ã¡cÂ¢e, from where it sets. 9. TcikÃ¨-Â¢igÃ¬ni, Holy Young Woman. 10. AwÃ¨tsal-yisÃ§Ã ni, prepared or plumed cliff rose, i.e., cliff rose arrow. 13. Klehano[-a][-i]e, 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 AKÃNINILI.

1. Ãi` betcÃ¡na nilÃ¬[n]lel.
2. Ãi` Â¢a`naniltyÃ¨lÂ¢o.
3. Ãi` beniqoÂ¢Ãlsinlel. AÃ¯binÃ¬gi nizÃ¨ Â¢ela`.
4. [Â¢]a`yiltsÃsgo, Â¢a`bokÃ²go tse`na akÃ n hyisÂ¢inÃ¬le.
5. Tsi[n] etlol akÃ n bÃ Ã§hyis hyisÂ¢inÃ¬le; ako bÃ Ã§hyis hyisÂ¢ilÃ§Ã¡le.
6. Tse` elkÃ gi akÃ n hyisÂ¢inÃ¬le.
7. AkoÃ¯ kÃ¡tso-yisÃ§Ã n; aÃ¯binigi djoÃ§ile, qoiÂ¢igÃnÂ¢e behoÃ¨qoiÂ¢ilsin.

270. _Translation._--1. Ãi`, this; betcÃ¡na, a thing to rise with (as you progress); nilÃ¬[n]lel, will make for you. 2. Ãi`, this; Â¢a`naniltyÃ¨lÂ¢o, will carry you along anywhere. 3. BeniqoÂ¢Ãlsinlel, by means of it people will know you; aÃ¯binÃ¬gi, for this reason, or purpose; nizÃ¨, your neck; Â¢ela`, it hangs (once) around. 4. [Â¢]a`yiltsÃsgo, at any little valley (yiltsis, a little valley); Â¢a`bokÃ²go, at any gully or arroyo (boko`, arroyo); tse`na, across; akÃ n, meal; hyisÂ¢inÃ¬le, he sprinkles always across. 5. Tsi[n] etlol, the root of a tree; akÃ n, meal; bÃ Ã§hyis, across it; hyisÂ¢inÃ¬le, he sprinkles across; ako, then; hyisÂ¢ilÃ§Ã¡le, he steps across. 6. Tse` elkÃ gi, on flat rocks; akÃ n, meal; hyisÂ¢inÃ¬le, he sprinkles across. 7. AkoÃ¯, then, next; kÃ¡tso-yisÃ§Ã n, the great prepared arrow--so says the chanter, but he really refers to the inÂ¢ia`, or Ã§obolÃ§Ã , the plumed wand which akÃ¡ninili carries; aÃ¯binigi, for this purpose; djoÃ§ile, he carries it (in the hand); qoiÂ¢igÃnÂ¢e, from a holy place (Â¢igin, holy); behoÃ¨qoiÂ¢ilsin, by means of it people know him.

271. For free translation, see paragraph 102.

272. PRAYER OF THE PROPHET TO HIS MASK.

1. [Â¢]a`andje qahasdsÃ¬go anÃ§Ã¨lini, cilÃ¬[n].
2. HyininÃ leni, cilÃ¬[n].
3. AyÃ [n]Â¢a[n] Ã§ocisyi`goÂ¢olÃ¨lÂ¢a, cilÃ¬[n].
4. CaÃ¯Â¢inilÃ¬l.

273. _Translation._--1. [Â¢]a`andje, at any time to you; qahasdsÃ¬go, when I spoke; anÃ§Ã¨lini, always you made or did it, i.e., granted my request or assisted me; cilÃ¬[n], my domestic animal, my pet. 2. HyininÃ leni, you were alive (once); cilÃ¬[n], my pet. 3. AyÃ [n]Â¢a[n], be sure, take care; Ã§oÂ¢a, negative; cisyi`go, that I die; Â¢olÃ¨l, I desire, I beg (the divided negative makes one word of the sentence). 4. CaÃ¯Â¢inilÃ¬l, watch thou for me, or over me.

274. For free translation, see paragraph 27.

275. LAST WORDS OF THE PROPHET.

1. AqalÃ ni, citsÃli.
2. CakaÃ¯lÃ§e ye qoÂ¢igÃnÂ¢e.
3. [Â¢]a`Ã§onasiÂ¢ilsÃ¨lÂ¢a.
4. [Â¢]a`hoelÃ§Ã¬go Â¢a`Â¢eltcÃlgo, nag[-a][-i]ga cinÃ Ã¯ anÃ¬la dsinisÃnle,
5. [Â¢]a`no`Ã§Ãlgo ayÃ c inÂ¢iÂ¢alÃ go, anilÃ§Ã ni inÂ¢iÂ¢alÃ go nag[-a][-i]ga
cinÃ Ã¯ binibikÃ¨gola` dsinisÃnle.

276. _Translation._--1. AqalÃ ni, greeting (farewell, in this case); citsÃli, my younger brother. 2. CakaÃ¯lÃ§e, for me they have come; ye, the yays, the gods; qoÂ¢igÃnÂ¢e, from a holy or supernatural place. 3. (Â¢a`, any, on any occasion, etc.; Ã§oÂ¢a, negative; na, again; siÂ¢ilsÃ¨l, you will see me); Â¢a`Ã§onasiÂ¢ilsÃ¨lÂ¢a, you will never see me again. 4. [Â¢]a`hoelÃ§Ã¬go, on any occasion as the rain passes, i.e., whenever it rains; Â¢a`Â¢eltcÃlgo, whenever it thunders; nag[-a][-i]ga, in that; cinÃ Ã¯, my elder brother; anÃ¬la, is his voice; dsinisÃnle, you will think so. 5. [Â¢]a`no`Ã§Ãlgo, whenever they (crops) are ripening, i.e., in harvest time; ayÃ c, small birds; inÂ¢iÂ¢alÃ go, of all kinds; anilÃ§Ã ni, grasshoppers; nag[-a][-i]ga, in that, in those; cinÃ Ã¯, my elder brother; binibikÃ¨gola`, is his ordering, his design (the trail of his mind); dsinisÃnle, 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}.]

AkÃ¡ninili, the supernatural couriers 411-414 {61-68}, 415 {72},
417 {101}, 424 {101},
426 {104}, 466 {269}
Chanter, Navajo 385-387 {1-8}
DsilyÃdje qaÃ§Ã l, 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` NeyÃ¡ni, 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}
HoshkÃ wn, dance of the. (See Yucca baccata.)
Keam's CaÃ±on, Navajo dance at 432 {127}, 442 {148}
Navajo rites, seasons for 386 {5}
QaÃ§Ã li, or Navajo chanter 385 {2}, 387 {7}
QastcÃ¨Ã«lÃ§i. _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}

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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 dsilyÃdje qaÃ§Ã l 444
_text reads "44"_
Sacrifices of dsilyÃdje qaÃ§Ã l
_indentation changed to agree with body text_

fac simile
_printed as two words_

Index:
AkÃ¡ninili
_text reads "AkÃ¡nilini"_
AkÃ¡ninili ... 417
_error for 421?_
Dsilyi` NeyÃ¡ni ... prayer to ... 421
_error for 464?_

Comments

The Mountain Chant, A Navajo CeremonyChapter V: Part 5

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