SIXTH CEREMONY.
Just after dark those who were to take part in the ceremony prepared to personate one of the Hostjobokon and two of the Hostjoboard (G.o.ddesses)--Hostjoghon and Hasjelti. Hostjobokons body and limbs were painted, and he wore a mountain lions skin doubled lengthwise and fastened around the loins at the back, and a silver belt encircled his waist. Hasjelti wore knee breeches and a shirt of black velvet, ornamented with silver b.u.t.tons. His face and hands were covered with white kaolin. Hostjoghons body was painted white, and he wore a red silk scarf around the loins, caught on with a silver belt. The two men personating the G.o.ddesses had their limbs painted white; one wore a black sash around his loins, held by a silver belt. The other had a red woolen scarf and silver belt; gray foxskins hung from the back of the belts. The masks were fastened to their heads before leaving the lodge by means of a string and a lock of their hair, and they were then thrown back from the head. After a little indulgence in their hoots they all left the lodge. The invalid entered the lodge and, stepping upon a piece of white cotton which had been laid diagonally across the rug to the northeast and southwest, took off his clothing. The lodge had now become very crowded. The fire, which had burned brightly during the day, was mere coals. The attendant at the left of the song priest opened the choir with the rattle. The invalid sat upon the cotton cloth. Hasjelti, entering with his favorite hoot amidst rattle and song, placed the square (representing the concentrated winds) four times over the head of the invalid and ran out of the lodge. He entered again and received from the theurgist one of the twelve white sticks which during the forenoon had been placed in the basket. The white stick farthest from the white reed was handed him. This Hasjelti placed to the soles of the feet, knees, palms, etc., of the invalid, amid hoots and antics, after which he dashed out and hurled the stick to the east. One of the Hostjoboard entered and received the next white stick, and after the same ceremony ran out and cast it to the east. Hostjobokon returned and the theurgist handed him the next white stick, when he repeated the ceremony, hurried from the lodge, and threw the stick to the east. Hostjoboard again entered, received a stick, repeated the ceremony, and ran out and threw it to the east; and thus Hostjobokon and Hostjoboard alternated until all the white sticks were disposed of, when Hasjelti reappeared and received from the song priest the white reed (cigarette) and carried it from the lodge. When he returned the theurgist handed him one of the blue sticks, with which he repeated the ceremony and, leaving the lodge, threw it to the south, when Hostjoghon and Hostjoboard alternately disposed of the blue sticks in the same order in which the white sticks had been distributed. The yellow and black sticks were disposed of in a similar manner, Hasjelti officiating with the first stick of each color and the reeds. The yellow sticks were thrown to the west; the black to the north. This was all done amidst the wildest hoots and song of the choir, accompanied by the rattle.
Hasjelti again appeared and placed the square four times over the invalids head with wild hoots. The four cigarettes to be smoked by the G.o.ds were afterwards taken by four of the personators of the G.o.ds and deposited in a secluded spot under a tree and sprinkled with corn pollen; after their return Hasjelti again placed the square over the invalids head. The song priest placed two live coals in front of the invalid, and upon the coals he put a pinch of tobacco, the smoke of which the invalid inhaled. The attendant poured water over the coals, when they were thrown out at the fire opening of the lodge. The personators of the G.o.ds returned to the lodge bearing their masks in their hands. The invalid put on his clothing and took his seat upon the rug, but in a short time he returned to his former seat on the northwest side of the lodge. The sweat-house priest appeared with a large buffalo robe which he spread before the song priest, the head pointing north, and upon this various kinds of calico were laid, carefully folded the length of the robe. There were many yards of this. Upon the calico was spread a fine large buckskin, and on this white muslin; these were all gifts from the invalid to the song priest. The masks were then laid upon the cotton (see Pl. CXV, 7, 8); the mask of Hasjelti was on the east side to the north end, that of Hostjoghon at the south end, and between these the six masks of the Hostjobokon were placed. Immediately under these were the six Hostjoboard, and beneath the latter were the masks of Naiyenesgony and Tobaidischinni at the north end. Three other masks of the Etsethle followed in line running south. After all the masks had been properly arranged the song priest sprinkled them with pollen.
Beginning with Hasjelti he sprinkled every mask of the upper line thus: Over the top of the head down the center of the face, then forming a kind of half-circle he pa.s.sed over the right cheek, then pa.s.sing his hand backward to the left he sprinkled the same line up the left cheek.
The second and third rows had simply a line of the pollen run across the masks, beginning at the north end. The theurgist repeated a prayer during the sprinkling of the pollen, then handed the bag of pollen to the priest of the sweat house, who repeated the sprinkling of the masks, when everyone in the lodge, each having his individual bag of pollen, hastened forward and sprinkled the masks, at the same time offering prayers. The theurgist and priest of the sweat house again sprinkled pollen on the masks as heretofore described.
Baskets and bowls in unlimited quant.i.ty, filled with food, were placed in a circle around the fire which now burned brightly. The guests formed into groups and drew the food toward them, but did not touch it for a time. The invalid, song-priest, and his attendants, indulged in a smoke which was social and not religious, the white mans tobacco being preferred on such occasions. A girl and a boy, about 12 years of age, came into the lodge. The boy was the son of the invalid, the girl his sisters child. The boy knelt at the northeast end of the rug and the girl at the southeast end. They were richly dressed in Navajo blankets, coral necklaces, etc., and they remained perfectly quiet. The theurgist and his attendants talked together in an undertone, and if the inmates of the lodge spoke at all their voices were scarcely audible. After a time the choir opened, led by the song-priest with his rattle. During the singing the rattle was pa.s.sed from one to the other. The invalid did not join in the song. The choir continued an hour without cessation, and then rested 2 minutes, and again began and continued for another hour.[4] At the conclusion of the singing the song-priest handed to the girl a wand of turkey plumes taken from a basket of feathers which had stood, since the placing of the masks, on the west side of him. Another wand was pa.s.sed to the boy; and the children received some instructions from the song-priest, who spoke in an undertone, after which, an attendant filled with water from a wicker water jug a basket that had stood throughout the ceremony at the east of the rug.
[Footnote 4: I noticed that the priest of the sweat house on no occasion sat with the song-priest and his attendants.]
The song was now resumed, and dipping the wand he held in the basket of water the boy sprinkled the masks, beginning at the north end and east row. The girl repeated the same. The east row of masks was sprinkled twice. When the children sprinkled the middle and west rows, the ceremony was always begun at the north end of each line of masks; again dipping their wands in the water, the boy beginning at the north side and the girl at the south, they sprinkled the inmates of the lodge. The children were very awkward, and were rendered more so by the many scoldings given them for their mistakes. The sprinkling of the people was continued until the water was exhausted. The lodge was also sprinkled at the cardinal points. The song never ceased throughout this ceremony. The girl and boy, taking the position first a.s.signed them, an attendant, with a reed filled with sacred tobacco, puffed the smoke over the masks, smoking each mask separately on the east row; the middle and west rows he hurriedly pa.s.sed over. While this was being done an attendant took a pinch from all the different foods and placed what he gathered into a basket in the niche behind the song-priest.[5] After the masks had been smoked, the attendant puffed the smoke over all the people, beginning on the north side of the lodge. During the smoking the song ceased, but was resumed when the attendant took his seat. At the close of the song sacred meal was mixed with water in a Zui pottery bowl. This meal is made of green corn baked in the earth and then ground. During the preparation of this medicine mixture the song-priest sang: This food is mixed for the people of the rocks! We feed you with this food, O people of the rocks! The theurgist then dipped his forefinger into the mixture, and running his hand rapidly over the masks from north to south, he touched each mouth; each line was pa.s.sed over four times. The invalid dipped his three first fingers into the basket, and placing them in his mouth, sucked in his breath with a loud noise.
This was repeated four times by the invalid and then by each of the attendants, when all the inmates of the lodge were expected to partake of the mixture. This was done with a prayer for rain, good crops, health, and riches. All hands now partic.i.p.ated in the feast.
[Footnote 5: This food is dried and made into a powder, and used as a medicine by the theurgist.]
FOODS BROUGHT INTO THE LODGE.
Dattuneilgaij Pats made of wheat flour and fried.
Tabaestchlonni Corn meal pats wrapped in corn husks and boiled.
Tanashkiji Thick mush boiled and stirred with sticks.
Nneskadi Tortillas.
Tabijai Four small b.a.l.l.s of corn meal wrapped in corn husks and boiled.
Insidokui Corn bread with salt, made from the new corn, wrapped in corn husks and baked in ashes.
Tkaditin White corn meal mush.
Klesahn Corn meal dough in rectangular cakes baked in ashes, hot earth, or sand.
Tsestelttsoi Cakes some fourth of an inch thick made from sweet corn mixed with goats milk and baked on a hot rock.
Tseste Bread made of corn first toasted and then finely ground and made into a thin batter which is baked upon a highly polished lava slab. The crisp gauzy sheets are folded or rolled.
Tkineshpipizi Small b.a.l.l.s of corn meal mush.
Totkonji Corn meal cakes one-fourth of an inch in thickness of old corn, baked in a pan; they are seasoned with salt.
lkaandt A bread made from sweet corn which is first parched then ground on a metate and then chewed by women and girls and placed in a ma.s.s in a flat basket; this must be either of yellow or white corn, the blue corn is never used for this purpose. A mush is made of either white or yellow corn meal and the former preparation which has become yeast is stirred into the mush. A hole is then dug in the ground (near the fire) and lined with shucks into which the mush is poured, it is then covered with shucks after which earth is thrown over it and a large fire built which burns all night. In the early morning the cinders and coals are removed when the bread is found to be baked.
Tkleheljoe Yeast is prepared for this bread in the same manner as that for the lkaandt except that the corn is baked instead of parched. The yeast is then mixed with meal into a stiff dough and baked in corn husks, four pats are placed in each package.
Tantnil (beverage) Is the same preparation as the yeast used in the lkaandt except in this case a drink is made of it by pouring boiling water over it.
Dizetso Peaches (fresh or dried) stewed. There were also several large bowls of stewed mutton.
Little groups of threes and fives were formed over the floor of the lodge; others less fortunate were closely packed together around the outer edge of the lodge and could procure their food only through the generosity of their neighbors. The girl and boy left the lodge after having partaken of the sacred meal mixture. After refreshment the song-priest lifted each mask with his left hand beginning with Hasjelti, and first extending his right hand, which held a fine large crystal, toward the heavens, he touched the under part of each mask with the crystal; four times he pa.s.sed over the masks. The choir sang but no rattle was used. The crystal was afterward placed on the rug opposite the basket of feathers. The food vessels were removed and the song continued for a time when the song-priest repeated a long low prayer, after which the song was resumed, and thus the night was consumed in prayer and song over the masks.
FIFTH DAY.
FIRST CEREMONY.
A basket of yucca suds was prepared by an attendant, who cleansed his hands of the suds by pouring a gourd of clear water over them; he then put a handful of the suds upon the head of a man who stood before him, nude with the exception of a breech cloth, after which the man washed his head from a water jug which was held over the head of the bather by the attendant. The bather covered his body with the suds, and the contents of the jug was emptied on the floor of the lodge by the attendant. The man dressed himself in the ordinary cotton clothing with rare beads around his neck, and a leather pouch held by a band of mountain sheep skin over his shoulders; he knelt before a bowl of white kaolin which he spread over his face; he then took his seat between two attendants, the one to the right of him holding a pinch of native tobacco and the one on the left holding corn meal in the palms of the right hands.
At early dawn the buffalo robe at the entrance of the lodge was slightly dropped from the doorway to admit the rays of approaching day. The masks which had been sung and prayed over all night were laid away in the niche behind the song-priest. The little girl who performed the previous night returned to the lodge, but I could not see that she was there for any purpose save to eat some of the remaining food, which had been gathered into two large parcels and left by the old woman who removed the vessels after the feast. A red blanket was laid and upon it a piece of white cotton. A reed five inches in length and twice the diameter of the others heretofore used was prepared. The reed was colored black in the usual manner and filled with a feather ball and tobacco. It was lighted with the crystal and touched with the pollen. Upon the completion of the tube the invalid took his seat on the west side of the rug, the attendant who prepared the tube sitting on the west side; he took from one pouch four white sh.e.l.l beads and from another a turquoise bead; he looped a cord of white cotton yarn some three feet long around the pollen end of the tube and fastened to the loop two wing feathers of the Arctic blue bird, one from the right wing and one from the left, and a tail feather from the same bird and three feathers from a bird of yellow plumage, the right and left wing and tail feather. The five beads were strung on the string, the turquoise being the first put on; these were slipped up the cord and two under tail-feathers and a hair from the beard of the turkey were fastened to the end of the string with a loop similar to that which attached it to the tube. (See Pl. CXIX.) This was the great (cigarette) offering to Hasjelti and must be placed in a canyon near a spring, for all birds gather at the waters. This was offered that the song-priest might have his prayers pa.s.sed straight over the line of song. This offering secures the presence of this most valued G.o.d and so fills the mind of the song-priest with song and prayer that it comes forth without hesitation and without thought, so that he may never have to think for his words. A small quant.i.ty of each variety of sand used in decorating was placed on a husk with a little tobacco, and on these a pinch of corn pollen; the tube was then laid on the husk and the string and feathers carefully placed. Two additional feathers, the under tail of the eagle and turkey, were laid on the husk. A blue feather was dipped in water, then in pollen, and rubbed twice over these feathers; an attendant folded the parcel and the song-priest received it and touched it to the soles of the feet, knees, palms, breast, and back and mouth of the invalid; he then put a pinch of the pollen into the invalids mouth, and a pinch on the top of the head; he placed the folded husk in the invalids hand, and stood in front of him and whispered a long prayer which the invalid repeated after him. The manner of holding the husk has been previously described. The man with painted face received the husk from the theurgist, who returned to his seat and at once opened the chant with the rattle. At the close of the chant the holder of the husk touched the soles of the feet, palms, etc., of the invalid with it and left the lodge. This precious parcel was taken three miles distant and deposited in a canyon near a spring where there is a luxuriant growth of reeds. Prayers were offered by the depositor for health, rain, food, and good fortune to all. Only the theurgist and his attendants and a few of the near relatives of the invalid were present at this ceremony.
[Ill.u.s.tration: Plate CXIX. BLANKET RUG AND MEDICINE TUBE.]
SECOND CEREMONY.
The sweat-house priest preceded the invalid and song-priest, the latter carrying his medicine basket, wands, etc. The hot stones and pine boughs were put into the sweat house; meal was sprinkled around the west base and the wands deposited, as before described, by the song-priest. Three white and black striped blankets were placed over the entrance, one upon the other, and upon these were a buckskin and several folds of white muslin. An attendant brought a large medicine bowl half filled with pine needles; water was poured upon these; a small earthen bowl and a gourd containing water were placed before the song-priest, who put into the bowl chopped sage, over which he sprinkled dried foods reduced to powder; a small quant.i.ty of meal was also sprinkled into the gourd and bowl. The song then began. A small pine bough was laid to the right of the entrance of the sweat house. The opening of the song was a call upon the G.o.ds to impart to the medicine power to complete the cure of the invalid and to make all people well, and to have a wet and good ground all over the earth. This song is specially addressed to Toneennili, the water sprinkler.
Hasjelti and Hostjoghon arrived just as the sick man emerged from the sweat house. The invalid bathed himself from the bowl of pine needles and water. Taking the sheeps horn in the left hand and a piece of hide in the right, Hasjelti pressed the invalids body as before described.
The G.o.d was requested by the priest of the sweat house to pay special attention to the rubbing of the head of the invalid. The small gourd was handed to Hasjelti, who gave four drafts of its contents to the invalid.
Hasjelti touched the soles of the feet, palms, etc., of the invalid with medicine water from the bowl. The G.o.ds then suddenly disappeared. On this occasion Hostjoghon took no part in administering the medicine. The invalid, after putting on his clothing, proceeded to the lodge, followed by the song-priest. The sweat house was razed as usual, and the pine boughs and stones were placed to the north of the house in a small pion tree; the logs of the house were deposited on the ground a few feet from the tree. A line of meal the length of the medicine tube was sprinkled on the logs and the tube laid thereon. Meal was sprinkled over the tube and logs.
THIRD CEREMONY.
The first sand painting occurred on October 16; it was begun in the early forenoon and completed at sundown. Common yellowish sand was brought in blankets. This formed the ground color for the painting. It was laid to form a square 3 inches in depth and 4 feet in diameter. Upon this three figures were painted after the manner described of the painting of the rainbow over the sweat house. Nine turkey wands were placed on the south, west, and north sides of the square, and a line of meal with four foot-marks extended from near the entrance of the lodge to the painting. (See Pl. CXX.)
Hasjelti stands to the north end in the ill.u.s.tration, holding the emblem of the concentrated winds. The square is ornamented at the corners with eagle plumes, tied on with cotton cord; an eagle plume is attached to the head of Hasjelti with cotton cord. The upper horizontal lines on the face denote clouds; the perpendicular lines denote rain; the lower horizontal and perpendicular lines denote the first vegetation used by man. Hasjeltis chin is covered with corn pollen, the head is surrounded with red sunlight, the red cross lines on the blue denote larynx; he wears ear rings of turquoise, fringed leggings of white buckskin, and beaded moccasins tied on with cotton cord. The figure to the south end is Hostjoghon; he too has the eagle plume on the head, which is encircled with red sunshine. His earrings are of turquoise; he has fox-skin ribbons attached to the wrists; these are highly ornamented at the loose ends with beaded pendants attached by cotton strings; he carries wild turkey and eagle feather wands, brightened with red, blue, and yellow sunbeams. The center figure is one of the Hostjobokon, and upon this figure the invalid for whom the ceremonial is held sits. The four footprints are made of meal. These the invalid steps upon as he advances and takes his seat, with knees drawn up, upon the central figure. After dark the invalid walked over the line of meal, being careful to step upon the footprints in order that his mental and moral qualities might be strengthened. The invalid removed his clothing immediately after entering the lodge; he had downy breast feathers of the eagle attached to the scalp lock with white cotton cord; he advanced to the painting and took his seat upon the central figure. An attendant followed him, and with his right hand swept the line of meal after the invalid, removing all traces of it. The entrance of the invalid into the lodge was a signal for the song-priest to open the chant with the rattle. Hasjelti and Hostjoghon bounded into the lodge hooting wildly.
The former carried the square (the concentrated winds), which he placed over the sick mans head. Hostjoghon carried a turkey wand in each hand, and these he waved over the invalids head and hooted; this was repeated four times, and each time the G.o.ds ran out of the lodge. Hasjelti wore a velvet dress, but Hostjoghons body was nude, painted white. This wild, weird ceremony over, the sick man arose and the song-priest gathered the turkey wands from around the painting, while an attendant erased it by rubbing his hands over the sand to the center. The sands were gathered into a blanket and carried out of the lodge and deposited some distance away from the lodge, where the sun could not generate the germ of the disease. The sand is never touched by any one when once carried out, though before the paintings are erased the people clamor to touch them, and then rub their hands over their own bodies that they may be cured of any malady. The invalid, after putting on his clothes, returned to his family lodge. A group then gathered around the spot where the paintings had been and joined in a weird chant, which closed the fifth days ceremony.
[Ill.u.s.tration: Plate CXX. FIRST SAND PAINTING.]
SIXTH DAY.
Preparations for a great sand painting began at daylight. Sand for the ground work was carried in in blankets; the fire which had burned through the previous ceremonies was first removed and all traces of it covered with sand. As the artists were to begin the painting with the center of the picture only a portion of the ground color was laid at first, in order to enable them to work with greater facility. While the ground color was being laid a man sat on one side of the lodge grinding with a metate and mixing the colors. A quant.i.ty of coals were taken from the exhausted fire from which to prepare black paint. A small quant.i.ty of red sand was mixed with the charcoal to give it body or weight. The colors used in this sand painting have all been referred to in the description of the rainbow over the sweat house. After the central portion of the ground work for the painting was smoothed off a Jerusalem cross was drawn in black. The eye usually was the only guide for drawing lines, though on two occasions a weaving stick was used. As a rule four artists were employed, one beginning at each point of the cross. Each arm of the cross was completed by the artist who began the work. For ill.u.s.tration of painting see Pl. CXXI.
The black cross-bars in the ill.u.s.tration denote pine logs; the white lines the froth of the water; the yellow, vegetable debris gathered by the logs; the blue and red lines, sunbeams. The blue spot in center of cross denotes water. There are four Hostjobokon with their wives the Hostjoboard; each couple sit upon one of the cross arms of the logs.
These G.o.ds carry in their right hands a rattle, and in their left sprigs of pion; the wives or G.o.ddesses carry pion sprigs in both hands; the rattle brings male rains, and the pion, carried by the women, female rains; these rains meet upon the earth, conceive and bring forth all vegetation. Their heads are ornamented with eagle plumes tied on with cotton cord. (Note: In all cases the round head denotes male and octangular head female.) The G.o.ds have also a bunch of night-owl feathers and eagle plumes on the left side of the head; both male and female wear turquois earrings and necklaces of the same. The larynx is represented by the parallel lines across the blue. A line of sunlight encircles the head of both males and females. The white spots on the side of the females heads represent the ears. The arms of the G.o.ddesses are covered with corn pollen, and long ribbons of fox skins are attached to the wrists, as shown on painting number one. All wear beaded moccasins tied on with cotton cord. Their chins are covered with corn pollen and red sunlight surrounds the body. The skirts only have an additional line of blue sunlight. Hasjelti is to the east of the painting. He carries a squirrel skin filled with tobacco. His shirt is white cotton and very elastic. The leggings are of white deer skin fringed, and the moccasins are similar to the others. His head is ornamented with an eagles tail, and to the tip of each plume there is a fluffy feather from the breast of the eagle. A bunch of night-owl feathers is on either side of the eagle tail where it is attached to the head. The horizontal and perpendicular lines on the face were referred to in the description of the first sand painting. The projection on the right of the throat is a fox skin. Hostjoghons headdress is similar to that of Hasjeltis. Two strips of beaver skin tipped with six quills of the porcupine are attached to the right of the throat. The four colored stars on the body are ornaments of beads. The shirt of this G.o.d is invisible; the dark is the dark of the body. Hostjoghon carries a staff colored black from a charred plant. The Navajo paint their bodies with the same plant. The top of the staff is ornamented with a turkeys tail tied to the staff with white cotton cord; eagle and turkey plumes are alternately attached to the staff with a cord.
The Naaskiddi are to the north and south of the painting; they carry staffs of lightning ornamented with eagle plumes and sunbeams. Their bodies are nude except the loin skirt; their leggings and moccasins are the same as the others. The hunch upon the back is a black cloud, and the three groups of white lines denote corn and other seeds of vegetation. Five eagle plumes are attached to the cloud backs (eagles live with the clouds); the body is surrounded with sunlight; the lines of red and blue which border the bunch upon the back denote sunbeams penetrating storm clouds. The black circle zigzagged with white around the head is a cloud basket filled with corn and seeds of gra.s.s. On either side of the head are five feathers of the red shafted flicker (_Colaptes cafer_); a fox skin is attached to the right side of the throat; the mountain sheep horns are tipped with the under tail feathers of the eagle, tied on with cotton cord. The horns are filled with clouds. The rainbow G.o.ddess, upon which these G.o.ds often travel, completes the picture.