Part 25
73. The name Has-tsé-yal-ti, spelled according to the alphabet of the Bureau of Ethnology "Qastcéyalçi" may be translated Talking God, or Talking Elder of the Gods. Hastséyalti is otherwise called Yébitsai, or the Maternal Grandfather of the Gods. He is a chief or leader among several groups of local divinities who are said to dwell at Kininaékai, in the Chelly Canyon, at Tse'nitse, Tsé`híhi, and at various other sacred places. Although called a talking god, the man who personates him in the rites never speaks while in character, but utters a peculiar whoop and makes signs. In the myths, however, the god is represented as speaking, usually after he has whooped and made signs. (Par. 472.) He is a beneficent character, always ready to help man and rescue him from peril. He is sometimes spoken of and prayed to as if there were but one, but the myths show that the Navahoes believe in many gods of this name, and in some prayers it is distinctly specified which one is meant by naming his home in connection with him. In plate I. he is shown, as represented in the dry-paintings, carrying a tobacco bag made of the skin of Abert's squirrel (Sciurus aberti). In the picture the black tips of toes, nose, and ears, and the reddish (chestnut) spot on the back of the squirrel, are carefully indicated. The dry-painting shows the more important characters of the mask worn by the personator,--the eagle-plumes at the back, the owl-feathers at the base of the plume-ornament, and the peculiar symbols at mouth and eyes,--but it does not show the cornstalk symbol over the nose. Fig. 27, taken from a photograph, shows the mask trimmed with its collar of fresh spruce boughs, as it appears when used in the dance of naakhaí on the last night of the ceremony of klédzi hatál. The personator of Hastséyalti has his whole person clothed, while the representatives of other gods go nearly naked. The proper covering for his back is a number of finely dressed deerskins, one over another, tied together in front by the skins of the legs; but of late years the masquerader often appears in an ordinary calico shirt. The symbol surrounding each of the holes for the eyes and mouth is this [symbol]. It is said to represent the storm cloud hanging above, and the mist rising from below to meet it. Thus cloud and mist often appear in the mountains of the Navaho land during the rainy season, Hastséyalti or the Yébitsai is the principal character in the great rite of klédzi hatál, or the night chant. Our people, who often go to witness the public performance of the last night in this rite, call it the Yébitsai (Yáybichy) dance. The songs and prayers in which Hastséyalti is mentioned are numerous. For the points in which fig. 2, plate I., agree with fig. 1, plate I., see note 74.
74. Has-tsé-ho-gan, spelled with alphabet of Bureau of Ethnology, Qastcéqogan, may be freely translated House God. Hastséhogan is one of the leading personages in each of the local groups of the yéi, or divine beings, who dwell in caves and old cliff-dwellings. He is commonly spoken of as if there were but one; but an examination of the myths shows that the Navahoes believe in many of these gods. Those of Tse`gíhi, Tsé`nihogan, Tsé`nitse, Kininaékai, and the sacred mountains are the ones most commonly worshipped. In most myths he appears as second in authority to Hastséyalti, the Talking God, but occasionally he is represented as equal or even superior to the latter. He is a farm god as well as a house god. To him are attributed the farm-songs sung during the night chant (see note 322), and many other songs. He is a beneficent character and a friend to man. There are many songs and prayers in his honor. In the rite of klédzi hatál, or the night chant, he is represented in the dance by a man wearing a collar of spruce, a blue mask decorated with eagle-plumes and moccasins, with shirt and leggings, which should be (but of late years are not always) of buckskin. He is depicted in the dry-paintings thus (see plate I., fig. 1): He wears a black shirt ornamented with four star-like ornaments embroidered in porcupine quills, and having a fancy fringe of porcupine quills at the bottom; white buckskin leggings; colored garters; quill-embroidered moccasins, tied on with white strings; long ear-pendants of turquoise and coral; bracelets of the same; an otter-skin (hanging below the right ear), from which depend six buckskin strings with colored porcupine quills wrapped around them; a cap-like (male) mask painted blue, fringed with red hair, and adorned with eagle-plumes and owl-feathers. He carries a staff (gis) painted black (with the charcoal of four sacred plants), streaked transversely with white, and adorned with a single cluster of turkey tail-feathers arranged as a whorl, and two eagle plumes, which, like the plumes on the head, are tipped with small, downy eagle-feathers. The yellow stripe at the chin indicates a similar stripe on the mask actually worn, and symbolizes the yellow light of evening (nahotsóí). The neck of this as well as the other divine figures is painted blue, and crossed with four stripes in red. Some say that this indicates the larynx with its cartilaginous rings; others say that it represents the collar of spruce-twigs; others are uncertain of its meaning. If it does not represent the spruce collars, it represents nothing in the costume of the masquerader, which, in other respects, except the quill embroideries, agrees closely with the picture, Hastséyalti is also a dawn god, Hastséhogan a god of evening.
75. In the Navaho tales, men frequently receive friendly warnings or advice from wind gods who whisper into their ears. Some story-tellers--as in the version of the origin myth here given--speak of one wind god only, whom they call simply Ni'ltsi (Wind); while others--as in the story of Nati'nesthani--speak of Ni'ltsi-diné` (Wind People) and Niltsiázi-diné` (Little Wind People) as the friendly prompters.
76. The game of nánzoz, as played by the Navahoes, is much the same as the game of chungkee played by the Mandans, described and depicted by Catlin in his "North American Indians,"[296] vol. i., page 132, plate 59. A hoop is rolled along the ground and long poles are thrown after it. The Mandan pole was made of a single piece of wood. The pole of the Navahoes is made of two pieces, usually alder, each a natural fathom long; the pieces overlap and are bound together by a long branching strap of hide called thágibike, or turkey-claw.
77. These shells may not be altogether mythical. Possibly they are the same as those described in the story of "The Great Shell of Kintyél" given in this book.
78. Vague descriptions only of Bé-ko-tsi-di so far have been obtained. He is not represented by any masked characters in the ceremonies, or by any picture in the dry-paintings. No description of his appearance has been recorded, except that he looks like an old man. There is a myth concerning him of which a brief epitome has been recorded. There are four songs of sequence connected with this myth. If a Navaho wants a fine horse, he thinks he may get it by singing the second and third of these songs and praying to Békotsidi. In his prayer he specifies the color and appearance of the horse desired. Some say that Békotsidi made all the animals whose creation is not otherwise accounted for in the myths. Others say that he and the Sun made the animals together. Others, again, limit his creation work to the larger game animals and the modern domestic animals. In this paragraph (228) it is said he is the god who carries the moon, while in paragraph 199 it is said the moon-bearer is Kléhanoai. Perhaps these are two names for one character. Some say he is the same as the God of the Americans.
79. Bayeta, Spanish for baize. The variety of baize which finds its way into the Navaho country is dyed some shade of crimson, and has a very long nap. It is supposed to be made in England especially for the Spanish-American trade, for each original bale bears a gaudy colored label with an inscription in Spanish. It takes the place in the Southwest of the scarlet strouding which used to form such an important article in the trade of our northern tribes. The bright red figures in the finer Navaho blankets, fifteen years or more ago, were all made of threads of ravelled bayeta.
80. The coyote, or prairie-wolf (Canis latrans), would seem to be regarded by the Navahoes as the type, or standard for comparison, among the wild Canidæ of the Southwest. The coyote is called mai; the great wolf, maítso, which means great coyote; and the kit fox (Vulpes velox) is called maidotli'z, which means blue or gray coyote.
81. Some versions say there were twelve brothers and one sister in this divine family, making thirteen in all. In this version the narrator tells how another brother was created by Estsánatlehi to make up for the loss of Léyaneyani, who left the brotherhood. (Par. 417.) Although called Diné` Nakidáta, or the Twelve People, these brothers are evidently divinities. True, they once died; but they came to life again and are now immortal. They are gifted with superhuman powers.
82. The sweat-house of the Navahoes (par. 25, fig. 15) is usually not more than three feet high. Diaphoresis is produced on the principle of the Turkish (not the Russian) bath. While the Indians of the North pour water on the hot stones and give a steam bath, the Navahoes simply place stones, heated in a fire outside, on the floor of the sweat-house, cover the entrance with blankets, and thus raise a high heat that produces violent perspiration. When the occupant comes out, if the bath is not ceremonial, he rolls himself in the sand, and, when his skin is thus dried, he brushes the sand away. He usually returns then to the sweat-house, and may repeat the operation several times in a single afternoon. If the sweat is ceremonial, the bath of yucca suds usually follows (see note 10), and the subject is dried with corn meal.
83. One version relates that, before they entered the sudatory, Coyote proposed they should produce emesis by tickling their throats,--a common practice among the Navahoes. He placed a large piece of pine bark before each, as a dish, and bade Yélapahi keep his eyes shut till he was told to open them. That day Coyote had fared poorly. He had found nothing to eat but a few bugs and worms, while Yélapahi had dined heartily on fat venison. When the emesis was over, Coyote exchanged the bark dishes and said to Yélapahi: "Open your eyes and see what bad things you have had in your stomach. These are the things that make you sick." The giant opened his eyes and beheld on the bark a lot of bugs and worms. "It is true, my friend, what you tell me," he said. "How did I get such vile things into me? No wonder I could not run fast." Coyote then told the giant to go before him into the sudatory, and when the giant had turned his back the hungry Coyote promptly devoured the contents of the other dish of bark.
84. The word tóhe (Englished thóhay), which may be interpreted stand, stick, or stay, is, in various rites, shouted in an authoritative tone when it is desired that some object shall obey the will of the conjurer. Thus in the dance of the standing arcs, as practised in the rite of the mountain chant, when an arc is placed on the head of a performer, and it is intended that it should stand without apparent means of support, the cry "tóhe" is frequently repeated. (See "The Mountain Chant,"[314] p. 437.)
85. The statement that the hair of the gods, both friendly and alien, is yellow, is made in other tales also. The hair of the ceremonial masks is reddish or yellowish. (See plates IV. and VII.) The hair of the gods is represented by red in the dry-pictures. Dull tints of red are often called yellow by the Navahoes. Various conjectures may be made to account for these facts.
86. The bridge of rainbow, as well as the trail of rainbow, is frequently introduced into Navaho tales. The Navaho land abounds in deep chasms and canyons, and the divine ones, in their wanderings, are said to bridge the canyons by producing rainbows. In the myth of "The Mountain Chant," p. 399 (note 314), the god Hastséyalti is represented as making a rainbow bridge for the hero to walk on. The hero steps on the bow, but sinks in it because the bow is soft; then the god blows a breath that hardens the bow, and the man walks on it with ease. A natural bridge near Fort Defiance, Arizona, is thought by the Navahoes to have been originally one of the rainbow bridges of Hastséyalti (See fig. 38.)
87. The spiders of Arizona are largely of the classes that live in the ground, including trap-door spiders, tarantulas, etc.
88. This legend and nearly all the legends of the Navaho make frequent allusions to yucca. Four kinds are mentioned: 1st, tsási or haskán. Yucca baccata (Torrey); 2d, tsasitsóz, or slender yucca, Yucca glauca (Nuttall), Yucca angustifolia (Pursh); 3d, yebitsasi, or yucca of the gods, probably Yucca radiosa (Trelease), Yucca elata (Engelmann); 4th, tsasibité or horned yucca, which seems to be but a stunted form or dwarf variety of Yucca baccata, never seen in bloom or in fruit by the author. Tsási is used as a generic name. All kinds are employed in the rites, sometimes indifferently; at other times only a certain species may be used. Thus in the sacred game of kesitsé,[176] the counters are made of the leaves of Y. glauca; in the initiation into the mystery of the Yébitsai, the candidate is flogged with the leaf of Y. baccata. Fig. 26 represents a mask used in the rites of klédzi hatál, which must be made only of the leaves of Y. baccata, culled with many singular observances. All these yuccas have saponine in their roots (which are known as tálawus or foam), and all are used for cleansing purposes. All have, in their leaves, long tough fibres which are utilized for all the purposes to which such fibres may be applied. One species only, Yucca baccata, has an edible fruit. This is called haskán (from hos, thorny, and kan, sweet), a name sometimes applied to the whole plant. The fruit is eaten raw and made into a tough, dense jelly, both by the Navaho and Pueblo Indians. The first and second kinds grow abundantly in the Navaho country; the third and fourth kinds are rarer. Fig. 40 represents a drumstick used in the rites of klédzi hatál, which must be made only of four leaves of Yucca baccata. The intricate observances connected with the manufacture, use, destruction, and sacrifice of this drumstick have already been described by the author.[321]
89. The cane cactus is Opuntia arborescens (Engelm.).
90. Tsiké Sas Nátlehi means literally Young Woman Who Changes to a Bear, or Maid Who Becomes a Bear. To judge from this tale, it might be thought that there was but one such character in the Navaho mythology and that she had died. But it appears from other legends and from rituals that the Navahoes believe in several such maidens, some of whom exist to this day. The hill of Tsúskai (note 9) is said in the myth of dsilyi'dze hatál to be the home of several of the Tsiké Sas Nátlehi now. It would seem from the songs of dsilyi'dze hatál that the Maid Who Becomes a Bear of later days is not considered as malevolent as the first of her kind. Her succor is sought by the sick.
91. See par. 26. From the language of this story, the conclusion may be drawn that death is not the only thing that renders a house haunted or evil but that, if great misfortune has entered there, it is also to be avoided.
92. This remark must refer only to the particular group whose story is traced. According to the legend, other bands of Diné` who had escaped the fury of the alien gods, existed at this time, and when they afterwards joined the Navahoes they were known as diné` digíni (holy or mystic people). (See pars. 385 and 387.)
93. The gods, and such men as they favor, are represented in the tales as making rapid and easy journeys on rainbows, sunbeams, and streaks of lightning. Such miraculous paths are called eti'n digíni, or holy trails. They are also represented as using sunbeams like rafts to float through the air.
94. Compare this account with the creation of First Man and First Woman. (Pars. 162-164.)
95. Es-tsá-na-tle-hi (par. 72) is never represented in the rites by a masquerader, and never depicted in the sand-paintings, as far as the author has been able to learn. Other versions of the legend account for her creation in other ways. Version A.--First Man and First Woman stayed at Dsilnáotil and camped in various places around the mountain. One day a black cloud descended on the mountain of Tsolíhi, and remained there four days. First Man said: "Surely something has happened from this; let some one go over there and see." First Woman went. She approached the mountain from the east, and wound four times around it in ascending it. On the top she found a female infant, who was the daughter of the Earth Mother (Naestsán, the Woman Horizontal) and the Sky Father (Yádilyil, the Upper Darkness). She picked up the child, who till that moment had been silent; but as soon as she was lifted she began to cry, and never ceased crying until she got home to Dsilnáotil. Salt Woman said she wanted the child. It is thought the sun fed the infant on pollen, for there was no one to nurse it. In twelve days she grew to be a big girl, and in eighteen days she became a woman, and they held the nubile ceremony over her. Twelve songs belong to this ceremony. Version B only says that First Woman found the infant lying on the ground and took it home to rear it. (See "Some Deities and Demons of the Navajos,"[313] pp. 844, 846.)
96. Yol-kaí Es-tsán signifies White Shell Woman. Yolkaí is derived by syncope from yo (a bead, or the shell from which a bead is made) and lakaí (white). Estsán means woman. As far as known, she is not represented by a character in any of the ceremonies, and not depicted in the dry-paintings.
97. Note omitted.
98. Tó`-ne-ni-li or Tó-ne-ni-li, Water Sprinkler, is an important character in Navaho mythology. He is a rain-god. In the dry-paintings of the Navaho rites he is shown as wearing a blue mask bordered with red, and trimmed on top with life-feathers. Sometimes he is represented carrying a water-pot. In the rite of klédzi hatál, during the public dance of the last night, he is represented by a masked man who enacts the part of a clown. While other masked men are dancing, this clown performs various antics according to his caprice. He walks along the line of dancers, gets in their way, dances out of order and out of time, peers foolishly at different persons, or sits on the ground, his hands clasped across his knees, his body rocking to and fro. At times he joins regularly in the dance; toward the close of a figure, and when the others have retired, pretending he is unaware of their departure, he remains, going through his steps. Then, feigning to suddenly discover the absence of the dancers, he follows them on a full run. Sometimes he carries a fox-skin, drops it on the ground, walks away as if unconscious of his loss; then, pretending to become aware of his loss, he turns around and acts as if searching anxiously for the skin, which lies plainly in sight. He screens his eyes with his hand and crouches low to look. Then, pretending to find the skin, he jumps on it and beats it as if it were a live animal that he seeks to kill. Next he shoulders and carries it as if it were a heavy burden. With such antics the personator of Tó`nenili assists in varying the monotony of the long night's performance. Though shown as a fool in the rites, he is not so shown in the myths.
99. They manipulated the abdominal parietes, in the belief that by so doing they would insure a favorable presentation. This is the custom among the Navahoes to-day.
100. Among the Navahoes, medicine-men act as accoucheurs.
101. Other versions make Estsánatlehi the mother of both War Gods, and give a less imaginative account of their conception. Version A.--The maiden Estsánatlehi went out to get wood. She collected a bundle, tied it with a rope, and when she knelt down to lift it she felt a foot pressed upon her back; she looked up and saw no one. Three times more kneeling, she felt the pressure of the foot. When she looked up for the fourth time, she saw a man. "Where do you live?" he asked. "Near by," she replied, pointing to her home. "On yonder mountain," he said, "you will find four yuccas, each of a different kind, cut on the north side to mark them. Dig the roots of these yuccas and make yourself a bath. Get meal of tohonoti'ni corn (note 28), yellow from your mother, white from your father (note 27). Then build yourself a brush shelter away from your hut and sleep there four nights." She went home and told all this to her foster parents. They followed all the directions of the mysterious visitor, for they knew he was the Sun. During three nights nothing happened in the brush shelter that she knew of. On the morning after the fourth night she was awakened from her sleep by the sound of departing footsteps, and, looking in the direction that she heard them, she saw the sun rising. Four days after this (or twelve days, as some say) Nayénezgani was born. Four days later she went to cleanse herself at a spring, and there she conceived of the water, and in four days more To`badzistsíni, the second War God, was born to her. Version B.--The Sun (or bearer of the sun) met her in the woods and designated a trysting place. Here First Man built a corral of branches. Sun visited her, in the form of an ordinary man, in the corral, four nights in succession. Four days after the last visit she gave birth to twins, who were Nayénezgani and To`badzistsíni. (See "A Part of the Navajos' Mythology,"[306] pp. 9, 10.)
102. Version A thus describes the baby basket of the elder brother: The child was wrapped in black cloud. A rainbow was used for the hood of the basket and studded with stars. The back of the frame was a parhelion, with the bright spot at its bottom shining at the lowest point. Zigzag lightning was laid on each side and straight lightning down the middle in front. Niltsátlol (sunbeams shining on a distant rainstorm) formed the fringe in front where Indians now put strips of buckskin. The carrying-straps were sunbeams.
103. The mountain mahogany of New Mexico and Arizona is the Cercocarpus parvifolius, Nutt. It is called by the Navahoes Tsé`estagi, which means hard as stone.
104. Round cactus, one or more species of Mammilaria. Sitting cactus, Cereus phoeniceus, and perhaps other species of Cereus.
105. Yé-i-tso (from yéi, a god or genius, and tso, great) was the greatest and fiercest of the anáye, or alien gods. (Par. 80, note 7.) All descriptions of him are substantially the same. (See pars. 323, 325, 326.) According to the accounts of Hatáli Nez and Torlino, his father was a stone; yet in par. 320 and in Version B the sun is represented as saying that Yéitso is his child. Perhaps they mean he is the child of the sun in a metaphysical sense.
106. This part of the myth alludes to the trap-door spiders, or tarantulæ of the Southwest, that dwell in carefully prepared nests in the ground.
107. By life-feather or breath-feather (hyiná biltsós) is meant a feather taken from a live bird, especially one taken from a live eagle. Such feathers are supposed to preserve life and possess other magic powers. They are used in all the rites. In order to secure a supply of these feathers, the Pueblo Indians catch eaglets and rear them in captivity (see pars. 560 et seq.); but the Navahoes, like the wild tribes of the north, catch full-grown eagles in traps, and pluck them while alive. This method of catching eagles has been described by the author in his "Ethnography and Philology of the Hidatsa Indians."[305]
108. Pollen being an emblem of peace, this is equivalent to saying, "Put your feet down in peace," etc.