The Mountain Chant, A Navajo Ceremony Part 3

[Ill.u.s.tration: Bureau of Ethnology Fifth Annual Report Pl. XI MEDICINE LODGE, VIEWED FROM THE EAST.]

89. The next part of the ceremonies (or, shall I say, the treatment?) was a fumigation. The medicine man took from the fire a large glowing coal, placed it beside the woman, and scattered on it some powdered substance which instantly gave forth a dense smoke and a strong fragrance that filled the lodge. The woman held her face over the coal and inhaled the fumes with deep inspirations. When the smoke no longer rose the coal was quenched with water and carried out of the lodge by the chief, Manuelito, probably to be disposed of in some established manner. Then the woman left the lodge and singing and rattling were resumed.

90. While the rites just described were in progress some a.s.sistants were busy with other matters. One made, from the spotted skin of a fawn, two bags in which the akaninilis or couriers were to carry their meal on the morrow's journey. Another brought in and hung over the doorway a bundle of dry, withered plants which he had just gathered. Glancing up at them I recognized the _Gutierrezia_ and the _Bouteloua_. The bundle may have contained the other plants mentioned in the myth (paragraph 44). They were hung up there till the next day, to be then used in a manner which will be described (paragraph 101).

91. The sheepskin on which the sacrifices had been placed was taken away and a blanket was spread on the ground to receive some more sacred articles from the bag of the chanter. These were five long notched wands, some tail feathers of the wild turkey, some small downy feathers of the eagle, and some native mineral pigments--yellow ocher, a ferruginous black, and a native blue. With the pigments the a.s.sistants painted the notched wands; with the plumes the chanter trimmed them.

(See Fig. 51 and Plate XI.) Then they were called cobolca, a word of obscure etymology, or inia', which signifies sticking up or standing erect. They are called in this paper "plumed wands."

92. While some were making the cobolca others busied themselves grinding, between stones, large quant.i.ties of pigments, coa.r.s.er than those referred to above, to be used in making the sand pictures or dry paintings of the ceremony. They made five colors: black, of charcoal; white, of white sandstone; red, of red sandstone; yellow, of yellow sandstone; and "blue," of the black and white, mixed in proper proportions; of course this was a gray, but it was their only cheap subst.i.tute for the cerulean tint, and, combined with the other colors on the sanded floor, in the dim light of the lodge, it could not easily be distinguished from a true blue. It may be remarked in pa.s.sing that the Navajo apply to many things which are gray the term they use for blue (colij); thus the gray fox is called ma-colij (blue coyote) and a gray sheep is called a blue sheep. Yet that they make a distinction between these colors is, I think, fairly evident from the fact that in painting small articles, such as kethawns and masks, they use the more costly articles of turquoise, malachite, and indigo. These coa.r.s.e pigments for the dry paintings were put for convenience on curved pieces of pinon bark. From time to time, during this and the following days, as the heaps of colored powder diminished under the hands of the artists, more stones and charcoal were pulverized to replenish them.

93. About noon they cleared off that portion of the floor of the lodge which lay west of the fire, and brought, in blankets, a quant.i.ty of dry sand, which they spread out over the cleared portion of the floor in a layer of the nearly constant depth of three inches. They smoothed the surface with the broad oaken battens used in weaving. Now for a time all operations were suspended in the lodge while the chanter went out to plant the cobolca, or plumed wands, in front of the medicine lodge, and to lay beside them the collars of beaver skins and the symbols for wings which the couriers were to wear next day. (Fig. 51.) These articles, it was said, were placed outside as a sign to the G.o.ds that the holy pictures were being drawn; but it is not improbable that they were intended also as a sign to uninitiated mortals. However that may be, they were taken in as soon as the picture was finished. The great painting was begun about 1 o'clock p.m., was finished about 3, and was allowed to remain until the ceremonies at night were concluded. It will be described later. (Paragraphs 160 et seq.)

[Ill.u.s.tration: FIG. 51. The cobolca, or plumed wands, as seen from the door of the medicine lodge.]

94. When the picture was completed food was brought in, and there was a good deal of eating and sleeping and smoking done. Being informed that nothing more would be done until after nightfall, I went to my own shelter, to elaborate some of my more hasty sketches while matters were still fresh in my mind. At 7 o'clock a messenger came to tell me that ceremonies were about to be resumed. During my absence the princ.i.p.al character in the night's performance--a man arrayed in evergreens--had been dressed.

95. I found, on returning to the lodge, a number of spectators seated around close to the edge of the apartment. The fire burned in the center. The sick woman, with some companions, sat in the south. The qacali, with a few a.s.sistants who joined him in singing and shaking rattles, was seated at the north, at the place where the circ.u.mference of the lodge was enlarged. (Paragraph 83.) There was a s.p.a.ce about two feet wide and six feet long between them and the wall, or roof if you choose so to call it, of the lodge. I was a.s.signed a place in the west.

The sick woman was directed to move from the position she occupied in the south, and sit, with her face to the east, at the junction of the two white serpents that cross one another on the picture. (Plate XV.)

96. When she was seated the qacali began a song, accompanied by the usual rattling and drumming. At a certain part of the song the chanter was seen to make a slight signal with his drumstick, a rapid stroke to the rear, when instantly a ma.s.s of animate evergreens--a moving tree, it seemed--sprang out from the s.p.a.ce behind the singers and rushed towards the patient. A terrifying yell from the spectators greeted the apparition, when the man in green, acting as if frightened by the noise, retreated as quickly as he came, and in a moment nothing could be seen in the s.p.a.ce behind the singers but the s.h.i.+fting shadows cast by the fire. He was so thoroughly covered with spruce twigs that nothing of his form save his toes could be distinguished when he rushed out in the full glare of the fire. This scene was repeated three times, at due intervals.

97. Some time after the third repet.i.tion, the chanter arose, without interrupting his song, and proceeded to erase the picture with his rattle. He began with the mountain in the west (paragraph 162), which he completely leveled; next in order he erased the track of the bear; next, the hole in the center; and then, one by one, the various other figures, ending with the serpents on the outside. In erasing the serpents, he began with the figures in the east and followed the apparent course of the sun, ending with the figures in the north. When the picture was completely obliterated, the sand on which it had been drawn was collected, put in a blanket, and carried out of doors, to be thrown away.

98. Then the sick woman was lifted by two other women and laid on her side where the picture had been, with her face to the east. While she lay there, the medicine man, amid much singing, walked around her, inscribed on the earth at her feet a straight line with his finger and erased it with his foot, inscribed at her head a cross and rubbed it out in the same manner, traced radiating lines in all directions from her body and obliterated them, gave her a light ma.s.sage, whistled over her from head to foot and all around her, and whistled towards the smoke hole, as if whistling something away. These acts were performed in the order in which they are recorded. His last operation on her was a severe ma.s.sage, in which he kneaded every part of her body forcibly and pulled her joints hard, whereat she groaned and made demonstrations of suffering. This concluded, she rose. A blanket was spread on the ground on the north of the fire, near where the man in evergreens was concealed. At the last appearance of the man in evergreens the woman fell back apparently paralyzed and suffering from difficulty of breathing, all of which was probably feigned, but was supposed to be a sign that the right remedy or ceremony for her ailment had been found and that none other need be tried. The medicine man now proceeded to restore her to consciousness by drawing zigzag lines from her body east and west and straight lines north and south, like their symbols for the chain and sheet lightnings, by stepping over her in different directions, and by rattling. When she had apparently recovered, he pressed the plumed wands and the symbols for wings to different parts of her body, in the order and with the ceremonies described when referring to previous application made to her body.

99. There were no more ceremonies that night. I remained in the medicine lodge until it was quite late. The men occupied their time in singing, rattling, gambling, and smoking. After a while some grew weary and lay down to sleep. Being repeatedly a.s.sured that nothing more would happen until the whistle sounded in the morning, I left the lodge to roll myself in my blankets. Yet frequently during the night, fearing I might have been deceived, I stealthily arose and visited the medicine lodge, only to find all slumbering soundly.

100. SIXTH DAY. At five in the morning (Sat.u.r.day, October 25) the whistle sounded and I hastened to the medicine lodge. There was much to be done; the couriers were to be dressed and sent on their way, and a large picture was to be painted; so the work had to begin early.

[Ill.u.s.tration: FIG. 52. Akaninili ready for the journey.]

101. The first thing done was to burn to charcoal the bundle of plants which had been gathered on the previous morning and hung over the door of the lodge inside. (Paragraph 90.) The charcoal was used in painting the limbs of the akaninilis or couriers. A basin of water containing soap root or amole (the root of _Yucca baccata_, and other species of yucca) was brought in, and after the medicine man had dabbed them with a little of the suds the akaninilis-elect washed themselves with it from head to foot, cleaning their hair well. When the bath was done, they were dabbed by the qacali with some other mixture contained in a waterproof wicker basin and were made to inhale the fragrant fumes of some vegetable powder scattered on a live coal, which, as usual, was "put out," in a double sense, when the fumigation was over. Then the young men were dressed and adorned to look like Dsilyi' Neyani after his toilet in the house of the b.u.t.terflies. (Paragraph 44.) Their legs and forearms were painted black, to represent the storm cloud. The outer aspects of these members were decorated with white zigzag streaks, to indicate the white lightning. Their faces were painted partly white and small white spots were scattered over their bodies. Downy eagle feathers were fastened to their hair; necklaces of sh.e.l.l and coral were hung around their necks, and over these were laid collars of beaver skin, with whistles attached, which had lain in front of the lodge the day before, near the plumed wands. (Paragraph 93, Fig. 51.) Small objects to represent wings were tied to their arms. Each was given one of the fawn skin bags (paragraph 90) with corn meal in it. In the hand of the akaninili who was to go to the south was placed one of the cobolca, or plumed wands, whose stem was painted black, the color of the north, as a sign to all he might meet that he was a duly authorized messenger from a medicine lodge in the north. In the hand of the other akaninili was placed a blue shafted wand, to show that he came from the south. Thus equipped they were all ready for the journey. (Fig. 52.)

102. The chanter gave them his messages, telling them where to go, what places they were to visit, what other chanters they were to see, what dancers they were to invite, and what gifts they were authorized to offer to the visiting performers for their trouble. Having given these special instructions, he closed with the general instructions, which are always given to the akaninili, as follows:

These [pointing to the eagle feathers on the head] will make for you a means of rising as you progress.

These [pointing to the wing symbols on the arm] will bear you onward.

This [pointing to the collar of beaver skin] will be a means of recognition for you. For this reason it hangs around your neck.

Sprinkle meal across a little valley, across a big arroyo.

Across the roots of a tree sprinkle meal and then you may step over.

Sprinkle meal across a flat rock.

Then the plumed wand. For this purpose you carry it, that they will recognize you as coming from a holy place.

103. The akaninili on his journey scatters meal before him as directed in these charges. He also scatters it on the medicine men whom he visits, and for this reason he is called akaninili, which signifies meal sprinkler.

104. When the last word of the instructions was uttered, the couriers departed, one to the north and one to the south. It was not later than 7 o'clock when they left. As soon as they were gone, the work of painting the picture appropriate to the day was begun. It was much more elaborate than the painting of the previous day. Although a dozen men worked on it, it was not finished until two o'clock. About the time it was done, the akaninili from the south returned. He was carefully divested of all his ornaments. The white paint was sc.r.a.ped carefully from his body and preserved in the medicine bags of those who sc.r.a.ped it off. Then he was led out of the lodge.

105. When the picture was finished, the shaman, having applied pollen in three places to each G.o.d, stuck around it in the ground, at regular intervals, the three plumed wands which had stood before the door of the lodge all day and the wand which the akaninili from the south had just brought back with him. This wand he placed at the south of the picture, and laid beside it the collar, wings, and plumes which the akaninili had worn. The fifth, or north, wand was still absent with the courier who went to the north.

106. All was ready now for the treatment of the sick woman. She was sent for, and a crier went to the door of the lodge to announce that song and ceremony were to begin. Accompanied by another woman, she entered, carrying a basket with corn meal in it. This she sprinkled lightly over the picture and then handed it to some of the a.s.sistants, who finished the work she had begun by strewing the meal plentifully on the figures.

She sat on the form of the G.o.d in the east, facing the door, with her feet extended, and her companion sat on the figure of the cornstalk in the southeast. (Plate XVI.) In the mean time the medicine man had made a cold infusion in an earthen bowl and placed it on the hands of the rainbow figure (paragraph 169), laying over it a brush or sprinkler made of feathers, with a handle of colored yarn. When the women were seated, the chanter dipped his brush in the solution; sprinkled the picture plentifully; touched each divine figure with the moistened brush in three places-brow, mouth, and chest; administered the infusion to the women, in two alternate draughts to each; drained the bowl himself; and handed it to the bystanders, that they might finish the dregs and let none of the precious stuff go to waste. Next came the fumigation. The woman whom we have designated as the companion rose from her seat on the picture and sat on the ground beside the door. The princ.i.p.al patient retained her seat on the eastern G.o.d. Near each a live coal was laid on the ground. On the coal a strong scented but rather fragrant mixture was thrown, and as the fumes arose the women waved them towards their faces and breathed them in as before. The coal was extinguished and carefully removed, as on previous occasions. The application of the sacred dust to the body of the patient followed. The shaman moistened his hands with saliva and pressed them to the feet of all the G.o.ds. Some of the powder, of course, stuck to his palms. This he applied to the feet of the patient. Thus he took dust from the knees, abdomens, chests, shoulders, and heads of the figures and applied it to corresponding parts of the patient's form, making a strong ma.s.sage with each application.

107. When the patient had departed many of the spectators advanced to the picture and gathered the corn pollen (paragraphs 105 and 112), now rendered doubly sacred, and put it in their medicine bags. Some took portions of the remaining dust from the figures, after the manner of the shaman, and applied it to ailing portions of their persons. If the devotee had disease in his legs, he took dust from the legs of the figures; if in his head, the dust was taken from the heads of the figures, and so on.

108. By the time they were all done the picture was badly marred; yet its general form and some of the details were quite distinguishable.

Then it became the province of the chanter to completely obliterate it.

He began with the white G.o.d in the east and took in turn the figures in the southeast (corn), south, southwest, west, center, northwest, north, and northeast. Next, the figure of the rainbow was erased from foot to head, and, on his way, the chanter knocked down, with rather vicious blows, the plumed wands which stood up around the picture. When he came to the round figure in the center he dug up a cup which had been buried there. He erased the picture with a long slender wand and sang in the meantime, to the accompaniment of the rattling of his a.s.sistants, a plaintive chant in a minor key, which was perhaps the most melodious Indian song I ever heard. All was over at half past 2 in the afternoon.

109. Later in the day it was announced that the other akaninili was approaching from the north. He could then be observed about a mile away in an open plain. As he advanced the sound of his whistle was heard. At exactly half past 4 he entered the medicine lodge, where the chanter motioned him to a seat in the south. Singing and rattling were at once begun and the akaninili was divested of his trappings in the following order: head plumes, beaver collar, necklace, right wing, left wing, belt, sash, moccasins. The white paint was removed and preserved as on the former occasion. He was led out of the lodge, where he was well washed from head to foot in a hot decoction of the detergent amole and dried with corn meal. Two large blood blisters were to be seen on the inner aspects of his thighs, brought on by the friction of his breechcloth in running. He said that he had run constantly when not in sight from our camp, had traveled a long way since morning, and was very tired. It seems to be the custom with the akaninilis to walk slowly when near camp and to run when out of sight, probably to follow the mythic examples of Tlaescni and Indsiska. (Paragraph 63.)

110. With the toilet of the akaninili the ceremonies of the day ended.

He returned to the lodge to relate his adventures and get some food.

During the day visitors arrived occasionally from distant camps. In the afternoon there were several young men present, who busied themselves in grubbing and clearing the ground where the corral was to be built and the great dance of the last night was to be held. I remained in the lodge until it was quite late, and I frequently rose during the night to see if anything was going on; but the night pa.s.sed without event, like the previous one.

111. SEVENTH DAY. The painting of the picture and the treatment of the sick woman were the only works performed on this day (Sunday, October 26). The whistle sounded from the lodge at 6 a.m., but already the plumed wands and the beaver collars had been placed before the door of the medicine lodge and the sand for the groundwork of the picture had been brought in. As the picture (Plate XVII) was to be larger than those which preceded it, the fire was moved quite near to the door; the heated earth which lay under the fire in its former position was dug up and replaced with cold earth, probably for the comfort of the artists.

112. The work of the painters was begun soon after 6 a.m. and was not completed until about 2 p.m. About a dozen men were engaged on it, and it occupied them, as we have seen, about eight hours. As usual, the qacali did very little of the manual labor; but he constantly watched the work and frequently criticised and corrected it. When the painting was done, it became his duty to apply the sacred corn pollen to the brow, mouth, and chest of each of the G.o.ds and to set up the bounding cobolca or plumed wands. After this he placed a bowl of water on the left hand of the white G.o.d--the form second from the north--threw into it some powdered substance to make a cold decoction, and laid the sprinkler on top of it. (Paragraph 106.)

113. The whistle was blown. The herald announced that all was ready. The sick woman and her companion entered, and one after the other cast meal upon the floor. The former took off her moccasins and sat on the ground near the door while a song was sung. Then she sat on the form of the white G.o.d, her companion sat on the form of the blue G.o.d, and the singing and rattling were resumed. Without interrupting his song the chanter sprinkled the picture with the infusion, applied the moistened sprinkler to the breast, head, and brow of each of the G.o.ds in the following order: white, blue, yellow, black, and sat down to finish his chant. He administered the decoctions to his patient in two draughts, to her companion in two draughts, to himself (honest physician!) in the same manner, and gave as before (paragraph 106) the dregs to the bystanders. He applied the dust from different parts of the divine figures to the sick woman, in much the same manner as on the previous day, and while doing this he obliterated the pictures of the little animals over the head of the white G.o.d. The fumigation of both women was repeated with exactly the same rites as on the second day, and the fumes had precisely the same odor on this occasion as on that. When the coals were extinguished and taken out, the chanter said to the women, "kac"

(now), whereat they arose and left the lodge.

114. As soon as they were gone the work of obliteration began. The figures of the G.o.ds were rubbed out in the usual order (white, blue, yellow, black, rainbow), the erasure in each case proceeding from foot to head. The plumed wands fell as before, simultaneously with the destruction of the rainbow. The sand was carried out at half past 2 o'clock and no further rites were performed during the day.

115. EIGHTH DAY. The picture painted on Monday (October 27) was of a simple character, and hence did not occupy much time. The work was begun at 7 a.m. and was finished at 10 a.m. Of the four shorter or interior arrows (Plate XVIII), that which stands second from the north was regarded as the arrow of the east and was begun first. On this arrow the sick woman was placed, sitting with her face to the east, when she came to be treated and fumigated. The bowl of infusion was laid on the point of the arrow immediately to her left, regarded as the arrow of the north. The medicine man put the pollen on the base, on the red cross lines near the center, and on the white tips. All the ceremonies which took place between the completion and the obliteration of the picture (the planting of the five plumed wands, the sprinkling of the picture with meal, the sprinkling and administration of the infusion, the application of the colored dust to the person of the patient, the fumigation of the two women, the whistling, the singing, and rattling) were essentially the same as those observed on the previous day. In taking the dust from the picture, however, the shaman applied his hands only to the bases of the arrows. The ceremony of obliteration was also a repet.i.tion of the rites of the previous day.

[Ill.u.s.tration: FIG. 53. The great wood pile.]

116. The building of the great stack of wood (Fig. 53) which was to furnish the fire in the center of the corral on the last night went on simultaneously with the painting of the picture. Both tasks were begun and ended about the same time. The wood in the big pile was dead, long seasoned juniper and cedar, fuel of the most inflammable character. The pile was about twelve feet high and sixty paces in circ.u.mference. Large quant.i.ties of this dry wood were also brought and placed outside the s.p.a.ce allotted to the corral, to replenish the fires when needed.

117. In the afternoon there were no ceremonies in the medicine lodge.

The qacali and his a.s.sistants took a half holiday, and not without deserving it, for they had wrought well for three days and they had a long day's work and a long night's work still before them. A large number of people had by this time a.s.sembled, and from time to time more arrived. Throughout the spa.r.s.e grove which surrounded us, little temporary corrals and huts of boughs were going up in every direction.

In more secret spots in the rugged walls of a canon, about half a mile from the medicine lodge, other shelters were erected, where visiting performers were to prepare themselves on the last night. Many young men were busy in the afternoon cutting down the trees and lopping off the branches which were to form the great corral (the ilnasjin, the dark circle of branches) on the next day. Some of the visiting women were busy grinding meal and attending to different household duties; others played cards or engaged in the more aboriginal pastime of azilcil, a game played with three sticks and forty stones, the latter for counters.

118. The friends of the sick woman prepared the alkan, a great corn cake baked in the earth, the manufacture of which gave evidence of the antiquity of the process. The batter was mixed in one large hole in the ground lined with fresh sheepskin. It was baked in another hole in which a fire had been burning for many hours, until the surrounding earth was well heated. The fire was removed; the hole lined with corn husks; the batter ladled in and covered with more cornhusks; hot earth and hot coals were spread overall. The cake was not dug up until the following day, and was designed chiefly for the special entertainment of those who were at work in the medicine lodge.

119. NINTH DAY (UNTIL SUNSET). On Tuesday (October 28) the work in the lodge consisted in preparing certain properties to be used in the ceremonies of the night. These were the wands to be used in the first dance, the katso-yiscan or great plumed arrows, and the trees which the dancers pretended to swallow.

120. The wand of the nahika was made by paring down a straight slender stick of aromatic sumac, about three feet long, to the general thickness of less than half an inch, but leaving a head or b.u.t.ton at one end.