THE MOUNTAIN CHANT: (continued 3)
Reading edition
219. FIRST SONG OF THE HOLY YOUNG MEN, OR YOUNG MEN GODS.
1. Oöc ‘çqa nagāīë, 2. Kaç Tsilkè-¢igìni, 3. Dsil ¢ilhyíl biyàgi, 4. Biyàji naïlè. 5. Aie ‘çqa nagāīë, 6. Kaç Tcikè-¢igini, 7. Dsil çolíj biyàgi, 8. Biyàji naïlè.
220. Translation.—1, 5. ‘Çqa = biçqa, amid or among them; nagai, that, there. 2. Kaç, now; Tsilkè-¢igìni, Holy Young Man; Tcikè-¢igìni, Holy Young Woman. 3, 7. Dsil, mountain; ¢ilhyíl, black; çolíj, blue; biyàgi, at the foot of, at the base of. 4, 8. Biyàji, his child; naïlè, he lays down, he leaves.
221. Free translation.
There amid [the mountains], Now the Holy Young Man, At the foot of the black mountain, Lays down his child. There amid [the mountains], Now the Holy Young Woman, At the foot of the blue mountain, Lays down her child.
222. The characters of Tsilkè-¢igìni and Tcikè-¢igìni are in the myth. The black mountain, pertains to the male, the blue to the female. Although not told with the rest of the myth, it was subsequently related to the writer that Tsilkè-¢igìni said to the prophet, “Whoever learns
223. SIXTH SONG OF THE HOLY YOUNG MEN.
Aïena. Altsàcië ¢igìni oöhè. Altsàcië ¢igìni oöhè.
1. Altsàcië ¢igìni, altsàcië ¢igìni, altsàcië ¢igìni oöhè. 2. Kaç Tsilkè-¢igìni, bakàgië ¢igìni, 3. Dsil ¢ilhyíli eä, bakàgië ¢igìni, 4. Tsintsoï ¢ilhyíli eä bakàgië ¢igìni, 5. Tsí¢a bialìli, bíja ye¢igíngo, bakàgië ¢igìni, oöhè. 6. Altsàcië ¢igìni, altsàcië ¢igìni, altsàcië ¢igìni oöhè. 7. Kaç Tcikè-¢igìni, bakàgië ¢igìni, 8. Dsil çolíji cë, bakàgië ¢igìni, 9. Tsintsoï çolíji, bakàgië ¢igìni, 10. Tsí¢a bialìli, bíja ye¢igíngo, bakàgië ¢igìni, oöhè.
224. Translation.— 1, 6. Altsàcië, on each side; ¢igìni, a holy one, a god. 2, 7. Kaç, now; tsilkè, young man; tcikè, young woman; bakàgi, on the summit, on top of it. 3, 8. Dsil, mountain; ¢ilhyíl, dark, black; çolíji, blue. 4, 9. Tsintsoï, great stick, a notched stick used as a musical instrument in the dance. 5, 10. Tsí¢a bialìli, truly his dance implement; bíja ye¢igíngo, his holy treasure, his talisman, his charm, his magic wand.
225. Free translation.
There’s a god on each side. Now the Holy Young Man Is the god on top of the black mountain, With his black notched stick, The implement of his dance, his magic wand. There’s a god on each side. Now the Holy Young Woman Is the god on top of the blue mountain, With her blue notched stick, The implement of her dance, her magic wand.
226. This song is said to refer to that part of the myth where it is related that the prophet, flying from the Ute, climbed a hill which was transformed into a mountain. (Paragraph 38.) Each mountain was supposed to have a holy one on it, who could, by means of his notched stick, produce the metamorphosis. The mountains were not necessarily colored black and blue, but are thus described to indicate that they lay north and south of the prophet’s path. (Paragraph 171.)
227. TWELFTH SONG OF THE HOLY YOUNG MEN.
Eāīèa qàla éla yaináhe, oöhè. Eāīèa qàla éla yainooò yaaà yooò [three times], Eāīèa qàla éla yainà, qàla èla qainàhe oöhè.
1. Dsil ilhyíli inlòooò yaaà yooò, 2. Tsintsoï ¢ilhyíli inlòooò yaaà yeeè. 3. Ci cigèlgo yainà, Qala éla qainàhe oöhè. 4. Dsil çolíji inlòooò yaaà yooò, 5. Tsintsoï ¢ilhyíli inlòooò yaaà yeeè, 6. Ci cigèlgo yainà, Qala éla qainàhe oöhè.
228. Translation.—1, 4. Dsil, mountain; çilhyíl, black; çolíj, blue. 2, 5. Tsintsò, a notched stick used in ceremonies to make music; inlo (inla‘), they lie there (two long hard things lie). 3, 6. Cigèl, my ultimatum, my desideratum (said of the peculiar sacrifice which belongs to each god), something I (the god) will have and accept nothing in place of it, my special sacrifice.
229. Free translation.
There lie the black mountains; There lie the black sticks; There lie my sacrifices. There lie the blue mountains; There lie the blue sticks; There lie my sacrifices.
230. This is supposed to be a part of the instructions which the Holy Young Men and Holy Young Women gave to the prophet. The tsintso is made of cherry, which grows only on high mountains in the Navajo country. The sticks are painted black and blue. (See paragraph 171.) The song alludes to all these facts.
231. EIGHTH SONG OF THE YOUNG WOMEN WHO BECOME BEARS.
Ço¢igìni¢a oyàhe, oöhè, Ço¢igìni¢a oyà oyà ooyàya Hāīyàya hāīyàya hāīyàhe, oöhè. Ço¢igìni¢a oyàhe, oöhè, Ço¢igìni¢a oyà oyà ooyàya, Hāīyàya hāīyàya hāīyàhe, oöhè.
1. Kaç Tsilkè-¢igìnië ço¢igìn¢a hāīyàhe, oöhè, 2. Bitsintsòië ië ço¢igìn¢a hāīyàhe oöhe, 3. Tsí¢a bialìlië bíja-ye¢igìnië, oyà oyà, oyàya, Hāīyàya hāīyàya hāīyàhe, oöhè. 4. Kaç Tcikè-¢igìnië ço¢igìn¢a hāīyàhe, oöhè, 5. Bitsintsòië ië ço¢igin¢a hāīyàhe oöhè, 6. Tsí¢a bialìlië bíja-ye¢igìnië, oyà oyà, oyàya, Hāīyàya hāīyàya hāīyàhe, oöhè.
232. Translation.— Ço¢igìni¢a, ço¢igìni¢a, he is not a god; it is not holy; it is not divine. 1, 4. Kaç, now; tsilkè, young man; tcikè, young woman; ¢igìni, holy, supernatural. 2, 4. Bitsintsòi, his great notched stick. 3, 6. Tsí¢a, verily; bialìli, his implement of the dance or rite; bíja-ye¢igìni, his treasure which makes holy; his magic wand.
233. Free translation.
The Holy Young Man is not divine; His great notched stick is not holy; His magic wand is not holy. The Holy Young Woman is not divine; Her great notched stick is not holy; Her magic wand is not holy.
234. This is supposed to refer to an altercation between these two gods, in which they tried to belittle each other.
235. I have another song of this series, in which the idea is conveyed that their powers depend on their magic wands or notched sticks.
236. ONE OF THE AWL SONGS.
Òwe òwe òwe yàni yàï owàn na a [repeat three times], Òwe òwe ìni áhe oöhè.
1. ‘Ke-cac-natlèhi natcagàhi, 2. Kaç dsil ¢ilhyíli bakàgi natcagàhi, 3. Kaç ni‘ inzàç inçì çoholnì¢a òna, 4. Kaç ni‘ inzàç inçì çoniò¢a òna. 5. Tcikè-¢igìni natcagàhi, 6. Dsil çolíji bakàgi natcagàhi, 7. Kaç ni‘ inzàç inçì, çoholnì¢a òna, 8. Kaç ni‘ inzàç inçì, çoniò¢a òna.
237. Translation.—1. Ke, an abbreviation of tcikè; Tcikè-cac-natlèhi, maiden who becomes a bear; natcagà‘, she travels far, she walks or wanders far around. 2. Kaç, now; dsil ¢ilhyíl, black mountain; bakàgi, on top of. 3, 4, 7, 8. Ni‘, earth, land; inzàç, distant; inçì, it lies, it stretches; çoholnì¢a, seems not to be; çoniò¢a, not obscure or dim like a faint distance. 6. Dsil çolíji bakàgi, on top of the blue mountains.
238. Free translation.
The Maid Who Becomes a Bear walks far around On the black mountains, she walks far around. Far spreads the land. It seems not far [to her]. Far spreads the land. It seems not dim [to her]. The Holy Young Woman walks far around On the blue mountains, she walks far around. Far spreads the land. It seems not far [to her]. Far spreads the land. It seems not dim [to her].
239. FIRST SONG OF THE EXPLODING STICK.
Aïena. Aïeyà āīa aïeya iè eè ieèe [three times] ië lan.
1. ‘Ke-cac-nátlèhi dsilyi‘ ¢i¢ílkon ië nan, 2. Dsilyi‘ ¢olkòlkon; dsil bekonnìçe ië nan, Ië nan yahà hāīà ië nan aï. 3. Çabasçìni ço‘yi‘ ¢i¢ílkon ië nan, 4. Ço‘yi ¢olkòlkon; ço‘bekonnìçe ië nan, Ië nan yahà hāīà ië nan aï.
240. Translation.—1, 3. ‘Ke-cac-natlèhi = Tcikè-cac-nátlehi, Young Woman Who Becomes a Bear; Çabasçin, the Otter; ¢i¢ílkon, he or she set on fire in many places. 2, 4. Dsil, mountains; dsilyi‘, in the mountains; ço‘, water, waters; ço‘yi‘, in the waters; ¢olkolkon, he set on fire as he went along; bekonnìçe, its fires in a line, its string of fires.
241. Free translation.
Young Woman Who Becomes a Bear set fire in the mountains In many places; as she journeyed on There was a line of burning mountains. The Otter set fire in the waters In many places; as he journeyed on There was a line of burning waters.
242. It is related that in the ancient days, during a year of great drought, these holy ones, on their way to a council of the gods, set fire to the mountains and the waters. The smoke arose in great clouds, from which rain descended on the parched land. The song alludes to this legend.
243. LAST SONG OF THE EXPLODING STICK.
Hiè ieeè naāīà āīà i a ai an an [twice] ie.
1. Tcikè-cac-nátlehië ¢igìni qayikàlgo; bàniya āīè. 2. Dsil aga ¢azàgië ¢igìni qayikàlgo; bàniya āīè. 3. Tsí¢a ci cigèliye ¢igìni qayikàlgo; bàniya āīè. 4. Yàne ¢oölànegoö ¢isitsaàye. Hiè ieeè naāīà, etc. 5. Kaç Tcikè-¢igìni ¢igìni qayikàlgo; bàniya āīè. 6. Kos aga ¢azàgië ¢igìni qayikàlgo; bàniya āīè. 7. Tsí¢a ci cigèliye ¢igìni qayikàlgo; bàniya āīè. 8. Yàne ¢oölànegoö ¢isitsaàye. Hiè ieeè naāīà, etc.
244. Translation.—1, 5. Tcikè-cac-nátlehi, Young Woman Who Becomes a Bear; Tcikè- ¢igìni, Holy Young Woman, or young woman goddess; ¢igìni qayikàl, she journeyed seeking the gods; bàniya, she found them, she met them. 2, 6. Dsil, mountains; kos, clouds; aga, peak, summit; ¢azà‘, many pointing upwards; (dsil aga ¢azàgi, on many mountain peaks). 3, 7. Tsí¢a, truly or true; cigèl, my desideratum, my special sacrifice. 4, 8. ¢oölàne = ¢oölà¢a, some one does not believe it; ¢isitsà, I have heard; yàne and other vocables are meaningless.
245. Free translation.
Maid Who Becomes a Bear sought the gods and found them; On the high mountain peaks she sought the gods and found them; Truly with my sacrifice she sought the gods and found them. Somebody doubts it, so I have heard. Holy Young Woman sought the gods and found them; On the summits of the clouds she sought the gods and found them; Truly with my sacrifice she sought the gods and found them. Somebody doubts it, so I have heard.
246. These songs are accompanied, in beating the drum, with a peculiar sharp strike like a sudden outburst or explosion. Hence, they say, the name, Tsin¢ilçòï Bigin.
247. FIRST DAYLIGHT SONG.
Çahiz¢ìle, çahiz¢ìle, ya ahāīà lan [four times].
1. Kaç Yikāī-acikè çahiz¢ìle, ya ahāīà lan, 2. Qaïyolkal¢e çahiz¢ìle, ya ahāīà lan, 3. Bitsídje yolkàlgo çahiz¢ìle, ya ahāīà lan, 4. Bikèc¢e yolkàlgo çahiz¢ìle, ya ahāīà lan. 5. Bitsídje qojògo çahiz¢ìle, ya ahāīà lan, 6. Bikèc¢e qojògo çahiz¢ìle, ya ahāīà lan, 7. Bizàç¢e qojògo çahiz¢ìle, ya ahāīà lan, Çahiz¢ìle, çahiz¢ìle, etc. 8. Kaç yikāī-açèç, çahiz¢ìle, ya ahāīà lan, 9. Naqotsòï¢e çahiz¢ile, ya ahāīà lan. [Verses 3 to 7 are here repeated.] Çahiz¢ile, çahiz¢ile, etc.
248. Translation.—Çahiz¢ile = çahiz¢el, it hangs as a curtain or festoon; it hangs supported at both ends, i.e., the white curtain of dawn so hangs. 1. Yikāī-acikè, the Daylight Boy, the Navajo dawn god. 2. Qayolkàl¢e, from the place of dawn. 3. Bitsídje, before him; yolkàlgo, as it dawns, as the night passes away. 4. Bikèc¢e, from behind him. Qojògo, in a beautiful (earthly) manner. 7. Bizàç¢e, from his voice. 8. Yikāī-açèç, the Daylight Girl—the dawn goddess. 9. Naqotsòï¢e, from the land of yellow light (horizontal terrestrial yellow).
249. Free translation.
The curtain of daybreak is hanging The Daylight Boy (it is hanging), From the land of the day it is hanging; Before him, as it dawns, it is hanging; Behind him, as it dawns, it is hanging. Before him, in beauty, it is hanging; Behind him, in beauty, it is hanging; From his voice, in beauty, it is hanging. The Daylight Girl (it is hanging), From the land of yellow light, it is hanging, &c. (substituting her for him and his).
250. LAST DAYLIGHT SONG.
Loleyèe, Loleyèe. Loleyèe, Loleyèe. Loleyèe, Loleyèe. Yahāièe qanaāī.
1. Qayolkàgo, Loleyèe. 2. Kaç Yikāī-acikèe. Loleyèe. Loleyèe, Loleyèe. Yahāīee, qanaāī. 3. Kaç a¢a yiskàgo. Loleyèe. 4. Kaç Yikāī-açèçe. Loleyèe. Loleyèe, Loleyèe. Yahāīee, qanaāī.
251. Translation.—1. Qayolkàgo, in the place of dawn. 2, 4. Yikāī-acikè and Yikāī-açèç, Daylight Boy and Daylight Girl (see paragraph 248). 3. A¢a yiskàgo, it is day all around. Refrain, loleyè, lullaby, a meaningless expression to indicate sleepiness.
252. Free translation.
Lullaby, lullaby. It is daybreak. Lullaby. Now comes the Daylight Boy. Lullaby. Now it is day. Lullaby. Now comes the Daylight Girl. Lullaby.
253. As the daylight songs are sung just at dawn, in the corral, before the dance ceases, their significance is apparent.
OTHER SONGS AND EXTRACTS.
254. SONG OF THE PROPHET TO THE SAN JUAN RIVER.
Aïena. 1. Nagāī çonilínië, nagāī çonilínië, 2. Biçhyísgo cinì‘ ¢eyà‘ Haïniyèa, haïniyèa, āīèe niò haïne-yàhe, oöhè. 3. Nagāī çointyèlië, nagāī çonilínië, 4. Biçhyísgo cinì‘ ¢eyà‘ Haïniyèa, etc. 5. Nagāī san biçòië, nagāī çonilínië, 6. Biçhyísgo cinì‘ ¢eyà‘ Haïniyèa, etc.
255. Translation.—1. Nagāī that; çonilíni, flowing water, a river. 2, 4, 6. Biçhyísgo, across it; cinì‘, my mind; ¢eyà‘, it goes, or, it comes, it wanders to or from. 3. Çointyèli, broad water. 5. San biço, water of old age.
256. For origin and free translation of this song, see paragraph 22.
257. SONG OF THE BUILDING OF THE DARK CIRCLE.
Oeà oeà, eà eà, he he; Oeà oeà, eà eeà, he he, ee nan a.
1. Dsilyi‘ Neyáni, cayolèli cayolèli; 2. Tcoyaj ¢ilhyíli, cayolèli cayolèli; 3. Tsíca alìli, cayolèli cayolèli; 4. Bija ¢igíngo, cayolèli cayolèli. 5. Tcikè-¢igìni, cayolèli cayolèli; 6. Tcoyaj çolíji, cayolèli cayolèli; 7. Tsí¢a alìli, cayolèli cayolèli; 8. Bíja ¢igíngo, cayolèli cayolèli.
258. Translation.—1. Dsilyi‘ Neyáni, Reared Within the Mountains, the prophet who instituted these ceremonies; cayolèli, he carries [something long and flexible, as a branch or sapling] for me. 2, 6. Tcoyaj, a spruce sapling, diminutive of tco, spruce; ¢ilhyíl, black; çolíj, blue. 3, 7. Tsí¢a alìli (usually tsí¢a bialìli), truly a dance implement. 4, 8. Bíja ¢igíngo (usually bíja-ye¢igíngo), a holy treasure, a magic wand.
259. Free translation.
Reared Within the Mountains carries for me; A black spruce sapling, he carries for me; An implement of the rites, he carries for me; A holy treasure, he carries for me. The Holy Young Woman carries for me; A blue spruce sapling, she carries for me; An implement of the rites, she carries for me; A holy treasure, she carries for me.
260. The evergreen poles used in the dance and in making “the dark circles,” to both of which this song probably refers, were, in all cases where I have observed them, made of piñon and not of spruce; but all dances I have witnessed were at altitudes of about six thousand feet, where piñon was abundant and spruce rare. In those portions of the Navajo country with which I am familiar the spruce (Pseudotsuga douglassii) grows plentifully at the height of eight thousand feet, sparsely below that. There is good reason for believing that the spruce is the true sacred tree of these rites and that the piñon is only a convenient substitute. The song is called Ilnásjin Beniçà, “that with which the dark circle is built.” It is sung by the shaman at the eastern gate, while the young men are building the corral. (Paragraph 124.) I have other
261. PRAYER TO DSILYI‘ NEYÁNI.
1. Dsilyi‘ Neyáni! 2. Dsil banaçà! 3. Tsilkè! 4. Naçàni! 5. Nigèl icla‘. 6. Na¢è hila‘. 7. Cikè caä¢ilil. 8. Citcàç eaä¢ilil. 9. Citsès eaä¢ilil. 10. Cinì‘ eaä¢ilil, 11. Cinè eaä¢ilil. 12. Qojògo qa¢àlçe aci¢ilil. 13. Citsídje qojolel. 14. Cikè¢e qojolel. 15. Cizàç qaqojolel. 16. Qojòni qaslè, 17. Qojòni qaslè, 18. Qojòni qaslè, 19. Qojòni qaslè.
262. Translation.—1. The name of the prophet. 2. Dsil, mountains, banaçà, chief (or master) for them. 3. Tsilkè, young man. 4. Naçàni, chieftain. 5. Nigèl, your peculiar sacrifice, i.e., the keçàn; icla‘, I have made. 6. Na¢è, a smoke, i.e., the cigarettes (paragraph 87), for you; hila‘, is made. 7, 8, 9, 10, 11. Cikè, my feet; citcàç, my lower extremities; citsès, my body; cinì‘, my mind; cinè, my voice; eaä¢ilil, for me restore (as it was before) thou wilt. 12. Qojògo, in a beautiful manner; qa¢àlçe, repaired, mended; aci¢ilil, restore me thou wilt. 13, 14. Citsídje, in the direction before me; cikè¢e, from behind me; qojolel, wilt thou terrestrially beautify. 15. Cizàç, my words; qaqojolel, wilt thou personally beautify. 16, 17, 18, 19. Qojòni, in earthly beauty; qaslè, it is made, it is done.
263. In other prayers, closely resembling this in form, the shaman adds: “Beautify all that is above me. Beautify all that is below me. Beautify all things around me.”
264. The division into verses is that of the chanter. He pronounces the name in the first line; the patient repeats it after him. Then he gives out the words in the second line, and so on. For free translation, see paragraph 88.
265. SONG OF THE RISING SUN DANCE.
Oöniyàye, oöniyàye oöniyàhe yáhe yáhe heyiyoè [twice]. 1. Qanaïçác¢e 2. Tsilkè-çigìni 3. Kátso-yisçàni 4. Yìyolnakòe 5. Qano qakòsko. 6. Tcihanoāīe 7. Akos nisínle. Yáhe, yáhe eïa āī. Oöniyàye, etc. 8. Inaïçác¢e 9. Tcikè-çigìni 10. Awètsal-yisçàni 11. Yìyolnakòe 12. Qana qokòsko. 13. Klehanoāīe 14. Akos nisínle. Yáhe, yáhe eïa āī.
266. Translation.—1. Qanaïçác¢e, from where it (the sun) rises. 2. Tsilkè-¢igìni, Holy Young Man. 3. Kátso-yisçàni, the great plumed arrow. 4, 11. Yiyolna‘, he swallowed slowly or continuously. 5, 12. Qano qakòsko, it comes out by degrees. 6. Tcihanoāī, the sun. 7, 14. Akos nisín, he is satisfied. 8. Inaïçác¢e, from where it sets. 9. Tcikè-¢igìni, Holy Young Woman. 10. Awètsal-yisçàni, prepared or plumed cliff rose, i.e., cliff rose arrow. 13. Klehanoāīe, the moon.
267. Free translation.
Where the sun rises, The Holy Young Man The great plumed arrow Has swallowed And withdrawn it. The sun Is satisfied. Where the sun sets, The Holy Young Woman The cliff rose arrow Has swallowed And withdrawn it. The moon Is satisfied.
268. This song is sung during the dance or alil described in paragraph 142. The conception of the poet seems to be that, the dance of the great plumed arrow having been properly performed, the sun should be satisfied and willing to do the bidding of the dancers, i.e., rise when desired, on the pole.
269. INSTRUCTIONS GIVEN TO THE AKÁNINILI.
1. Çi‘ betcána nilìnlel. 2. Çi‘ ¢a‘naniltyèl¢o. 3. Çi‘ beniqo¢ílsinlel. Aïbinìgi nizè ¢ela‘. 4. ¢a‘yiltsísgo, ¢a‘bokògo tse‘na akàn hyis¢inìle. 5. Tsin etlol akàn bàçhyis hyis¢inìle; ako bàçhyis hyis¢ilçále. 6. Tse‘ elkàgi akàn hyis¢inìle. 7. Akoï kátso-yisçàn; aïbinigi djoçile, qoi¢igín¢e behoèqoi¢ilsin.
270. Translation.—1. Çi‘, this; betcána, a thing to rise with (as you progress); nilìnlel, will make for you. 2. Çi‘, this; ¢a‘naniltyèl¢o, will carry you along anywhere. 3. Beniqo¢ílsinlel, by means of it people will know you; aïbinìgi, for this reason, or purpose; nizè, your neck; ¢ela‘, it hangs (once) around. 4. ¢a‘yiltsísgo, at any little valley (yiltsis, a little valley); ¢a‘bokògo, at any gully or arroyo (boko‘, arroyo); tse‘na, across; akàn, meal; hyis¢inìle, he sprinkles always across. 5. Tsin etlol, the root of a tree; akàn, meal; bàçhyis, across it; hyis¢inìle, he sprinkles across; ako, then; hyis¢ilçále, he steps across. 6. Tse‘ elkàgi, on flat rocks; akàn, meal; hyis¢inìle, he sprinkles across. 7. Akoï, then, next; kátso-yisçàn, the great prepared arrow—so says the chanter, but he really refers to the in¢ia‘, or çobolçà, the plumed wand which akáninili carries; aïbinigi, for this purpose; djoçile, he carries it (in the hand); qoi¢igín¢e, from a holy place (¢igin, holy); behoèqoi¢ilsin, by means of it people know him.
271. For free translation, see paragraph 102.
272. PRAYER OF THE PROPHET TO HIS MASK.
1. ¢a‘andje qahasdsìgo ançèlini, cilìn. 2. Hyininàleni, cilìn. 3. Ayàn¢an çocisyi‘go¢olèl¢a, cilìn. 4. Caï¢inilìl.
273. Translation.—1. ¢a‘andje, at any time to you; qahasdsìgo, when I spoke; ançèlini, always you made or did it, i.e., granted my request or assisted me; cilìn, my domestic animal, my pet. 2. Hyininàleni, you were alive (once); cilìn, my pet. 3. Ayàn¢an, be sure, take care; ço¢a, negative; cisyi‘go, that I die; ¢olèl, I desire, I beg (the divided negative makes one word of the sentence). 4. Caï¢inilìl, watch thou for me, or over me.
274. For free translation, see paragraph 27.
275. LAST WORDS OF THE PROPHET.
1. Aqalàni, citsíli. 2. Cakaïlçe ye qo¢igín¢e. 3. ¢a‘çonasi¢ilsèl¢a. 4. ¢a‘hoelçìgo ¢a‘¢eltcílgo, nagāīga cinàï anìla dsinisínle, 5. ¢a‘no‘çílgo ayàc in¢i¢alàgo, anilçàni in¢i¢alàgo nagāīga cinàï binibikègola‘ dsinisínle.
276. Translation.—1. Aqalàni, greeting (farewell, in this case); citsíli, my younger brother. 2. Cakaïlçe, for me they have come; ye, the yays, the gods; qo¢igín¢e, from a holy or supernatural place. 3. (¢a‘, any, on any occasion, etc.; ço¢a, negative; na, again; si¢ilsèl, you will see me); ¢a‘çonasi¢ilsèl¢a, you will never see me again. 4. ¢a‘hoelçìgo, on any occasion as the rain passes, i.e., whenever it rains; ¢a‘¢eltcílgo, whenever it thunders; nagāīga, in that; cinàï, my elder brother; anìla, is his voice; dsinisínle, you will think so. 5. ¢a‘no‘çílgo, whenever they (crops) are ripening, i.e., in harvest time; ayàc, small birds; in¢i¢alàgo, of all kinds; anilçàni, grasshoppers; nagāīga, in that, in those; cinàï, my elder brother; binibikègola‘, is his ordering, his design (the trail of his mind); dsinisínle, so you will think.
277. For free translation, see paragraph 79.
Index
Page numbers have been retained for completeness, but all links lead to the appropriate numbered paragraph.
Akáninili, the supernatural couriers 411-414, 415, 417, 424, 426, 466
Chanter, Navajo 385-387
Dsilyídje qaçàl, origin of myth of 387-417
ceremonies of 418-444
the great pictures of 444-451
sacrifices of 451-455
Dsilyi‘ Neyáni, story of 387-417
origin of the name 404
introduction of ceremonials by 409-411
return of, to the gods 417
prayer to 420, 421, 465
visit of, to home of the snakes 446, 447
home of the bears seen by 447-449
visit to Lodge of Dew by 450, 451
Hoshkàwn, dance of the. (See Yucca baccata.)
Keam’s Cañon, Navajo dance at 432, 442
Navajo rites, seasons for 386
Qaçàli, or Navajo chanter 385, 387
Qastcèëlçi. See Yaybichy, dance of the.
Sand pictures, ceremonial 422, 423, 427, 428, 429
Schoolcraft, H. R., on sacrificial sticks 453
Shaman, Navajo 385, 387
Sun dance, song of the rising 465
Yaybichy, dance of the 435, 436
Yucca baccata dance 386, 439, 441
Transcriber’s Supplement
The First Song of the First Dancers, with translation, is here given in a more conventional spelling, using the following substitutions based on the author’s Note on Orthography:
¢ > ð (eth) ç > þ (thorn) j > ʒ (ezh) q, Q > χ, Χ (chi)
The use of “c” has been retained.
Χaniè χaò yaè, χaniè χaò yaè Χaniè iè oayè oayè.
1. Χadʒinäìa χaò yaè, 2. Kaþ dsil ðilhyíli χaò yaè, 3. ‘þaltsoï tsèë χaò yaè, 4. Ciʒa cigèlgo χaò yaè. Náhi ìni èhi oayè, náhi ini èhi oöhè. 9. Χadʒinäìa χaò yaè, 10. Kaþ dsil litsòï χaò yaè, 11. Bitselitsòï χaò yaè, 12. Ciʒa cigèlgo χaò yaè. Náhi ìni, etc.
5. Niχoyastcàdʒe χaò yaè, 6. Kaþ dsil þolíʒi χaò yaè, 7. Kini bitsèë χaò yaè, 8. Ciʒa cigèlgo χaò yaè. Náhi ìni, etc. 13. Niχoyastcàdʒe χaò yaè, 14. Kaþ dsil lakàie χaò yaè, 15. A‘a‘i tsèe χaò yaè, 16. Ciʒa cigèlgo χaò yaè. Náhi ìni, etc.
Translation.—1, 9. Χadʒinàï, “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. Niχoyastcàdʒe, another name for Χadʒinàï. 2, 6, 10, 14. Kaþ, now; dsil, mountain; ðilhyíli, black; þolíʒi, blue; litsòï, yellow; lakàie, white. These verses refer to four mountains surrounding Χadʒinàï, which are designated by colors only to indicate their topographical positions. 3, 7, 11, 15. ‘þaltsoï = aþa litsòï, “yellow wing,” a large bird of prey; kini, hen hawk; bitselitsòï, “yellow tail,” a bird of undetermined species; a‘a‘i, magpie; tse, a tail; bitse, its tail. 4, 8, 12, 16. Ciʒa, my treasure; cigèl, my desideratum, my ultimatum, the only thing I will accept. When supposed to be said by a god, as in this song, it means the particular sacrifice which is appropriate to him. In this case probably the feathers spoken of are “cigèl” and the mountains “ciʒa.” The refrain “χaò yaè” is a poetic modification of χaa‘, it looms up, or sticks up, said of some lofty object visible in the distance, whose base cannot be seen.