SOCIETY OF WARRIORS.
The Society of Warriors and the Knife Society have a ceremonial chamber in common; and in a certain sense these societies are closely allied, the former having had originally as its presiding officers Ma´asewe and U´yuuyewĕ, the twin children of the sun, the latter society having derived its name from the arrows which were given by the sun father to the invulnerable twins, and with which they destroyed the enemies of the earth. Each of these societies, therefore, has a share in the initiation of a victor.
The killing of an enemy is not sufficient to admit a man into the Society of Warriors; he must return with such trophies as the scalp and buckskin apparel. The victor carries the scalp on an arrow until he draws near to the village, when he transfers it to a pole some 5 feet in length, the pole being held with both hands. The victor’s approach is heralded, and if it be after the sun has eaten his midday meal he must not enter the village, but remain near it until morning, food being carried to him by the war chief. In the morning the Society of the Knife, followed by the Warriors and the male populace of the town, join the victor. An extended prayer is offered by the ho´naaite of the Knife Society, and then, addressing the spirit of the enemy, he says: “You are now no longer our enemy; your scalp is here; you will no more destroy my people.” The ho´naaite of the Warriors and his vicar respond, “So! So!” The air is resonant the remainder of the day with the war song, there being occasional intermissions for prayers; and at sundown the ho´naaite of the Warriors and his vicar, with the victor, bearing the pole and scalp between them, lead the way to the village, followed by the members of the society, and then the Knife Society, led by its ho´naaite and his vicar. After encircling the village from right to left, the party enters the ceremonial chamber, when the scalp is deposited before the meal painting, the ho´naaite of the Knife Society having prepared the painting and arranged the fetiches about it in the morning before going to meet the victor. The two large stone images of Ma´asewe and U´yuuyewĕ, which are brought out only upon the initiation of a victor into the Society of Warriors, are kept in a room exclusively their own; these particular fetiches of the war heroes are never looked upon by women, consequently they have remained undisturbed in their abiding place a number of years, the exception being when all the fetiches and paraphernalia of the cult of the Sia were displayed in 1887 for Mr. Stevenson’s and the writer’s inspection. The members of the Knife Society sit on the west side of the room and the Warriors on the east side, the ho´naaites of the societies sitting at the north end of either line, each ho´naaite having his vicar by his side, and the victor by the side of the vicar of the Warriors; he does not join in the song, but sits perfectly still. At sunrise the scalp is washed in yucca suds and cold water by each member of the Knife Society, and the victor’s hands are then bathed for the first time since the scalping, and he proceeds to paint his body. The face and lower portion of the legs are colored red and the remainder black, and galena is then spread over the greater portion of the face. The Knife Society wears white cotton embroidered Tusayan kilts and moccasins, and the Warriors wear kilts of unornamented buckskin, excepting the fringes at the bottom and the pouch made from the buckskin apparel captured from the enemy. The victor wears the buckskin kilt, moccasins, and pouch, and he carries a bow and arrows in his left hand, and the pole with the scalp attached to it in the right. Each member of the society also carries a bow and arrows in the left hand and a single arrow in the right. The members of the Knife Society have gourd rattles in their right hands and bows and arrows in the left. The hair of all is left flowing.
An arrow point is placed in the mouth of the victor by the ho´naaite of the Knife Society, and they all then proceed to the plaza, the members of each society forming in a line and the victor dancing to and fro between the lines, raising the scalp as high as the pole will reach, but he does not sing or speak a word. The numbers in the lines are increased by the men of the village carrying war clubs and firearms, keeping up a continual volley with their pistols and guns until the close of the dance at sundown. The women are not debarred from exhibiting their enthusiasm, and they join in the dance.
Upon their return to the ceremonial chamber the scalp is again deposited before the meal painting and the ho´naaite of the Knife Society proceeds with the final epic ritual which completes the initiation of the victor into the Society of Warriors, closing with these words: “You are now a member of the Society of Warriors,” and he then removes the arrow point from the victor’s mouth. The members, in conjunction with the victor, respond “Yes! Yes!”
Bureau of Ethnology.
Eleventh Annual Report. Plate. XXXIII
PRAYER TO THE RISING SUN.
The cotton shirt and trousers are then donned and the scalp is carried to the scalp-house (a cavity in the earth covered with a mound of stone) and deposited with food for the spirit of the departed enemy. Again returning to the ceremonial chamber, fast is broken for the first time during the day, when a feast, which is served by the female relatives of the victor, is enjoyed. After the meal they go to the river and remove all evidences of the paint upon their bodies. Continency is observed four days.
The few songs of the cult which the writer was able to collect are direct invocations for rain, or for the presence of zoomorphic beings in ceremonials for healing the sick, a few words sufficing for many unexpressed ideas. The epic ritual of the Sia is so elaborate that much time and careful instruction are required to impress it upon the mind, and the younger men either have not the mind necessary for the retention of the ritual or will not tax their memories; therefore the web of Sia myth and religion is woven into the minds of but few.
The aged theurgists were eager to intrust to the writer the keeping of their songs, which are an elaborate record of the lives of their mythic heroes and of the Sia themselves.
The Sia sometimes adopt the poet’s license in their songs and alter a word; for example, the name for “badger” is tuo´pi, but is changed in the sko´yo song for rain to tupi´na, because, they say, the latter word renders the stanza more rhythmical. And, again, different words are synonymously used.
The hĭs´tiän and quer´ränna have each a similar song of petition for rain, this song having been given to the hĭs´tiän by the sun. It will be remembered that the name of this society indicates the knives or arrows of lightning given to the heroes by their sun father.