POETRY AND MUSIC.
36. For many years the most trusted account of the Navaho Indians of New Mexico and Arizona was to be found in a letter written by Dr. Jonathan Letherman,[303] of the army, and published in the Smithsonian report for 1855. Dr. Letherman had lived three years at Fort Defiance, in the heart of the Navaho country, when he wrote this letter, and he acknowledges his indebtedness, for assistance in preparing it, to Major Kendrick, who long commanded Fort Defiance. Both the doctor and the major were men of unusual ability. The former (having changed the spelling of his name to Letterman) afterwards distinguished himself as medical director of the Army of the Potomac, and the latter was, for many years, professor of chemistry at the National Military Academy.
37. From this letter the following statement concerning the Navahoes is extracted: “Of their religion little or nothing is known, as, indeed, all inquiries tend to show that they have none.” “The lack of tradition is a source of surprise. They have no knowledge of their origin or of the history of the tribe.” “They have frequent gatherings for dancing.” “Their singing is but a succession of grunts, and is anything but agreeable.”
38. The evidence of these gentlemen, one would think, might be taken as conclusive. Yet, fifteen years ago, when the author first found himself among the Navahoes, he was not influenced in the least by the authority of this letter. Previous experience with the Indians had taught him of how little value such negative evidence might be, and he began at once to investigate the religion, traditions, and poetic literature, of which, he was assured, the Navahoes were devoid.
Fig. 20. Ordinary loom.
39. He had not been many weeks in New Mexico when he discovered that the dances to which Dr. Letherman refers were religious ceremonials, and later he found that these ceremonials might vie in allegory, symbolism, and intricacy of ritual with the ceremonies of any people, ancient or modern. He found, erelong, that these heathens, pronounced godless and legendless, possessed lengthy myths and traditions—so numerous that one can never hope to collect them all, a pantheon as well stocked with gods and heroes as that of the ancient Greeks, and prayers which, for length and vain repetition, might put a Pharisee to the blush.
40. But what did the study of appalling “succession of grunts” reveal? It revealed that besides improvised songs, in which the Navahoes are adepts, they have knowledge of thousands of significant songs—or poems, as they might be called—which have been composed with care and handed down, for centuries perhaps, from teacher to pupil, from father to son, as a precious heritage, throughout the wide Navaho nation. They have songs of travelling, appropriate to every stage of the journey, from the time the wanderer leaves his home until he returns. They have farming songs, which refer to every stage of their simple agriculture, from the first view of the planting ground in the spring to the “harvest home.” They have building songs,[6] which celebrate every act in the structure of the hut, from “thinking about it” to moving into it and lighting the first fire. They have songs for hunting, for war, for gambling, in short for every important occasion in life, from birth to death, not to speak of prenatal and post-mortem songs. And these songs are composed according to established (often rigid) rules, and abound in poetic figures of speech.
41. Sacred Songs.—Perhaps the most interesting of their metrical compositions are those connected with their sacred rites,—their religious songs. These rites are very numerous, many of them of nine days’ duration, and with each is associated a number of appropriate songs. Sometimes, pertaining to a single rite, there are two hundred songs or more which may not be sung at other rites.
42. The songs must be known to the priest of the rite and his assistants in a most exact manner, for an error made in singing a song may be fatal to the efficacy of a ceremony. In no case is an important mistake tolerated, and in some cases the error of a single syllable works an irreparable injury. A noteworthy instance of this rule is a song sung at the beginning of work on the last night of the great ceremony of the night chant. The rite is one which may cost the patron from two hundred to three hundred dollars. It has lasted eight days and nights, when four singers, after long and careful instruction by the priest, come forth painted, adorned, and masked as gods to sing this song of the atsáʻlei. Several hundred people—many from the farthest confines of the Navaho land—have come to sit up all night and witness the public ceremonies. The song is long, and is mostly made up of meaningless or obsolete expressions which convey no idea to the mind of the singer, yet not a single vocable may be omitted, mispronounced, or misplaced. A score or more of critics who know the song by heart are listening with strained attention. If the slightest error is made it is at once proclaimed, the fruitless ceremony terminates abruptly, and the disappointed multitude disperses.
43. The songs all contain significant words; but these, for poetic requirements, are often greatly distorted, and the distortions must be kept in mind. In speaking thus, scant justice is done to the Navaho poets. Similar distortions found in an Aryan tongue with a written literature are spoken of as figures of orthography and etymology, and, although there is yet no standard of spelling for the Navaho language, we would perhaps do well to apply the same terms in speaking of the Navaho compositions. The distortions are not always left to the whim of the composer. They are made systematically, as a rule. If the language were reduced to a standard spelling, we should find that the Navaho poets have as many figures of these classes as the English poets have, and perhaps more.
44. Some of the words, too, are archaic,—they mean nothing in modern Navaho; but the priests assign traditional meanings to them, and this adds to the task of memorizing. But, in addition to the significant words, there are (as instanced above) numerous meaningless vocables in all songs, and these must be recited with a care at least equal to that bestowed on the rest of the composition. These meaningless sounds are commonly introduced in the preludes and refrains of the stanzas and in the verse endings, but they may occur anywhere in the song.
Fig. 21. Loom for weaving diagonal cloth.
45. The preludes and refrains here referred to are found, with rare exceptions, in every stanza and in every song. Although they are all either totally meaningless or only partly significant, they are the most characteristic parts of the poems, and the singer cons the preludes over when he wishes to call to mind any particular composition, just as we often remember a poem or song by means of the first line. They are rarely or never quite alike in any two songs, and great ingenuity is often displayed in giving them variety.
46. There is yet another burden laid on the memory of the singer of sacred songs, and this is the order of their arrangement. The songs of each ceremony are divided into groups which must follow one another in an established order, and each song has, in the group to which it belongs, a place that must not be changed under penalty of divine displeasure. To sing, during the progress of a rite, the sixth Song of the Whirling Sticks before the fifth song is sung, would be a sacrilege as great as to chant the syllables óhohohó, in place of éhehehé. To remember this exact order of sequence in a set of two hundred or three hundred songs is no easy task.[322]
47. But it may be said: “Perhaps things were different with the Navahoes in Dr. Letherman’s day. May they not have learned from other tribes, or have themselves invented all this ceremony and song since he knew them?” The reply to this is, that it is absurd to suppose that such an elaborate system of rites and songs could have grown up among an illiterate people in the twenty-five years that elapsed between Dr. Letherman’s departure from the Navaho country and the author’s arrival there. Besides, the latter obtained his information from men of advanced age—from sixty to eighty years old—who practised these rites and sang these songs in their youth, and who in turn learned them from men of a departed generation. The shamans who conduct these ceremonies, tell these tales, and sing these songs are scattered widely over the Navaho country. Men who are scarcely acquainted with one another, and who learned from different preceptors, will sing the same sacred songs and to exactly the same tune. All the lore of the Navaho priesthood was undoubtedly extant in Dr. Letherman’s time and for ages before.
48. Songless Women.—It is remarkable that, while the Navaho men are such fruitful composers of song and such ardent singers, the women, as a rule, do not sing. Among the wild hunting tribes of the North, as the author knew them thirty years ago, the women not only had songs of their own, but they took part in the ceremonial songs of the men. The Pueblo Indian women of New Mexico, neighbors of the Navahoes, have many fine songs, the song of the corn-grinders, often heard in Zuñi, being especially wild and musical. But usually the Navaho woman is songless. The writer tried a long time to find a woman who could sing, and offered good pecuniary inducements before he got one. She came from a distance of thirty miles. She knew no songs peculiar to her sex, but her father was a medicine-man, who frequently repeated his songs at home in order to familiarize himself with them, and she gradually picked up several of them. She sang in a musical soprano with much spirit, and was one of the most pleasing singers heard in the tribe.
49. Figures of Speech.—It is probable that all rhetorical figures of speech known to our poets may be found in these simple compositions of the Navahoes. But in many cases the allusions are to such recondite matters of symbolism, or incidents in their myths, that they could be made plain, if at all, only by a tedious recital. Thus it would not be easy to make clear in a few words why, when the goddess Estsánatlehi, in one of the songs to her honor, is spoken of as climbing a wand of turquoise, we know the poet means to say she is ascending San Mateo Mountain, in New Mexico, or why, when he speaks of her as climbing a wand of haliotis shell, he is endeavoring to tell us that she is ascending the peak of San Francisco in Arizona. Yet we may gain some idea of the meaning by referring to the myth ([par. 193]).
50. But some of the metaphors and similes are not so hard to understand. Here is a translation of the Dove Song, one of the gambling songs sung in the game of kĕsĭtsé:—
Wos Wos picks them up (seeds),
Wos Wos picks them up,
Glossy Locks picks them up,
Red Moccasin picks them up,
Wos Wos picks them up.[273] [316]
Here Wos Wos (Wōsh Wōsh) is an onomatope for the dove, equivalent to our “coo coo”; but it is used as a noun. Glossy Locks and Red Moccasin are figurative expressions for the dove, of obvious significance. Metaphor and synecdoche are here combined.
51. Antithesis is not an uncommon figure with the Navaho poet. Here is an instance of it in a song belonging to the mountain chant, one of the great nine-day ceremonies of the shamans:—
The voice that beautifies the land!
The voice above,
The voice of the thunder,
Among the dark clouds
Again and again it sounds,
The voice that beautifies the land.
The voice that beautifies the land!
The voice below,
The voice of the grasshopper,
Among the flowers and grasses
Again and again it sounds,
The voice that beautifies the land.
Here the great voice of the thunder above is contrasted with the feeble voice of the grasshopper below, yet both are voices that make the world beautiful.
52. Many instances of climax have been noted. One here presented is from the mountain chant. It has but two steps to the ladder:—
Maid Who Becomes a Bear
Sought the gods and found them,
On the summits of the mountains
Sought the gods and found them,
Truly with my sacrifice
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
Sought the gods and found them,
Truly with my sacrifice
Sought the gods and found them.
Somebody doubts it, so I have heard.
Maid Who Becomes a Bear (Tsĭké Sas Nátlehi)[90] is an important character in Navaho mythology. The last line in each stanza is an instance of irony.
53. It will be seen from the instances given that they understand the value of repetition in poetry. The refrain is a favorite form of expression; but they know of other means of giving verbal melody to their songs, as may be seen in the following original text of the Bluebird (Sialia arctica) Song:—
Tsihayilkáe dóla aní,
Áyas dotlĭ′zi bĭza holó,
Bĭza hozónigo, bĭza holó,
Bĭza holónigo hwíhe ĭnlí
Dóla aní. Dóla aní.
To appreciate this a translation is not necessary, but it is given, as the reader may wish to know it:—
Just at daylight Sialia calls.
The bluebird has a voice,
He has a voice, his voice melodious,
His voice melodious that flows in gladness.
Sialia calls. Sialia calls.
The regular Navaho name for the bluebird “dóli” (changed here to “dóla” for poetic reasons) is translated Sialia, to distinguish it from the descriptive term “áyas dotlĭ′zi” which means literally bluebird.
54. Rhyme.—They are not ignorant of the value of rhyme in poetry, but they more often produce this by the repetition of significant or meaningless syllables than by selecting different words with similar endings. Still we often find this, the more difficult means, resorted to as in the above song of the bluebird.
55. Music.—To the casual listener it may appear that there is much sameness in the music of their songs; but a more careful study will reveal the fact that the variety is great. It is remarkable how, with such rude instruments (an inverted basket for a drum, and a gourd rattle) to accompany them, they succeed, in a series of two hundred or more songs, in producing so many musical changes. In their sacred songs of sequence, where four or more songs of similar import follow one another, as is often the case, the music may be nearly alike (but never quite alike) in all; but when the theme of the poetry changes, the music also takes a decided change.
56. For further information on the subject of music the reader is referred to [note 272], which contains remarks by Prof. John Comfort Fillmore, formerly of Milwaukee, Wisconsin, but now of Claremont, California. Over two years ago the writer sent a number of phonographic records of Navaho songs to Professor Fillmore, who has diligently studied them and has written many of them in musical notation. Some of the musical scores are appended to the note.