The theurgist or song-priest arrived at noon on the 12th of October, 1885. Almost immediately after his arrival we boldly entered the medicine lodge, accompanied by our interpreter, Navajo John, and pleaded our cause. The stipulation of the medicine man was that we should make no mistakes and thereby offend the gods, and to avoid mistakes we must hear all of his songs and see all of his medicines, and he at once ordered some youths to prepare a place for our tent near the lodge. During the afternoon of the 12th those who were to take part in the ceremonial received orders and instructions from the song-priest. One man went to collect twigs with which to make twelve rings, each 6[pg 238] inches in diameter. These rings represented gaming rings, which are not only used by the Navajo, but are thought highly of by the genii of the rocks. (See Fig. 117.) Another man gathered willows with which to make the emblem of the concentration of the four winds. The square was made by dressed willows crossed and left projecting at the corners each one inch beyond the next. The corners were tied together with white cotton cord, and each corner was ornamented with the under tail feather of the eagle. These articles were laid in a niche behind the theurgist, whose permanent seat was on the west side of the lodge facing east. The night ceremony commenced shortly after dark. All those who were to participate were immediate friends and relatives of the invalid excepting the theurgist or song-priest, he being the only one who received direct compensation for his professional services. The cost of such a ceremony is no inconsiderable item. Not only the exorbitant fee of the theurgist must be paid, but the entire assemblage must be fed during the nine days' ceremonial at the expense of the invalid, assisted by his near relatives.
FIG. 117. Gaming ring.
A bright fire burned in the lodge, and shortly after dark the invalid appeared and sat upon a blanket, which was placed in front of the song-priest. Previously, however, three men had prepared themselves to personate the gods—Hasjelti, Hostjoghon, and Hostjobokon—and one to personate the goddess, Hostjoboard. They left the lodge, carrying their masks in their hands, went a short distance away and put on their masks. Then Hasjelti and Hostjoghon returned to the lodge, and Hasjelti, amid hoots, "hu-hoo-hu-huh!" placed the square which he carried over the invalid's head, and Hostjoghon shook two eagle wands, one in each hand, on each side of the invalid's head and body, then over his head, meanwhile hooting in his peculiar way, "hu-u-u-u-uh!" He then followed Hasjelti out of the lodge. The men representing Hostjobokon and Hostjoboard came in alternately. Hostjobokon took one of the rings which had been made during the afternoon, and now lay upon the blanket to the right of the invalid, and placed it against the soles of the feet of the invalid, who was sitting with knees drawn up, and then against his knees, palms, breast, each scapula, and top of his head; then over his mouth. While touching the different parts of the body the ring was held with both hands, but when placed to the mouth of the invalid it was taken in the left hand. The ring was made of a reed, the ends of which were secured by a long string wrapped over the ring like a slipnoose. When the ring was placed over the mouth of the invalid the string was pulled and the ring dropped and rolled out of the lodge, the long tail of white cotton yarn, with eagle plume attached to the end, extending far behind. Hoslgoboard repeated this ceremony[pg 239] with a second ring, and so did Hostjobokon and Hostjoboard alternately, until the twelve rings were disposed of. Three of the rings were afterward taken to the east, three to the south, three to the west, and three to the north, and deposited at the base of piñon trees. The rings were placed over the invalid's mouth to give him strength, cause him to talk with one tongue, and to have a good mind and heart. The other portions of the body were touched with them for physical benefit. When the rings had all been rolled out of the lodge Hasjelti entered, followed by Hostjoghon. He passed the square (the concentrated winds) four times over the head of the invalid during his hoots. Hostjoghon then waved his turkey wands about the head and body of the invalid, and the first day's ceremony was at an end.
SECOND DAY.
DESCRIPTION OF THE SWEAT HOUSES.
The construction of the first sweat house, or tachi, was begun at dawn. Four of these houses were built on four consecutive mornings, each one located about 400 feet distant from the great central medicine lodge, toward the four cardinal points, and all facing to the east. The first one built was east of the lodge. A description of the construction of this particular one will answer for all, but the ceremonies differ in detail.
Four upright poles, forked at the upper ends, were placed at the four cardinal points within an area designated as the base of the house, the forked ends resting against each other, a circular excavation some 6 feet in diameter and 1 foot in depth having first been made. Between the uprights smaller poles were laid; on the poles piñon boughs, sage and Bigelovia Douglasii (a kind of sage brush) were placed as a thatch; all being laid sufficiently compact to prevent the sand placed over the top from sifting through. The doorway, on the east side of the house, was about 2-1/2 feet high and 20 inches wide. Highly polished sticks (the same as those employed in blanket weaving) were used to render the sand covering of the structure smooth. The sweat houses to the east and west had the rainbow painted over them. Those to the north and south were devoid of such decoration, because the song priest seldom completes his medicine in one ceremonial; and he chose to omit the songs which would be required if the bow ornamented the north and south sweat houses. Under the direction of the priest of the sweat house, who received instruction from the song priest, three young men painted the rainbow, one the head and body, another the skirt and legs, while the third painted the bow. The head of this goddess was to the north, the bow extending over the structure. The colors used were made from ground pigments sprinkled on with the thumb and forefinger. Whenever a pinch of the dry paint was taken from the pieces of bark which served as paint cups, the artist breathed upon the hand before[pg 240] sprinkling the paint. This, however, had no religious significance, but was merely to clear the finger and thumb of any superfluous sand. The colors used in decoration were yellow, red, and white from sandstones, black from charcoal, and a grayish blue, formed of white sand and charcoal, with a very small quantity of yellow and red sands. (See Fig. 118.) The decorators were carefully watched by the song priest.