Fig. 28. Mask of yébaad or goddess.
108. These dances of the Navaho, although accompanied with religious symbolism, and performed often by men wearing sacred costumes, are undoubtedly intended largely to entertain the spectators. While but a few people may be present during the first eight or nine days of a great ceremony, a large crowd always gathers to witness the performances of the last night, and many people stay up all night to do this. On the last night of the mountain chant the dances are picturesque and various. Many of them are borrowed from other rites. They have been described by the author in a previous work. On the last night of the night chant the dance and song vary but little, and to the ordinary observer may seem not to vary at all. Yet the spectators who come to the mountain chant are not more wakeful and watchful than those who come to the night chant. The dancing is always rhythmical and well-timed. Figures are often introduced like those of our quadrilles; but no round dances, like our waltz or polka, have been observed—the rough ground is not suited for such. The dancers and the drummers practise long in private before coming to the public exhibition.
Fig. 29. Picture of silnéole, a dry-painting of the night chant.
109. Prayer.—In a paper entitled “The Prayer of a Navaho Shaman,”[315] the author has published a long composition, called a prayer by the man from whom he received it, which is a simple narrative and does not contain a word of supplication. This is the only prayer of such character obtained from a Navaho. Many other long prayers have been recorded, all of which are formed on a common plan. The name of a god is mentioned, and some flattering attributes are given to him. If it is a god such as Hastséyalti, of which there are more than one of the same name, his residence is mentioned. He is informed that sacrifices have been prepared for him. He is asked to remove the spell of disease. Immediately he is assured that it is removed. Then he is asked to bestow various blessings on the supplicant and all his kindred and people. The prayer is given out, one sentence at a time, by the shaman, and the patient repeats it after him, sentence by sentence.
110. These prayers, repeated by two voices, sound much like litanies, and all end with an expression (hozóna hastlé) analogous to the amen of Christian prayers, four times repeated; yet the Navaho prayers show in their spirit no indication of the influence of Christian teaching. They are purely pagan compositions. The only evidence of any modern influence they present is the occasional inclusion of a request for increase of wealth in the shape of horses and sheep. A typical Navaho prayer from the rites of klédzi hatál is given in [note 288].
111. Besides these long prayers, repeated by two persons, the shamans have many monologue prayers; there are prayers silent and vocal, formulated and extempore, used by both priest and layman; and there are short devotional sayings which may be classed as benedictions and ejaculations.