Fifth Day
First Ceremony
A basket of yucca suds was prepared by an attendant, who cleansed his hands of the suds by pouring a gourd of clear water over them; he then put a handful of the suds upon the head of a man who stood before him, nude with the exception of a breech cloth, after which the man washed his head from a water jug which was held over the head of the bather by the attendant. The bather covered his body with the suds, and the contents of the jug was emptied on the floor of the lodge by the attendant. The man dressed himself in the ordinary cotton clothing with rare beads around his neck, and a leather pouch held by a band of mountain sheep skin over his shoulders; he knelt before a bowl of white kaolin which he spread over his face; he then took his seat between two attendants, the one to the right of him holding a pinch of native tobacco and the one on the left holding corn meal in the palms of the right hands.
At early dawn the buffalo robe at the entrance of the lodge was slightly dropped from the doorway to admit the rays of approaching day. The masks which had been sung and prayed over all night were laid away in the niche behind the song-priest. The little girl who performed the previous night returned to the lodge, but I could not see that she was there for any purpose save to eat some of the remaining food, which had been gathered into two large parcels and left by the old woman who removed the vessels after the feast. A red blanket was laid and upon it a piece of white cotton. A reed five inches in length and twice the diameter of the others heretofore used was prepared. The reed was colored black in the usual manner and filled with a feather ball and tobacco. It was lighted with the crystal and touched with the pollen. Upon the completion of the tube the invalid took his seat on the west side of the rug, the attendant who prepared the tube sitting on the west side; he took from one pouch four white shell beads and from another a turquoise bead; he looped a cord of white cotton yarn some three feet long around the pollen end of the tube and fastened to the loop two wing feathers of the Arctic blue bird, one from the right wing and one from the left, and a tail feather from the same bird and three feathers from a bird of yellow plumage, the right and left wing and tail feather. The five beads were strung on the string, the turquoise being the first put on; these were slipped up the cord and two under tail-feathers and a hair from the beard of the turkey were fastened to the end of the string with a loop similar to that which attached it to the tube. (See PL CXIX.). This was the great (cigarette) offering to Hasjelti and must be placed in a canyon near a spring, for all birds gather at the waters. This was offered that the song-priest might have his prayers passed straight over the line of song. This offering secures the presence of this most valued god and so fills the mind of the song-priest with song and prayer that it comes forth without hesitation and without thought, so that he may never have to think for his words. A small quantity of each variety of sand used in decorating was placed on a husk with a little tobacco, and on these a pinch of corn pollen; the tube was then laid on the husk and the string and feathers carefully placed. Two additional feathers, the under tail of the eagle and turkey, were laid on the husk. A blue feather was dipped in water, then in pollen, and rubbed twice over these feathers; an attendant folded the parcel and the song-priest received it and touched it to the soles of the feet, knees, palms, breast, and back and mouth of the invalid; he then put a pinch of the pollen into the invalid’s mouth, and a pinch on the top of the head; he placed the folded husk in the invalid’s hand, and stood in front of him and whispered a long prayer which the invalid repeated after him. The manner of holding the husk has been previously described. The man with painted face received the husk from the theurgist, who returned to his seat and at once opened the chant with the rattle. At the close of the chant the holder of the husk touched the soles of the feet, palms, etc., of the invalid with it and left the lodge. This precious parcel was taken three miles distant and deposited in a canyon near a spring where there is a luxuriant growth of reeds. Prayers were offered by the depositor for health, rain, food, and good fortune to all. Only the theurgist and his attendants and a few of the near relatives of the invalid were present at this ceremony.
Second Ceremony
The sweat-house priest preceded the invalid and song-priest, the latter carrying his medicine basket, wands, etc. The hot stones and pine boughs were put into the sweat house; meal was sprinkled around the west base and the wands deposited, as before described, by the song-priest. Three white and black striped blankets were placed over the entrance, one upon the other, and upon these were a buckskin and several folds of white muslin. An attendant brought a large medicine bowl half filled with pine needles; water was poured upon these; a small earthen bowl and a gourd containing water were placed before the song-priest, who put into the bowl chopped sage, over which he sprinkled dried foods reduced to powder; a small quantity of meal was also sprinkled into the gourd and bowl. The song then began. A small pine bough was laid to the right of the entrance of the sweat house. The opening of the song was a call upon the gods to impart to the medicine power to complete the cure of the invalid and to make all people well, and to have a wet and good ground all over the earth. This song is specially addressed to Toneennili, the water sprinkler.
Hasjelti and Hostjoghon arrived just as the sick man emerged from the sweat house. The invalid bathed himself from the bowl of pine needles and water. Taking the sheep’s horn in the left hand and a piece of hide in the right, Hasjelti pressed the invalid’s body as before described. The god was requested by the priest of the sweat house to pay special attention to the rubbing of the head of the invalid. The small gourd was handed to Hasjelti, who gave four drafts of its contents to the invalid. Hasjelti touched the soles of the feet, palms, etc., of the invalid with medicine water from the bowl. The gods then suddenly disappeared. On this occasion Hostjoghon took no part in administering the medicine. The invalid, after putting on his clothing, proceeded to the lodge, followed by the song-priest. The sweat house was razed as usual, and the pine boughs and stones were placed to the north of the house in a small piñon tree; the logs of the house were deposited on the ground a few feet from the tree. A line of meal the length of the medicine tube was sprinkled on the logs and the tube laid thereon. Meal was sprinkled over the tube and logs.
Third Ceremony
The first sand painting occurred on October 16; it was begun in the early forenoon and completed at sundown. Common yellowish sand was brought in blankets. This formed the ground color for the painting. It was laid to form a square 3 inches in depth and 4 feet in diameter. Upon this three figures were painted after the manner described of the painting of the rainbow over the sweat house. Nine turkey wands were placed on the south, west, and north sides of the square, and a line of meal with four foot-marks extended from near the entrance of the lodge to the painting. (See Pl. CXX.)
Hasjelti stands to the north end in the illustration, holding the emblem of the concentrated winds. The square is ornamented at the corners with eagle plumes, tied on with cotton cord; an eagle plume is attached to the head of Hasjelti with cotton cord. The upper horizontal lines on the face denote clouds; the perpendicular lines denote rain; the lower horizontal and perpendicular lines denote the first vegetation used by man. Hasjelti’s chin is covered with corn pollen, the head is surrounded with red sunlight, the red cross lines on the blue denote larynx; he wears ear rings of turquoise, fringed leggings of white buckskin, and beaded moccasins tied on with cotton cord. The figure to the south end is Hostjoghon; he too has the eagle plume on the head, which is encircled with red sunshine. His earrings are of turquoise; he has fox-skin ribbons attached to the wrists; these are highly ornamented at the loose ends with beaded pendants attached by cotton strings; he carries wild turkey and eagle feather wands, brightened with red, blue, and yellow sunbeams. The center figure is one of the Hostjobokon, and upon this figure the invalid for whom the ceremonial is held sits. The four footprints are made of meal. These the invalid steps upon as he advances and takes his seat, with knees drawn up, upon the central figure. After dark the invalid walked over the line of meal, being careful to step upon the footprints in order that his mental and moral qualities might be strengthened. The invalid removed his clothing immediately after entering the lodge; he had downy breast feathers of the eagle attached to the scalp lock with white cotton cord; he advanced to the painting and took his seat upon the central figure. An attendant followed him, and with his right hand swept the line of meal after the invalid, removing all traces of it. The entrance of the invalid into the lodge was a signal for the song-priest to open the chant with the rattle. Hasjelti and Hostjoghon bounded into the lodge hooting wildly. The former carried the square (the concentrated winds), which he placed over the sick man’s head. Hostjoghon carried a turkey wand in each hand, and these he waved over the invalid’s head and hooted; this was repeated four times, and each time the gods ran out of the lodge. Hasjelti wore a velvet dress, but Hostjoghon’s body was nude, painted white. This wild, weird ceremony over, the sick man arose and the song-priest gathered the turkey wands from around the painting, while an attendant erased it by rubbing his hands over the sand to the center. The sands were gathered into a blanket and carried out of the lodge and deposited some distance away from the lodge, where the sun could not generate the germ of the disease. The sand is never touched by any one when once carried out, though before the paintings are erased the people clamor to touch them, and then rub their hands over their own bodies that they may be cured of any malady. The invalid, after putting on his clothes, returned to his family lodge. A group then gathered around the spot where the paintings had been and joined in a weird chant, which closed the fifth day’s ceremony.