Native Americans: 22 Books on History, Mythology, Culture & Linguistic Studies. James Mooney

the shoulders; the fourth time, over the head only, each time giving his peculiar call, Wu-hu-hu-hu-u! Then Hasché̆ltĭ takes up a shell with medicine and with it touches the patient's feet, hands, chest, back, right shoulder, left shoulder, and top of head,—this being the prescribed ceremonial order,—uttering his cry at each placing of the medicine. He next places the shell of medicine to the patient's lips four times and goes out, after which Haschĕbaád comes in, takes one of the circle kĕdán, touches the patient's body in the same ceremonial order, and finally the lips, at the same time giving the slip-cord a quick pull. Next comes Hasché̆lapai, who performs the same incantations with the kĕdán. Again Hasché̆ltĭ enters with the cross-sticks, repeating the former order, after which he gives the patient four swallows of medicine,—a potion different from that first given,—the medicine-man himself drinking what remains in the shell. This closes the ceremony of the first day. There will, perhaps, be considerable dancing outside the hogán, but that is merely practice for the public dance to be given on the ninth night. The singer and the patient sleep in the hogán each night until the nine days are passed, keeping the masks and medicine paraphernalia between them when they sleep.

      Second Day: Just at sunrise the patient is given the first ceremonial sweat. This is probably given more as a spiritual purification than in anticipation of any physical benefit. To the east of the hogán a shallow hole is dug in the earth, in which are placed hot embers and ashes,—covered with brush and weeds, and sprinkled with water,—upon which the patient takes his place. He is then well covered with blankets. The medicine-man, assisted by Hasché̆ltĭ and Haschĕbaád, places about the patient a row of feathered kĕdán, and then commences to sing while the patient squirms on the hot, steaming bed. After singing certain songs the medicine-man lifts the blanket a little and gives the patient a drink of medicine from a ceremonial basket. He is again covered, and the singing goes on for a like time. Later the blankets are removed and Hasché̆ltĭ and Haschĕbaád perform over the patient, after which he goes to the hogán. The brush and weeds used for the bed are taken away and earth is scattered over the coals. This sweating, begun on the second day, is repeated each morning for four days: the first, as above noted, taking place east of the hogán, and the others respectively to the south, west, and north. The ceremonies of the second night are practically a repetition of those held the first night. During the third song Hasché̆ltĭ enters with the Hasché̆ltĭ balíl, placing it four times in the prescribed order and giving his call; then he goes out, re-enters, and takes from the medicine basket four sacred reed kĕdán. These he carries in ceremonial order to the four cardinal points: first east, then south, next west, lastly north. Next stick kĕdán are taken out of the basket, which holds twelve each of the four sacred colors. These also are carried to the four cardinal points—white, east; blue, south; yellow, west; black, north. After all the kĕdán are taken out, Hasché̆ltĭ again enters with the Hasché̆ltĭ balíl, using it in directional order and giving medicine as on the night before.

      Pĭkéhodĭklad - Navaho

      The first of the four dry-paintings used in conducting the Kléjĕ Hatál, or Night Chant, of the Navaho, being made on the fifth night. The purpose of this night's acts is to frighten the patient; hence the name of the painting, which signifies "Frighten Him On It."

      The encircling figure represents the rainbow, aklólh; the first on the left Hasché̆ltĭ, Talking God; the central, Haschĕbaád, goddess—symbolically the patient—and the right-hand figure a male deity, Haschĕbakú̆n.

      The patient sits on the central figure at its waist line during the night's performance. When the ceremony in connection with this painting is concluded the colored sands are carefully collected, carried out toward the north, and deposited under a tree.

      Third Day: It is understood that the patient has been sweated in the morning, as on the second day. On this night he is dressed in spruce boughs by the assisting medicine-man, bound around the wrists, arms, ankles, legs, and body, and fastened on the head in the form of a turban. After several songs, Nayé̆nĕzganĭ and Tobadzĭschí̆nĭ cut the boughs from the body, using a stone arrow-point as a knife. Then the boughs are cut into fragments over the patient's head, after which the singer takes a feather wand, points it toward the four cardinal points above the fire, and brushes the patient, chanting meanwhile. At the end of the brushing he points the wand out of the smoke-hole, at the same time blowing the dust from it out into the open air.

      Fourth Day: The ceremonies this day do not begin until later than usual, probably nine o'clock. Hasché̆ltĭ and Haschĕbaád dress and go out. The patient disrobes and takes his place. The assisting medicine-man digs a small hole just between the patient's feet, and encircles it with a line of tádĭtĭn, or pollen, leaving an opening to the east, after which the patient dons a mask. Hasché̆ltĭ enters, followed by Haschĕbaád, who carries a small spruce tree. The former puts sacred pollen in the hole four times, each time giving his call; then Haschĕbaád plants the tree in the hole and fastens its top to the patient's mask; the mask is then pulled off the patient's head by his jerking quickly away from the tree. This is the first night in which the ceremonies are continued until dawn. After the unmasking, the singers take their place at one side of the back of the hogán and begin singing to the accompaniment of a basket drum. A youth and a maiden are required to sit in the hogán throughout the fourth night, the ritual requiring that these be persons who have not had sexual knowledge.

      Fifth Day: This is the last day of the sweating, and the day on which the first dry-painting is made. Just at dark this painting, a small one, is begun inside. In size it would square about four feet, and is placed close to the back of the hogán. There are three figures in the painting: the central one being the patient, the one to the left Hasché̆ltĭ, the one to the right Haschĕbakú̆n. Around this painting, at all sides except the eastern, feather wands, ndiá, are stuck in the ground; in this case twelve in number. Foot-tracks are made in the sand with white meal. Hasché̆ltĭ and Haschĕbakú̆n dress ceremonially, mask, and go out, after which the patient enters and takes his position on the central figure of the dry-painting, facing the east. The effort this night is to frighten the patient and thus banish the evil spirits from his body. The two maskers come running in, uttering weird, unearthly howls, in which every spectator in the hogán joins, feigning great fear. The masked figures make four entries, each like the other. In many cases the patient either actually faints from fright or feigns to do so. The patient then leaves the dry-painting and it is destroyed. None of the sand or other pigments used in this painting is applied to the patient's body, as is done with that of later paintings. The next part of the fifth night's ceremony is the initiation of new members into the Yébĭchai order. No one who is not a member of the order is allowed to enter the ceremonial hogán. At the time of the initiation Hasché̆ltĭ and Haschĕbakú̆n are outside in the darkness. The initiates enter and sit on the ground in a row—the males naked, the women dressed in their ordinary mode. They dare not look up, for should they see Hasché̆ltĭ before being initiated, they would become blind. One at a time these novices take their place in the centre of the hogán and the initiatory rite is performed over them.

      Shĭlhné'ohlĭ - Navaho

      In this plate is pictured the second dry-painting employed in the Night Chant, made on the sixth day of the ceremony. It represents crossed logs which whirl around in a mythic lake. Upon them are alternately seated male and female deities, singing. The light figures are goddesses, haschĕbaád; the dark ones gods, haschĕbakú̆n. Their songs treat of all life-giving plants, of which corn, beans, squashes, and tobacco, the most important, are pictured as growing from the very centre of the lake, the point of contact of the logs.

      Of the four marginal figures the one in white toward the east is Hasché̆ltĭ, Talking God, with his pine-squirrel pouch of sacred meal. Opposite him stands Haschógan, House God. The other two are Gánaskí̆dĭl, Hunchbacks, Gods of Harvest, with seeds of the field in packs on their backs. Around the whole is the personified rainbow.

      When the dry-painting is in actual use the patient enters upon