192.The songs of the dsilyídje qaçàl are very numerous and their recitation is governed by many rules, a few of which only have been discovered by the writer.193.A list has been recorded of thirteen sets of songs which may properly be sung at night in the medicine lodge, when the ceremonies of the day are done, and in the corral on the last night, when there is no special song in progress pertaining to a particular alili or dance. The list which follows exhibits the order in which these songs may be sung on any particular night. For example, if the singers begin with a song from set III, they cannot follow immediately with a song from sets I or II, but mast select from some of the following sets, as set IV or V. Again, in each set the songs have a certain order of sequence which must not be reversed. For convenience these will be calledSONGS OF SEQUENCE.Order.Indian name of set.English name of set.Numberin each set.I.Atsátleï BiginSongs of the First Dancers16II.Tsintsò BiginSongs of the Great Stick, or Plumed Wand12III.¢epè BiginSongs of the Mountain Sheep12IV.I‘¢nì BiginSongs of the Lightning12V.Tsilkè-¢igìni BiginSongs of the Holy Young Men12VI.Tcikè-cac-nátlehi BiginSongs of Young Women Who Become Bears16VII.Dsilyi‘ Neyáni BiginSongs of Reared Within the Mountains8VIII.TsáhaginAwl songs8IX.Nahikï-ginWhitening songs8X.¢asàni BiginSongs of the Porcupines7XI.Nanisè BiginSongs of the Plants8XII.Tsin¢ilçòï BiginSongs of the Exploding Stick26XIII.Yikàï-ginDaylight songs16Total161194.Besides those referred to in the above list, there are more which are appropriate to different acts in the ceremony, such as the songs sung at the obliteration of the pictures, at the building of the corral, at the departure of the akáninili, &c.195.In some cases a number of songs in the same set are nearly alike; the addition or substitution of one verse, or even of one word, may be the only difference. Such songs usually follow one another in immediate succession; often, on the other hand, we find a great variety in subject and in style.196.Some songs are self-explanatory or readily understood, but the greater number cannot be comprehended without a full knowledge of the mythology and of the symbolism to which they refer; they merely hint at mythic conceptions. Many contain archaic expressions, for which the shaman can assign a meaning, but whose etymology cannot now be learned; and some embody obsolete words whose meaning is lost even to the priesthood. There are many vocables known to be meaningless and recited merely to fill out the rhythm or to give a dignified length to the song. For the same reasons a meaningless syllable is often added or a significant syllable duplicated.197.Other poetical licenses are taken, such as the omission of a syllable, the change of accent, the substitution of one vowel for another. The most familiar words are often distorted beyond recognition. For these various reasons the task of noting and translating these songs is one of considerable difficulty.198.FIRST SONG OF THE FIRST DANCERS.Same song, usingalternative spelling.Qaniè qaò yaè, qaniè qaò yaèQaniè iè oayè oayè.1. Qadjinäìa qaò yaè,2. Kaç dsil ¢ilhyíli qaò yaè,3. ‘Çaltsoï tsèë qaò yaè,4. Cija cigèlgo qaò yaè.Náhi ìni èhi oayè, náhi ini èhi oöhè.9. Qadjinäìa qaò yaè,10. Kaç dsil litsòï qaò yaè,11. Bitselitsòï qaò yaè,12. Cija cigèlgo qaò yaè.Náhi ìni, etc.5. Niqoyastcàdje qaò yaè,6. Kaç dsil çolíji qaò yaè,7. Kini bitsèë qaò yaè,8. Cija cigèlgo qaò yaè.Náhi ìni, etc.13. Niqoyastcàdje qaò yaè,14. Kaç dsil lakàie qaò yaè,15. A‘a‘i tsèe qaò yaè,16. Cija cigèlgo qaò yaè.Náhi ìni, etc.199.Translation.—1, 9. Qadjinàï, “Place-where-they-came-up,” a locality in the San Juan Mountains where, according to their mythology, the Navajo emerged from the lower world to this. 5, 13. Niqoyastcàdje, another name for Qadjinàï. 2, 6, 10, 14. Kaç, now; dsil, mountain; ¢ilhyíli, black; çolíji, blue; litsòï, yellow; lakàie, white. These verses refer to four mountains surrounding Qadjinàï, which are designated by colors only to indicate their topographical positions. 3, 7, 11, 15. ‘Çaltsoï = aça litsòï, “yellow wing,” a large bird of prey; kini, hen hawk; bitselitsòï, “yellow tail,” a bird of undetermined species; a‘a‘i, magpie; tse, a tail; bitse, its tail. 4, 8, 12, 16. Cija, my treasure; cigèl, my desideratum, my ultimatum, the only thing Iwill accept. When supposed to be said by a god, as in this song, it means the particular sacrifice which is appropriate to him. In this case probably the feathers spoken of are “cigèl” and the mountains “cija.” The refrain “qaò yaè” is a poetic modification of qaa‘, it looms up, or sticks up, said of some lofty object visible in the distance, whose base cannot be seen.200.Free translation.Place-whence-they-came-up looms up,Now the black mountain looms up,The tail of the “yellow wing” looms up,My treasure, my sacrifice, loom up.Land-where-they-moved-out looms up,Now the blue mountain looms up,The tail of the hen-hawk looms up,My treasure, my sacrifice, loom up.Place-whence-they-came-up looms up,Now the yellow mountain looms up,The tail that is yellow looms up,My treasure, my sacrifice, loom up.Land-where-they-moved-out looms up,Now the white mountain looms up,The tail of the magpie looms up,My treasure, my sacrifice, loom up.201.FIRST SONG OF THE MOUNTAIN SHEEP.1. Yìki ¢asizìni,2. Kaç Tsilkè-¢igìni,3. Kaç kátso-yisçàni,4. Tsí¢a baälìli,5. Bíja-ye¢igíngo.6. Kaç Tcikè ¢igìni,7. Kátsoye yisçàni,8. Yìki ¢asizìni,9. Tsí¢a baälìli,10. Bíja-ye¢igíngo.202.Translation.—1, 8. Yìki, upon it; ¢asizin, he stands on high. 2, 6. Kaç, now; tsilkè, young man; tcikè, young woman; ¢igìni, holy. 3. Kátso-yisçàn, the great plumed arrow; kátsoye yisçàn, with the great plumed arrow. 4, 9. Tsí¢a, truly, verily; baälìli, an alili, a show, a rite, or implement used in a dance for him. 5, 10. Bíja, his treasure, his special property, his peculiar belonging; ye, with, a prefix forming nouns which denote the means; ¢igíngo, positively holy or supernatural. Bíja-ye¢igíngo might be translated “charm” or “talisman.”203.Free translation.He stands high upon it;Now the Holy Young Man [Young Woman, in second stanza],With the great plumed arrow,Verily his own sacred implement,His treasure, by virtue of which he is truly holy.204.A reference to the myth, and the description of the ceremonies will probably be sufficient to give the reader an understanding of this song. This set of songs, it is said, was first sung by the black sheep which stood on the rock as a sign to the Navajo fugitive; hence the name. (See paragraphs35,47,48,54.)205.SIXTH SONG OF THE MOUNTAIN SHEEP.Binaçoöláe [four times] oäyèhe oöhè.1. Kaç Tsilkè-¢igìni,2. Ca‘bitlòli yèë,3. Tsí¢a bialìli,4. Bíja ye¢igíngo,5. Binaçoöláe oäyèhe oöhè.6. Kaç Tcikè-¢igìni,7. Natsilíçi yèë,8. Tsí¢a bialìli,9. Bíja ye¢igíngo,10. Binaçoöláe oäyèhe oöhè.206.Translation.—1, 6. Kaç, now; tsilkè, young man; tcikè, young woman; ¢igìni holy one, god or goddess. 2. Ca‘bitlòl, sunbeam, sunbeams; ye, with. 3, 8. Tsi¢a, verily; bialìli (paragraph3), his dance or sacred implement. 4, 9. Bíja, his special property, his treasure; ye¢igíngo, that by means of which he is ¢igín, i.e., holy or supernatural. 5, 10. Binaçòla, it is encircled. 7. Natsiliç, the rainbow.207.Free translation.Now the Holy Young Man,With the sunbeam,Verily his own sacred implement,His treasure which makes him holy,Is encircled.Now the Holy Young Woman,With the rainbow,Verily her own sacred implement,Her treasure which makes her holy,Is encircled.208.Which is to say that the great plumed arrows which they bear are adorned with sunbeams and rainbows. They “shine in glory.” (See references in paragraph204)209.TWELFTH SONG OF THE MOUNTAIN SHEEP.1. Nayunáni tcènia,2. Kaç biçèïltsos tcènia,3. Biqolçègo, tcènia.4. Nayunáni tcènia,5. Kaç biçènackòji tcènia,6. Biqolçègo, tcènia.210.Translation.—1, 4. Nayunáni, again on the other side, i.e., across two valleys. 2. Biçè, his horns; iltsos, slender; biçèïltsos, slender horns, i.e., the deer, by metonomy. 3, 6. Biqolçègo, it is becoming to him. 5. Biçè, his horns; nackòj, turgid, filled out, stuffed; biçènackòji, turgid horns—metonymically, the mountain sheep,Ovis montana. The refrain, tcènia, he appears, he comes in sight.211.Free translation.Far beyond he appears;Now “Slender Horn” appears.His antlers are becoming. He appears.Far beyond he appears;Now “Turgid Horn” appears.His horns are becoming. He appears.212.This song, it is said, refers to the time when the prophet saw the vision of the black sheep on the rock. (Paragraph35.) The reason for introducing the deer into the song is not obvious.213.FIRST SONG OF THE THUNDER.1. Çòna! Çòna! A‘āīyèhe oöhè [repeat],2. Yùçakoö ani‘;3. I‘¢ni‘djië ani‘;4. Kos ¢ilhyíl biyì‘dje,5. Nabizàç qolègo,6. Çòna! Çòna! A‘āīyèhe oöhè7. Çòna! Çòna! A‘āīyèhe oöhè [repeat],8. Yùyakoö ani‘;9. Anilçàni ani‘;10. Nánise bicqàko,11. Nabizaç qolègo,12. Çòna! Çòna! A‘āīyèhe oöhè.214.Translation.—1, 6, 7, 12. Çòna, an imitation of the thunder, not a word. 2, 8. Yùçako, above; yùyako, below; ani‘, any sound, the sound of the voice. 3. I‘¢ni‘dji pertaining to the thunder. 4. Kos, cloud; ¢ilhyíl, black, dark; biyì‘dje, within, or toward within it. 5, 11. Nabizaç qolègo, again and again sounds his moving voice. 9. Anilçàni, a general name for large meadow grasshoppers. 10. Nánise, plants in general; biçqàko, in among them.215.Free translation.Thonah! Thonah!There is a voice above,The voice of the thunder.Within the dark cloud,Again and again it sounds,Thonah! Thonah!Thonah! Thonah!There is a voice below,The voice of the grasshopper.Among the plants,Again and again it sounds,Thonah! Thonah!216.TWELFTH SONG OF THE THUNDER.Aïena.Beqojònigo ani‘i [four times] oöhè.1. Yùçakoö ani‘i;2. I‘¢ni‘djië ani‘i;3. Kos ¢ilhyíl biyì‘dje,4. Nàbizaç qolègo,5. Beqojònigo ani‘i, oöhè.6. Yùyakoö ani‘i;7. Anilçàni ani‘i;8. Nánise biçqàko,9. Nàbizaç qolègo,10. Beqojònigo ani‘i, oöhè.217.Translation.—Aïena, a meaningless beginning to many songs, which may be omitted. 1. Yùçako, above. 2. I‘¢ni‘dji, pertaining to the thunder. 3. Kos, cloud; ¢ilhyíl, dark; biyì‘dje, within it. 4, 9. Nàbizaç, his voice again, his voice repeated; qolègo, sounds along, sounds moving. 5, 10. (Be, a prefix forming nouns of the cause or instrument; qojòni, local or terrestrial beauty; go, a suffix to qualifying words); beqojònigo, productive of terrestrial beauty; ani‘, a voice, a sound. 6. Yùyako, below. 7. Anilçani, grasshopper. 8. Nánise, plants; biçqàko, in among them.218.Free translation.The voice that beautifies the land!The voice above,The voice of the thunderWithin the dark cloudAgain and again it sounds,The voice that beautifies the land.The voice that beautifies the land!The voice below;The voice of the grasshopperAmong the plantsAgain and again it sounds,The voice that beautifies the land.219.FIRST SONG OF THE HOLY YOUNG MEN, OR YOUNG MEN GODS.1. Oöc ‘çqa nagāīë,2. Kaç Tsilkè-¢igìni,3. Dsil ¢ilhyíl biyàgi,4. Biyàji naïlè.5. Aie ‘çqa nagāīë,6. Kaç Tcikè-¢igini,7. Dsil çolíj biyàgi,8. Biyàji naïlè.220.Translation.—1, 5. ‘Çqa = biçqa, amid or among them; nagai, that, there. 2. Kaç, now; Tsilkè-¢igìni, Holy Young Man; Tcikè-¢igìni, Holy Young Woman. 3, 7. Dsil, mountain; ¢ilhyíl, black; çolíj, blue; biyàgi, at the foot of, at the base of. 4, 8. Biyàji, his child; naïlè, he lays down, he leaves.221.Free translation.There amid [the mountains],Now the Holy Young Man,At the foot of the black mountain,Lays down his child.There amid [the mountains],Now the Holy Young Woman,At the foot of the blue mountain,Lays down her child.222.The characters of Tsilkè-¢igìni and Tcikè-¢igìni are in the myth. The black mountain, pertains to the male, the blue to the female. Although not told with the rest of the myth, it was subsequently related to the writer that Tsilkè-¢igìni said to the prophet, “Whoever learnsour songs will thenceforth be our child.” The above song, it is said, has some reference to this promise; but a fuller explanation, no doubt, remains to be discovered.223.SIXTH SONG OF THE HOLY YOUNG MEN.Aïena.Altsàcië ¢igìni oöhè.Altsàcië ¢igìni oöhè.1. Altsàcië ¢igìni, altsàcië ¢igìni, altsàcië ¢igìni oöhè.2. Kaç Tsilkè-¢igìni, bakàgië ¢igìni,3. Dsil ¢ilhyíli eä, bakàgië ¢igìni,4. Tsintsoï ¢ilhyíli eä bakàgië ¢igìni,5. Tsí¢a bialìli, bíja ye¢igíngo, bakàgië ¢igìni, oöhè.6. Altsàcië ¢igìni, altsàcië ¢igìni, altsàcië ¢igìni oöhè.7. Kaç Tcikè-¢igìni, bakàgië ¢igìni,8. Dsil çolíji cë, bakàgië ¢igìni,9. Tsintsoï çolíji, bakàgië ¢igìni,10. Tsí¢a bialìli, bíja ye¢igíngo, bakàgië ¢igìni, oöhè.224.Translation.— 1, 6. Altsàcië, on each side; ¢igìni, a holy one, a god. 2, 7. Kaç, now; tsilkè, young man; tcikè, young woman; bakàgi, on the summit, on top of it. 3, 8. Dsil, mountain; ¢ilhyíl, dark, black; çolíji, blue. 4, 9. Tsintsoï, great stick, a notched stick used as a musical instrument in the dance. 5, 10. Tsí¢a bialìli, truly his dance implement; bíja ye¢igíngo, his holy treasure, his talisman, his charm, his magic wand.225.Free translation.There’s a god on each side.Now the Holy Young ManIs the god on top of the black mountain,With his black notched stick,The implement of his dance, his magic wand.There’s a god on each side.Now the Holy Young WomanIs the god on top of the blue mountain,With her blue notched stick,The implement of her dance, her magic wand.226.This song is said to refer to that part of the myth where it is related that the prophet, flying from the Ute, climbed a hill which was transformed into a mountain. (Paragraph38.) Each mountain was supposed to have a holy one on it, who could, by means of his notched stick, produce the metamorphosis. The mountains were not necessarily colored black and blue, but are thus described to indicate that they lay north and south of the prophet’s path. (Paragraph171.)227.TWELFTH SONG OF THE HOLY YOUNG MEN.Eāīèa qàla éla yaináhe, oöhè.Eāīèa qàla éla yainooò yaaà yooò [three times],Eāīèa qàla éla yainà, qàla èla qainàhe oöhè.1. Dsil ilhyíli inlòooò yaaà yooò,2. Tsintsoï ¢ilhyíli inlòooò yaaà yeeè.3. Ci cigèlgo yainà,Qala éla qainàhe oöhè.4. Dsil çolíji inlòooò yaaà yooò,5. Tsintsoï ¢ilhyíli inlòooò yaaà yeeè,6. Ci cigèlgo yainà,Qala éla qainàhe oöhè.228.Translation.—1, 4. Dsil, mountain; çilhyíl, black; çolíj, blue. 2, 5. Tsintsò, a notched stick used in ceremonies to make music; inlo (inla‘), they lie there (two long hard things lie). 3, 6. Cigèl, my ultimatum, my desideratum (said of the peculiar sacrifice which belongs to each god), something I (the god) will have and accept nothing in place of it, my special sacrifice.229.Free translation.There lie the black mountains;There lie the black sticks;There lie my sacrifices.There lie the blue mountains;There lie the blue sticks;There lie my sacrifices.230.This is supposed to be a part of the instructions which the Holy Young Men and Holy Young Women gave to the prophet. The tsintso is made of cherry, which grows only on high mountains in the Navajo country. The sticks are painted black and blue. (See paragraph171.) The song alludes to all these facts.231.EIGHTH SONG OF THE YOUNG WOMEN WHO BECOME BEARS.Ço¢igìni¢a oyàhe, oöhè,Ço¢igìni¢a oyà oyà ooyàyaHāīyàya hāīyàya hāīyàhe, oöhè.Ço¢igìni¢a oyàhe, oöhè,Ço¢igìni¢a oyà oyà ooyàya,Hāīyàya hāīyàya hāīyàhe, oöhè.1. Kaç Tsilkè-¢igìnië ço¢igìn¢a hāīyàhe, oöhè,2. Bitsintsòië ië ço¢igìn¢a hāīyàhe oöhe,3. Tsí¢a bialìlië bíja-ye¢igìnië, oyà oyà, oyàya,Hāīyàya hāīyàya hāīyàhe, oöhè.4. Kaç Tcikè-¢igìnië ço¢igìn¢a hāīyàhe, oöhè,5. Bitsintsòië ië ço¢igin¢a hāīyàhe oöhè,6. Tsí¢a bialìlië bíja-ye¢igìnië, oyà oyà, oyàya,Hāīyàya hāīyàya hāīyàhe, oöhè.232.Translation.— Ço¢igìni¢a, ço¢igìni¢a, he is not a god; it is not holy; it is not divine. 1, 4. Kaç, now; tsilkè, young man; tcikè, young woman; ¢igìni, holy, supernatural. 2, 4. Bitsintsòi, his great notched stick. 3, 6. Tsí¢a, verily; bialìli, his implement of the dance or rite; bíja-ye¢igìni, his treasure which makes holy; his magic wand.233.Free translation.The Holy Young Man is not divine;His great notched stick is not holy;His magic wand is not holy.The Holy Young Woman is not divine;Her great notched stick is not holy;Her magic wand is not holy.234.This is supposed to refer to an altercation between these two gods, in which they tried to belittle each other.235.I have another song of this series, in which the idea is conveyed that their powers depend on their magic wands or notched sticks.236.ONE OF THE AWL SONGS.Òwe òwe òwe yàni yàï owànna a [repeat three times],Òwe òwe ìni áhe oöhè.1. ‘Ke-cac-natlèhi natcagàhi,2. Kaç dsil ¢ilhyíli bakàgi natcagàhi,3. Kaç ni‘ inzàç inçì çoholnì¢a òna,4. Kaç ni‘ inzàç inçì çoniò¢a òna.5. Tcikè-¢igìni natcagàhi,6. Dsil çolíji bakàgi natcagàhi,7. Kaç ni‘ inzàç inçì, çoholnì¢a òna,8. Kaç ni‘ inzàç inçì, çoniò¢a òna.237.Translation.—1. Ke, an abbreviation of tcikè; Tcikè-cac-natlèhi, maiden who becomes a bear; natcagà‘, she travels far, she walks or wanders far around. 2. Kaç, now; dsil ¢ilhyíl, black mountain; bakàgi, on top of. 3, 4, 7, 8. Ni‘, earth, land; inzàç, distant; inçì, it lies, it stretches; çoholnì¢a, seems not to be; çoniò¢a, not obscure or dim like a faint distance. 6. Dsil çolíji bakàgi, on top of the blue mountains.238.Free translation.The Maid Who Becomes a Bear walks far aroundOn the black mountains, she walks far around.Far spreads the land. It seems not far [to her].Far spreads the land. It seems not dim [to her].The Holy Young Woman walks far aroundOn the blue mountains, she walks far around.Far spreads the land. It seems not far [to her].Far spreads the land. It seems not dim [to her].239.FIRST SONG OF THE EXPLODING STICK.Aïena.Aïeyà āīa aïeya iè eè ieèe [three times] ië lan.1. ‘Ke-cac-nátlèhi dsilyi‘ ¢i¢ílkonië nan,2. Dsilyi‘ ¢olkòlkon; dsil bekonnìçe ië nan,Ië nanyahà hāīà ië nanaï.3. Çabasçìni ço‘yi‘ ¢i¢ílkonië nan,4. Ço‘yi ¢olkòlkon; ço‘bekonnìçe ië nan,Ië nanyahà hāīà ië nanaï.240.Translation.—1, 3. ‘Ke-cac-natlèhi = Tcikè-cac-nátlehi, Young Woman Who Becomes a Bear; Çabasçin, the Otter; ¢i¢ílkon, he or she set on fire in many places. 2, 4. Dsil, mountains; dsilyi‘, in the mountains; ço‘, water, waters; ço‘yi‘, in the waters; ¢olkolkon, he set on fire as he went along; bekonnìçe, its fires in a line, its string of fires.241.Free translation.Young Woman Who Becomes a Bear set fire in the mountainsIn many places; as she journeyed onThere was a line of burning mountains.The Otter set fire in the watersIn many places; as he journeyed onThere was a line of burning waters.242.It is related that in the ancient days, during a year of great drought, these holy ones, on their way to a council of the gods, set fire to the mountains and the waters. The smoke arose in great clouds, from which rain descended on the parched land. The song alludes to this legend.243.LAST SONG OF THE EXPLODING STICK.Hiè ieeè naāīà āīà i a ai anan[twice] ie.1. Tcikè-cac-nátlehië ¢igìni qayikàlgo; bàniya āīè.2. Dsil aga ¢azàgië ¢igìni qayikàlgo; bàniya āīè.3. Tsí¢a ci cigèliye ¢igìni qayikàlgo; bàniya āīè.4. Yàne ¢oölànegoö ¢isitsaàye.Hiè ieeè naāīà, etc.5. Kaç Tcikè-¢igìni ¢igìni qayikàlgo; bàniya āīè.6. Kos aga ¢azàgië ¢igìni qayikàlgo; bàniya āīè.7. Tsí¢a ci cigèliye ¢igìni qayikàlgo; bàniya āīè.8. Yàne ¢oölànegoö ¢isitsaàye.Hiè ieeè naāīà, etc.244.Translation.—1, 5. Tcikè-cac-nátlehi, Young Woman Who Becomes a Bear; Tcikè- ¢igìni, Holy Young Woman, or young woman goddess; ¢igìni qayikàl, she journeyed seeking the gods; bàniya, she found them, she met them. 2, 6. Dsil, mountains; kos, clouds; aga, peak, summit; ¢azà‘, many pointing upwards; (dsil aga ¢azàgi, on many mountain peaks). 3, 7. Tsí¢a, truly or true; cigèl, my desideratum, my special sacrifice. 4, 8.¢oölàne = ¢oölà¢a, some one does not believe it; ¢isitsà, I have heard; yàne and other vocables are meaningless.245.Free translation.Maid Who Becomes a Bear sought the gods and found them;On the high mountain peaks she sought the gods and found them;Truly with my sacrifice she 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 she sought the gods and found them;Truly with my sacrifice she sought the gods and found them.Somebody doubts it, so I have heard.246.These songs are accompanied, in beating the drum, with a peculiar sharp strike like a sudden outburst or explosion. Hence, they say, the name, Tsin¢ilçòï Bigin.247.FIRST DAYLIGHT SONG.Çahiz¢ìle, çahiz¢ìle, ya ahāīà lan[four times].1. Kaç Yikāī-acikè çahiz¢ìle, ya ahāīà lan,2. Qaïyolkal¢e çahiz¢ìle, ya ahāīà lan,3. Bitsídje yolkàlgo çahiz¢ìle, ya ahāīà lan,4. Bikèc¢e yolkàlgo çahiz¢ìle, ya ahāīà lan.5. Bitsídje qojògo çahiz¢ìle, ya ahāīà lan,6. Bikèc¢e qojògo çahiz¢ìle, ya ahāīà lan,7. Bizàç¢e qojògo çahiz¢ìle, ya ahāīà lan,Çahiz¢ìle, çahiz¢ìle, etc.8. Kaç yikāī-açèç, çahiz¢ìle, ya ahāīà lan,9. Naqotsòï¢e çahiz¢ile, ya ahāīà lan.[Verses 3 to 7 are here repeated.]Çahiz¢ile, çahiz¢ile, etc.248.Translation.—Çahiz¢ile = çahiz¢el, it hangs as a curtain or festoon; it hangs supported at both ends, i.e., the white curtain of dawn so hangs. 1. Yikāī-acikè, the Daylight Boy, the Navajo dawn god. 2. Qayolkàl¢e, from the place of dawn. 3. Bitsídje, before him; yolkàlgo, as it dawns, as the night passes away. 4. Bikèc¢e, from behind him. Qojògo, in a beautiful (earthly) manner. 7. Bizàç¢e, from his voice. 8. Yikāī-açèç, the Daylight Girl—the dawn goddess. 9. Naqotsòï¢e, from the land of yellow light (horizontal terrestrial yellow).249.Free translation.The curtain of daybreak is hangingThe Daylight Boy (it is hanging),From the land of the day it is hanging;Before him, as it dawns, it is hanging;Behind him, as it dawns, it is hanging.Before him, in beauty, it is hanging;Behind him, in beauty, it is hanging;From his voice, in beauty, it is hanging.The Daylight Girl (it is hanging),From the land of yellow light, it is hanging, &c. (substituting her for him and his).250.LAST DAYLIGHT SONG.Loleyèe, Loleyèe. Loleyèe, Loleyèe.Loleyèe, Loleyèe. Yahāièe qanaāī.1. Qayolkàgo, Loleyèe.2. Kaç Yikāī-acikèe. Loleyèe.Loleyèe, Loleyèe. Yahāīee, qanaāī.3. Kaç a¢a yiskàgo. Loleyèe.4. Kaç Yikāī-açèçe. Loleyèe.Loleyèe, Loleyèe. Yahāīee, qanaāī.251.Translation.—1. Qayolkàgo, in the place of dawn. 2, 4. Yikāī-acikè and Yikāī-açèç, Daylight Boy and Daylight Girl (see paragraph248). 3. A¢a yiskàgo, it is day all around. Refrain, loleyè, lullaby, a meaningless expression to indicate sleepiness.252.Free translation.Lullaby, lullaby.It is daybreak. Lullaby.Now comes the Daylight Boy. Lullaby.Now it is day. Lullaby.Now comes the Daylight Girl. Lullaby.253.As the daylight songs are sung just at dawn, in the corral, before the dance ceases, their significance is apparent.OTHER SONGS AND EXTRACTS.254.SONG OF THE PROPHET TO THE SAN JUAN RIVER.Aïena.1. Nagāī çonilínië, nagāī çonilínië,2. Biçhyísgo cinì‘ ¢eyà‘Haïniyèa, haïniyèa, āīèe niò haïne-yàhe, oöhè.3. Nagāī çointyèlië, nagāī çonilínië,4. Biçhyísgo cinì‘ ¢eyà‘ Haïniyèa, etc.5. Nagāī sanbiçòië, nagāī çonilínië,6. Biçhyísgo cinì‘ ¢eyà‘Haïniyèa, etc.255.Translation.—1. Nagāī that; çonilíni, flowing water, a river. 2, 4, 6. Biçhyísgo, across it; cinì‘, my mind; ¢eyà‘, it goes, or, it comes, it wanders to or from. 3. Çointyèli, broad water. 5. Sanbiço, water of old age.256.For origin and free translation of this song, see paragraph22.257.SONG OF THE BUILDING OF THE DARK CIRCLE.Oeà oeà, eà eà, he he;Oeà oeà, eà eeà, he he, ee nana.1. Dsilyi‘ Neyáni, cayolèli cayolèli;2. Tcoyaj ¢ilhyíli, cayolèli cayolèli;3. Tsíca alìli, cayolèli cayolèli;4. Bija ¢igíngo, cayolèli cayolèli.5. Tcikè-¢igìni, cayolèli cayolèli;6. Tcoyaj çolíji, cayolèli cayolèli;7. Tsí¢a alìli, cayolèli cayolèli;8. Bíja ¢igíngo, cayolèli cayolèli.258.Translation.—1. Dsilyi‘ Neyáni, Reared Within the Mountains, the prophet who instituted these ceremonies; cayolèli, he carries [something long and flexible, as a branch or sapling] for me. 2, 6. Tcoyaj, a spruce sapling, diminutive of tco, spruce; ¢ilhyíl, black; çolíj, blue. 3, 7. Tsí¢a alìli (usually tsí¢a bialìli), truly a dance implement. 4, 8. Bíja ¢igíngo (usually bíja-ye¢igíngo), a holy treasure, a magic wand.259.Free translation.Reared Within the Mountains carries for me;A black spruce sapling, he carries for me;An implement of the rites, he carries for me;A holy treasure, he carries for me.The Holy Young Woman carries for me;A blue spruce sapling, she carries for me;An implement of the rites, she carries for me;A holy treasure, she carries for me.260.The evergreen poles used in the dance and in making “the dark circles,” to both of which this song probably refers, were, in all cases where I have observed them, made of piñon and not of spruce; but all dances I have witnessed were at altitudes of about six thousand feet, where piñon was abundant and spruce rare. In those portions of the Navajo country with which I am familiar the spruce (Pseudotsuga douglassii) grows plentifully at the height of eight thousand feet, sparsely below that. There is good reason for believing that the spruce is the true sacred tree of these rites and that the piñon is only a convenient substitute. The song is called Ilnásjin Beniçà, “that with which the dark circle is built.” It is sung by the shaman at the eastern gate, while the young men are building the corral. (Paragraph124.) I have otherslightly different versions of it, probably suitable for different occasions. The form given above is recited, under ordinary circumstances, when the patient is a woman.261.PRAYER TO DSILYI‘ NEYÁNI.1. Dsilyi‘ Neyáni!2. Dsil banaçà!3. Tsilkè!4. Naçàni!5. Nigèl icla‘.6. Na¢è hila‘.7. Cikè caä¢ilil.8. Citcàç eaä¢ilil.9. Citsès eaä¢ilil.10. Cinì‘ eaä¢ilil,11. Cinè eaä¢ilil.12. Qojògo qa¢àlçe aci¢ilil.13. Citsídje qojolel.14. Cikè¢e qojolel.15. Cizàç qaqojolel.16. Qojòni qaslè,17. Qojòni qaslè,18. Qojòni qaslè,19. Qojòni qaslè.262.Translation.—1. The name of the prophet. 2. Dsil, mountains, banaçà, chief (or master) for them. 3. Tsilkè, young man. 4. Naçàni, chieftain. 5. Nigèl, your peculiar sacrifice, i.e., the keçàn; icla‘, I have made. 6. Na¢è, a smoke, i.e., the cigarettes (paragraph87), for you; hila‘, is made. 7, 8, 9, 10, 11. Cikè, my feet; citcàç, my lower extremities; citsès, my body; cinì‘, my mind; cinè, my voice; eaä¢ilil, for me restore (as it was before) thou wilt. 12. Qojògo, in a beautiful manner; qa¢àlçe, repaired, mended; aci¢ilil, restore me thou wilt. 13, 14. Citsídje, in the direction before me; cikè¢e, from behind me; qojolel, wilt thou terrestrially beautify. 15. Cizàç, my words; qaqojolel, wilt thou personally beautify. 16, 17, 18, 19. Qojòni, in earthly beauty; qaslè, it is made, it is done.263.In other prayers, closely resembling this in form, the shaman adds: “Beautify all that is above me. Beautify all that is below me. Beautify all things around me.”264.The division into verses is that of the chanter. He pronounces the name in the first line; the patient repeats it after him. Then he gives out the words in the second line, and so on. For free translation, see paragraph88.265.SONG OF THE RISING SUN DANCE.Oöniyàye, oöniyàye oöniyàhe yáhe yáhe heyiyoè [twice].1. Qanaïçác¢e2. Tsilkè-çigìni3. Kátso-yisçàni4. Yìyolnakòe5. Qano qakòsko.6. Tcihanoāīe7. Akos nisínle.Yáhe, yáhe eïa āī.Oöniyàye, etc.8. Inaïçác¢e9. Tcikè-çigìni10. Awètsal-yisçàni11. Yìyolnakòe12. Qana qokòsko.13. Klehanoāīe14. Akos nisínle.Yáhe, yáhe eïa āī.266.Translation.—1. Qanaïçác¢e, from where it (the sun) rises. 2. Tsilkè-¢igìni, Holy Young Man. 3. Kátso-yisçàni, the great plumed arrow. 4, 11. Yiyolna‘, he swallowed slowly or continuously. 5, 12. Qano qakòsko, it comes out by degrees. 6. Tcihanoāī, the sun. 7, 14. Akos nisín, he is satisfied. 8. Inaïçác¢e, from where it sets. 9. Tcikè-¢igìni, Holy Young Woman. 10. Awètsal-yisçàni, prepared or plumed cliff rose, i.e., cliff rose arrow. 13. Klehanoāīe, the moon.267.Free translation.Where the sun rises,The Holy Young ManThe great plumed arrowHas swallowedAnd withdrawn it.The sunIs satisfied.Where the sun sets,The Holy Young WomanThe cliff rose arrowHas swallowedAnd withdrawn it.The moonIs satisfied.268.This song is sung during the dance or alil described in paragraph142. The conception of the poet seems to be that, the dance of the great plumed arrow having been properly performed, the sun should be satisfied and willing to do the bidding of the dancers, i.e., rise when desired, on the pole.269.INSTRUCTIONS GIVEN TO THE AKÁNINILI.1. Çi‘ betcána nilìnlel.2. Çi‘ ¢a‘naniltyèl¢o.3. Çi‘ beniqo¢ílsinlel. Aïbinìgi nizè ¢ela‘.4.¢a‘yiltsísgo, ¢a‘bokògo tse‘na akàn hyis¢inìle.5. Tsinetlol akàn bàçhyis hyis¢inìle; ako bàçhyis hyis¢ilçále.6. Tse‘ elkàgi akàn hyis¢inìle.7. Akoï kátso-yisçàn; aïbinigi djoçile, qoi¢igín¢e behoèqoi¢ilsin.270.Translation.—1. Çi‘, this; betcána, a thing to rise with (as you progress); nilìnlel, will make for you. 2. Çi‘, this; ¢a‘naniltyèl¢o, will carry you along anywhere. 3. Beniqo¢ílsinlel, by means of it people will know you; aïbinìgi, for this reason, or purpose; nizè, your neck; ¢ela‘, it hangs (once) around. 4.¢a‘yiltsísgo, at any little valley (yiltsis, a little valley); ¢a‘bokògo, at any gully or arroyo (boko‘, arroyo); tse‘na, across; akàn, meal; hyis¢inìle, he sprinkles always across. 5. Tsinetlol, the root of a tree; akàn, meal; bàçhyis, across it; hyis¢inìle, he sprinkles across; ako, then; hyis¢ilçále, he steps across. 6. Tse‘ elkàgi, on flat rocks; akàn, meal; hyis¢inìle, he sprinkles across. 7. Akoï, then, next; kátso-yisçàn, the great prepared arrow—so says the chanter, but he really refers to the in¢ia‘, or çobolçà, the plumed wand which akáninili carries; aïbinigi, for this purpose; djoçile, he carries it (in the hand); qoi¢igín¢e, from a holy place (¢igin, holy); behoèqoi¢ilsin, by means of it people know him.271.For free translation, see paragraph102.272.PRAYER OF THE PROPHET TO HIS MASK.1.¢a‘andje qahasdsìgo ançèlini, cilìn.2. Hyininàleni, cilìn.3. Ayàn¢ançocisyi‘go¢olèl¢a, cilìn.4. Caï¢inilìl.273.Translation.—1.¢a‘andje, at any time to you; qahasdsìgo, when I spoke; ançèlini, always you made or did it, i.e., granted my request or assisted me; cilìn, my domestic animal, my pet. 2. Hyininàleni, you were alive (once); cilìn, my pet. 3. Ayàn¢an, be sure, take care; ço¢a, negative; cisyi‘go, that I die; ¢olèl, I desire, I beg (the divided negative makes one word of the sentence). 4. Caï¢inilìl, watch thou for me, or over me.274.For free translation, see paragraph27.275.LAST WORDS OF THE PROPHET.1. Aqalàni, citsíli.2. Cakaïlçe ye qo¢igín¢e.3.¢a‘çonasi¢ilsèl¢a.4.¢a‘hoelçìgo ¢a‘¢eltcílgo, nagāīga cinàï anìla dsinisínle,5.¢a‘no‘çílgo ayàc in¢i¢alàgo, anilçàni in¢i¢alàgo nagāīga cinàï binibikègola‘ dsinisínle.276.Translation.—1. Aqalàni, greeting (farewell, in this case); citsíli, my younger brother. 2. Cakaïlçe, for me they have come; ye, the yays, the gods; qo¢igín¢e, from a holy or supernatural place. 3. (¢a‘, any, on any occasion, etc.; ço¢a, negative; na, again; si¢ilsèl, you will see me); ¢a‘çonasi¢ilsèl¢a, you will never see me again. 4.¢a‘hoelçìgo, on any occasion as the rain passes, i.e., whenever it rains; ¢a‘¢eltcílgo, whenever it thunders; nagāīga, in that; cinàï, my elder brother; anìla, is his voice; dsinisínle, you will think so. 5.¢a‘no‘çílgo, whenever they (crops) are ripening, i.e., in harvest time; ayàc, small birds; in¢i¢alàgo, of all kinds; anilçàni, grasshoppers; nagāīga, in that, in those; cinàï, my elder brother; binibikègola‘, is his ordering, his design (the trail of his mind); dsinisínle, so you will think.277.For free translation, see paragraph79.
192.The songs of the dsilyídje qaçàl are very numerous and their recitation is governed by many rules, a few of which only have been discovered by the writer.
193.A list has been recorded of thirteen sets of songs which may properly be sung at night in the medicine lodge, when the ceremonies of the day are done, and in the corral on the last night, when there is no special song in progress pertaining to a particular alili or dance. The list which follows exhibits the order in which these songs may be sung on any particular night. For example, if the singers begin with a song from set III, they cannot follow immediately with a song from sets I or II, but mast select from some of the following sets, as set IV or V. Again, in each set the songs have a certain order of sequence which must not be reversed. For convenience these will be called
Songs of the First Dancers
Songs of the Great Stick, or Plumed Wand
Songs of the Mountain Sheep
Songs of the Lightning
Songs of the Holy Young Men
Tcikè-cac-nátlehi Bigin
Songs of Young Women Who Become Bears
Songs of Reared Within the Mountains
Songs of the Porcupines
Songs of the Exploding Stick
194.Besides those referred to in the above list, there are more which are appropriate to different acts in the ceremony, such as the songs sung at the obliteration of the pictures, at the building of the corral, at the departure of the akáninili, &c.
195.In some cases a number of songs in the same set are nearly alike; the addition or substitution of one verse, or even of one word, may be the only difference. Such songs usually follow one another in immediate succession; often, on the other hand, we find a great variety in subject and in style.
196.Some songs are self-explanatory or readily understood, but the greater number cannot be comprehended without a full knowledge of the mythology and of the symbolism to which they refer; they merely hint at mythic conceptions. Many contain archaic expressions, for which the shaman can assign a meaning, but whose etymology cannot now be learned; and some embody obsolete words whose meaning is lost even to the priesthood. There are many vocables known to be meaningless and recited merely to fill out the rhythm or to give a dignified length to the song. For the same reasons a meaningless syllable is often added or a significant syllable duplicated.
197.Other poetical licenses are taken, such as the omission of a syllable, the change of accent, the substitution of one vowel for another. The most familiar words are often distorted beyond recognition. For these various reasons the task of noting and translating these songs is one of considerable difficulty.
Same song, usingalternative spelling.
Qaniè qaò yaè, qaniè qaò yaè
Qaniè iè oayè oayè.
1. Qadjinäìa qaò yaè,
2. Kaç dsil ¢ilhyíli qaò yaè,
3. ‘Çaltsoï tsèë qaò yaè,
4. Cija cigèlgo qaò yaè.
Náhi ìni èhi oayè, náhi ini èhi oöhè.
9. Qadjinäìa qaò yaè,
10. Kaç dsil litsòï qaò yaè,
11. Bitselitsòï qaò yaè,
12. Cija cigèlgo qaò yaè.
Náhi ìni, etc.
5. Niqoyastcàdje qaò yaè,
6. Kaç dsil çolíji qaò yaè,
7. Kini bitsèë qaò yaè,
8. Cija cigèlgo qaò yaè.
Náhi ìni, etc.
13. Niqoyastcàdje qaò yaè,
14. Kaç dsil lakàie qaò yaè,
15. A‘a‘i tsèe qaò yaè,
16. Cija cigèlgo qaò yaè.
Náhi ìni, etc.
199.Translation.—1, 9. Qadjinàï, “Place-where-they-came-up,” a locality in the San Juan Mountains where, according to their mythology, the Navajo emerged from the lower world to this. 5, 13. Niqoyastcàdje, another name for Qadjinàï. 2, 6, 10, 14. Kaç, now; dsil, mountain; ¢ilhyíli, black; çolíji, blue; litsòï, yellow; lakàie, white. These verses refer to four mountains surrounding Qadjinàï, which are designated by colors only to indicate their topographical positions. 3, 7, 11, 15. ‘Çaltsoï = aça litsòï, “yellow wing,” a large bird of prey; kini, hen hawk; bitselitsòï, “yellow tail,” a bird of undetermined species; a‘a‘i, magpie; tse, a tail; bitse, its tail. 4, 8, 12, 16. Cija, my treasure; cigèl, my desideratum, my ultimatum, the only thing Iwill accept. When supposed to be said by a god, as in this song, it means the particular sacrifice which is appropriate to him. In this case probably the feathers spoken of are “cigèl” and the mountains “cija.” The refrain “qaò yaè” is a poetic modification of qaa‘, it looms up, or sticks up, said of some lofty object visible in the distance, whose base cannot be seen.
Place-whence-they-came-up looms up,
Now the black mountain looms up,
The tail of the “yellow wing” looms up,
My treasure, my sacrifice, loom up.
Land-where-they-moved-out looms up,
Now the blue mountain looms up,
The tail of the hen-hawk looms up,
My treasure, my sacrifice, loom up.
Place-whence-they-came-up looms up,
Now the yellow mountain looms up,
The tail that is yellow looms up,
My treasure, my sacrifice, loom up.
Land-where-they-moved-out looms up,
Now the white mountain looms up,
The tail of the magpie looms up,
My treasure, my sacrifice, loom up.
1. Yìki ¢asizìni,
2. Kaç Tsilkè-¢igìni,
3. Kaç kátso-yisçàni,
4. Tsí¢a baälìli,
5. Bíja-ye¢igíngo.
6. Kaç Tcikè ¢igìni,
7. Kátsoye yisçàni,
8. Yìki ¢asizìni,
9. Tsí¢a baälìli,
10. Bíja-ye¢igíngo.
202.Translation.—1, 8. Yìki, upon it; ¢asizin, he stands on high. 2, 6. Kaç, now; tsilkè, young man; tcikè, young woman; ¢igìni, holy. 3. Kátso-yisçàn, the great plumed arrow; kátsoye yisçàn, with the great plumed arrow. 4, 9. Tsí¢a, truly, verily; baälìli, an alili, a show, a rite, or implement used in a dance for him. 5, 10. Bíja, his treasure, his special property, his peculiar belonging; ye, with, a prefix forming nouns which denote the means; ¢igíngo, positively holy or supernatural. Bíja-ye¢igíngo might be translated “charm” or “talisman.”
He stands high upon it;
Now the Holy Young Man [Young Woman, in second stanza],
With the great plumed arrow,
Verily his own sacred implement,
His treasure, by virtue of which he is truly holy.
204.A reference to the myth, and the description of the ceremonies will probably be sufficient to give the reader an understanding of this song. This set of songs, it is said, was first sung by the black sheep which stood on the rock as a sign to the Navajo fugitive; hence the name. (See paragraphs35,47,48,54.)
Binaçoöláe [four times] oäyèhe oöhè.
1. Kaç Tsilkè-¢igìni,
2. Ca‘bitlòli yèë,
3. Tsí¢a bialìli,
4. Bíja ye¢igíngo,
5. Binaçoöláe oäyèhe oöhè.
6. Kaç Tcikè-¢igìni,
7. Natsilíçi yèë,
8. Tsí¢a bialìli,
9. Bíja ye¢igíngo,
10. Binaçoöláe oäyèhe oöhè.
206.Translation.—1, 6. Kaç, now; tsilkè, young man; tcikè, young woman; ¢igìni holy one, god or goddess. 2. Ca‘bitlòl, sunbeam, sunbeams; ye, with. 3, 8. Tsi¢a, verily; bialìli (paragraph3), his dance or sacred implement. 4, 9. Bíja, his special property, his treasure; ye¢igíngo, that by means of which he is ¢igín, i.e., holy or supernatural. 5, 10. Binaçòla, it is encircled. 7. Natsiliç, the rainbow.
Now the Holy Young Man,
With the sunbeam,
Verily his own sacred implement,
His treasure which makes him holy,
Is encircled.
Now the Holy Young Woman,
With the rainbow,
Verily her own sacred implement,
Her treasure which makes her holy,
Is encircled.
208.Which is to say that the great plumed arrows which they bear are adorned with sunbeams and rainbows. They “shine in glory.” (See references in paragraph204)
1. Nayunáni tcènia,
2. Kaç biçèïltsos tcènia,
3. Biqolçègo, tcènia.
4. Nayunáni tcènia,
5. Kaç biçènackòji tcènia,
6. Biqolçègo, tcènia.
210.Translation.—1, 4. Nayunáni, again on the other side, i.e., across two valleys. 2. Biçè, his horns; iltsos, slender; biçèïltsos, slender horns, i.e., the deer, by metonomy. 3, 6. Biqolçègo, it is becoming to him. 5. Biçè, his horns; nackòj, turgid, filled out, stuffed; biçènackòji, turgid horns—metonymically, the mountain sheep,Ovis montana. The refrain, tcènia, he appears, he comes in sight.
Far beyond he appears;
Now “Slender Horn” appears.
His antlers are becoming. He appears.
Far beyond he appears;
Now “Turgid Horn” appears.
His horns are becoming. He appears.
212.This song, it is said, refers to the time when the prophet saw the vision of the black sheep on the rock. (Paragraph35.) The reason for introducing the deer into the song is not obvious.
1. Çòna! Çòna! A‘āīyèhe oöhè [repeat],
2. Yùçakoö ani‘;
3. I‘¢ni‘djië ani‘;
4. Kos ¢ilhyíl biyì‘dje,
5. Nabizàç qolègo,
6. Çòna! Çòna! A‘āīyèhe oöhè
7. Çòna! Çòna! A‘āīyèhe oöhè [repeat],
8. Yùyakoö ani‘;
9. Anilçàni ani‘;
10. Nánise bicqàko,
11. Nabizaç qolègo,
12. Çòna! Çòna! A‘āīyèhe oöhè.
214.Translation.—1, 6, 7, 12. Çòna, an imitation of the thunder, not a word. 2, 8. Yùçako, above; yùyako, below; ani‘, any sound, the sound of the voice. 3. I‘¢ni‘dji pertaining to the thunder. 4. Kos, cloud; ¢ilhyíl, black, dark; biyì‘dje, within, or toward within it. 5, 11. Nabizaç qolègo, again and again sounds his moving voice. 9. Anilçàni, a general name for large meadow grasshoppers. 10. Nánise, plants in general; biçqàko, in among them.
Thonah! Thonah!
There is a voice above,
The voice of the thunder.
Within the dark cloud,
Again and again it sounds,
Thonah! Thonah!
Thonah! Thonah!
There is a voice below,
The voice of the grasshopper.
Among the plants,
Again and again it sounds,
Thonah! Thonah!
Aïena.
Beqojònigo ani‘i [four times] oöhè.
1. Yùçakoö ani‘i;
2. I‘¢ni‘djië ani‘i;
3. Kos ¢ilhyíl biyì‘dje,
4. Nàbizaç qolègo,
5. Beqojònigo ani‘i, oöhè.
6. Yùyakoö ani‘i;
7. Anilçàni ani‘i;
8. Nánise biçqàko,
9. Nàbizaç qolègo,
10. Beqojònigo ani‘i, oöhè.
217.Translation.—Aïena, a meaningless beginning to many songs, which may be omitted. 1. Yùçako, above. 2. I‘¢ni‘dji, pertaining to the thunder. 3. Kos, cloud; ¢ilhyíl, dark; biyì‘dje, within it. 4, 9. Nàbizaç, his voice again, his voice repeated; qolègo, sounds along, sounds moving. 5, 10. (Be, a prefix forming nouns of the cause or instrument; qojòni, local or terrestrial beauty; go, a suffix to qualifying words); beqojònigo, productive of terrestrial beauty; ani‘, a voice, a sound. 6. Yùyako, below. 7. Anilçani, grasshopper. 8. Nánise, plants; biçqàko, in among them.
The voice that beautifies the land!
The voice above,
The voice of the thunder
Within the dark cloud
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 plants
Again and again it sounds,
The voice that beautifies the land.
1. Oöc ‘çqa nagāīë,
2. Kaç Tsilkè-¢igìni,
3. Dsil ¢ilhyíl biyàgi,
4. Biyàji naïlè.
5. Aie ‘çqa nagāīë,
6. Kaç Tcikè-¢igini,
7. Dsil çolíj biyàgi,
8. Biyàji naïlè.
220.Translation.—1, 5. ‘Çqa = biçqa, amid or among them; nagai, that, there. 2. Kaç, now; Tsilkè-¢igìni, Holy Young Man; Tcikè-¢igìni, Holy Young Woman. 3, 7. Dsil, mountain; ¢ilhyíl, black; çolíj, blue; biyàgi, at the foot of, at the base of. 4, 8. Biyàji, his child; naïlè, he lays down, he leaves.
There amid [the mountains],
Now the Holy Young Man,
At the foot of the black mountain,
Lays down his child.
There amid [the mountains],
Now the Holy Young Woman,
At the foot of the blue mountain,
Lays down her child.
222.The characters of Tsilkè-¢igìni and Tcikè-¢igìni are in the myth. The black mountain, pertains to the male, the blue to the female. Although not told with the rest of the myth, it was subsequently related to the writer that Tsilkè-¢igìni said to the prophet, “Whoever learnsour songs will thenceforth be our child.” The above song, it is said, has some reference to this promise; but a fuller explanation, no doubt, remains to be discovered.
Aïena.
Altsàcië ¢igìni oöhè.
Altsàcië ¢igìni oöhè.
1. Altsàcië ¢igìni, altsàcië ¢igìni, altsàcië ¢igìni oöhè.
2. Kaç Tsilkè-¢igìni, bakàgië ¢igìni,
3. Dsil ¢ilhyíli eä, bakàgië ¢igìni,
4. Tsintsoï ¢ilhyíli eä bakàgië ¢igìni,
5. Tsí¢a bialìli, bíja ye¢igíngo, bakàgië ¢igìni, oöhè.
6. Altsàcië ¢igìni, altsàcië ¢igìni, altsàcië ¢igìni oöhè.
7. Kaç Tcikè-¢igìni, bakàgië ¢igìni,
8. Dsil çolíji cë, bakàgië ¢igìni,
9. Tsintsoï çolíji, bakàgië ¢igìni,
10. Tsí¢a bialìli, bíja ye¢igíngo, bakàgië ¢igìni, oöhè.
224.Translation.— 1, 6. Altsàcië, on each side; ¢igìni, a holy one, a god. 2, 7. Kaç, now; tsilkè, young man; tcikè, young woman; bakàgi, on the summit, on top of it. 3, 8. Dsil, mountain; ¢ilhyíl, dark, black; çolíji, blue. 4, 9. Tsintsoï, great stick, a notched stick used as a musical instrument in the dance. 5, 10. Tsí¢a bialìli, truly his dance implement; bíja ye¢igíngo, his holy treasure, his talisman, his charm, his magic wand.
There’s a god on each side.
Now the Holy Young Man
Is the god on top of the black mountain,
With his black notched stick,
The implement of his dance, his magic wand.
There’s a god on each side.
Now the Holy Young Woman
Is the god on top of the blue mountain,
With her blue notched stick,
The implement of her dance, her magic wand.
226.This song is said to refer to that part of the myth where it is related that the prophet, flying from the Ute, climbed a hill which was transformed into a mountain. (Paragraph38.) Each mountain was supposed to have a holy one on it, who could, by means of his notched stick, produce the metamorphosis. The mountains were not necessarily colored black and blue, but are thus described to indicate that they lay north and south of the prophet’s path. (Paragraph171.)
Eāīèa qàla éla yaináhe, oöhè.
Eāīèa qàla éla yainooò yaaà yooò [three times],
Eāīèa qàla éla yainà, qàla èla qainàhe oöhè.
1. Dsil ilhyíli inlòooò yaaà yooò,
2. Tsintsoï ¢ilhyíli inlòooò yaaà yeeè.
3. Ci cigèlgo yainà,
Qala éla qainàhe oöhè.
4. Dsil çolíji inlòooò yaaà yooò,
5. Tsintsoï ¢ilhyíli inlòooò yaaà yeeè,
6. Ci cigèlgo yainà,
Qala éla qainàhe oöhè.
228.Translation.—1, 4. Dsil, mountain; çilhyíl, black; çolíj, blue. 2, 5. Tsintsò, a notched stick used in ceremonies to make music; inlo (inla‘), they lie there (two long hard things lie). 3, 6. Cigèl, my ultimatum, my desideratum (said of the peculiar sacrifice which belongs to each god), something I (the god) will have and accept nothing in place of it, my special sacrifice.
There lie the black mountains;
There lie the black sticks;
There lie my sacrifices.
There lie the blue mountains;
There lie the blue sticks;
There lie my sacrifices.
230.This is supposed to be a part of the instructions which the Holy Young Men and Holy Young Women gave to the prophet. The tsintso is made of cherry, which grows only on high mountains in the Navajo country. The sticks are painted black and blue. (See paragraph171.) The song alludes to all these facts.
Ço¢igìni¢a oyàhe, oöhè,
Ço¢igìni¢a oyà oyà ooyàya
Hāīyàya hāīyàya hāīyàhe, oöhè.
Ço¢igìni¢a oyàhe, oöhè,
Ço¢igìni¢a oyà oyà ooyàya,
Hāīyàya hāīyàya hāīyàhe, oöhè.
1. Kaç Tsilkè-¢igìnië ço¢igìn¢a hāīyàhe, oöhè,
2. Bitsintsòië ië ço¢igìn¢a hāīyàhe oöhe,
3. Tsí¢a bialìlië bíja-ye¢igìnië, oyà oyà, oyàya,
Hāīyàya hāīyàya hāīyàhe, oöhè.
4. Kaç Tcikè-¢igìnië ço¢igìn¢a hāīyàhe, oöhè,
5. Bitsintsòië ië ço¢igin¢a hāīyàhe oöhè,
6. Tsí¢a bialìlië bíja-ye¢igìnië, oyà oyà, oyàya,
Hāīyàya hāīyàya hāīyàhe, oöhè.
232.Translation.— Ço¢igìni¢a, ço¢igìni¢a, he is not a god; it is not holy; it is not divine. 1, 4. Kaç, now; tsilkè, young man; tcikè, young woman; ¢igìni, holy, supernatural. 2, 4. Bitsintsòi, his great notched stick. 3, 6. Tsí¢a, verily; bialìli, his implement of the dance or rite; bíja-ye¢igìni, his treasure which makes holy; his magic wand.
The Holy Young Man is not divine;
His great notched stick is not holy;
His magic wand is not holy.
The Holy Young Woman is not divine;
Her great notched stick is not holy;
Her magic wand is not holy.
234.This is supposed to refer to an altercation between these two gods, in which they tried to belittle each other.
235.I have another song of this series, in which the idea is conveyed that their powers depend on their magic wands or notched sticks.
Òwe òwe òwe yàni yàï owànna a [repeat three times],
Òwe òwe ìni áhe oöhè.
1. ‘Ke-cac-natlèhi natcagàhi,
2. Kaç dsil ¢ilhyíli bakàgi natcagàhi,
3. Kaç ni‘ inzàç inçì çoholnì¢a òna,
4. Kaç ni‘ inzàç inçì çoniò¢a òna.
5. Tcikè-¢igìni natcagàhi,
6. Dsil çolíji bakàgi natcagàhi,
7. Kaç ni‘ inzàç inçì, çoholnì¢a òna,
8. Kaç ni‘ inzàç inçì, çoniò¢a òna.
237.Translation.—1. Ke, an abbreviation of tcikè; Tcikè-cac-natlèhi, maiden who becomes a bear; natcagà‘, she travels far, she walks or wanders far around. 2. Kaç, now; dsil ¢ilhyíl, black mountain; bakàgi, on top of. 3, 4, 7, 8. Ni‘, earth, land; inzàç, distant; inçì, it lies, it stretches; çoholnì¢a, seems not to be; çoniò¢a, not obscure or dim like a faint distance. 6. Dsil çolíji bakàgi, on top of the blue mountains.
The Maid Who Becomes a Bear walks far around
On the black mountains, she walks far around.
Far spreads the land. It seems not far [to her].
Far spreads the land. It seems not dim [to her].
The Holy Young Woman walks far around
On the blue mountains, she walks far around.
Far spreads the land. It seems not far [to her].
Far spreads the land. It seems not dim [to her].
Aïena.
Aïeyà āīa aïeya iè eè ieèe [three times] ië lan.
1. ‘Ke-cac-nátlèhi dsilyi‘ ¢i¢ílkonië nan,
2. Dsilyi‘ ¢olkòlkon; dsil bekonnìçe ië nan,
Ië nanyahà hāīà ië nanaï.
3. Çabasçìni ço‘yi‘ ¢i¢ílkonië nan,
4. Ço‘yi ¢olkòlkon; ço‘bekonnìçe ië nan,
Ië nanyahà hāīà ië nanaï.
240.Translation.—1, 3. ‘Ke-cac-natlèhi = Tcikè-cac-nátlehi, Young Woman Who Becomes a Bear; Çabasçin, the Otter; ¢i¢ílkon, he or she set on fire in many places. 2, 4. Dsil, mountains; dsilyi‘, in the mountains; ço‘, water, waters; ço‘yi‘, in the waters; ¢olkolkon, he set on fire as he went along; bekonnìçe, its fires in a line, its string of fires.
Young Woman Who Becomes a Bear set fire in the mountains
In many places; as she journeyed on
There was a line of burning mountains.
The Otter set fire in the waters
In many places; as he journeyed on
There was a line of burning waters.
242.It is related that in the ancient days, during a year of great drought, these holy ones, on their way to a council of the gods, set fire to the mountains and the waters. The smoke arose in great clouds, from which rain descended on the parched land. The song alludes to this legend.
Hiè ieeè naāīà āīà i a ai anan[twice] ie.
1. Tcikè-cac-nátlehië ¢igìni qayikàlgo; bàniya āīè.
2. Dsil aga ¢azàgië ¢igìni qayikàlgo; bàniya āīè.
3. Tsí¢a ci cigèliye ¢igìni qayikàlgo; bàniya āīè.
4. Yàne ¢oölànegoö ¢isitsaàye.
Hiè ieeè naāīà, etc.
5. Kaç Tcikè-¢igìni ¢igìni qayikàlgo; bàniya āīè.
6. Kos aga ¢azàgië ¢igìni qayikàlgo; bàniya āīè.
7. Tsí¢a ci cigèliye ¢igìni qayikàlgo; bàniya āīè.
8. Yàne ¢oölànegoö ¢isitsaàye.
Hiè ieeè naāīà, etc.
244.Translation.—1, 5. Tcikè-cac-nátlehi, Young Woman Who Becomes a Bear; Tcikè- ¢igìni, Holy Young Woman, or young woman goddess; ¢igìni qayikàl, she journeyed seeking the gods; bàniya, she found them, she met them. 2, 6. Dsil, mountains; kos, clouds; aga, peak, summit; ¢azà‘, many pointing upwards; (dsil aga ¢azàgi, on many mountain peaks). 3, 7. Tsí¢a, truly or true; cigèl, my desideratum, my special sacrifice. 4, 8.¢oölàne = ¢oölà¢a, some one does not believe it; ¢isitsà, I have heard; yàne and other vocables are meaningless.
Maid Who Becomes a Bear sought the gods and found them;
On the high mountain peaks she sought the gods and found them;
Truly with my sacrifice she 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 she sought the gods and found them;
Truly with my sacrifice she sought the gods and found them.
Somebody doubts it, so I have heard.
246.These songs are accompanied, in beating the drum, with a peculiar sharp strike like a sudden outburst or explosion. Hence, they say, the name, Tsin¢ilçòï Bigin.
Çahiz¢ìle, çahiz¢ìle, ya ahāīà lan[four times].
1. Kaç Yikāī-acikè çahiz¢ìle, ya ahāīà lan,
2. Qaïyolkal¢e çahiz¢ìle, ya ahāīà lan,
3. Bitsídje yolkàlgo çahiz¢ìle, ya ahāīà lan,
4. Bikèc¢e yolkàlgo çahiz¢ìle, ya ahāīà lan.
5. Bitsídje qojògo çahiz¢ìle, ya ahāīà lan,
6. Bikèc¢e qojògo çahiz¢ìle, ya ahāīà lan,
7. Bizàç¢e qojògo çahiz¢ìle, ya ahāīà lan,
Çahiz¢ìle, çahiz¢ìle, etc.
8. Kaç yikāī-açèç, çahiz¢ìle, ya ahāīà lan,
9. Naqotsòï¢e çahiz¢ile, ya ahāīà lan.
[Verses 3 to 7 are here repeated.]
Çahiz¢ile, çahiz¢ile, etc.
248.Translation.—Çahiz¢ile = çahiz¢el, it hangs as a curtain or festoon; it hangs supported at both ends, i.e., the white curtain of dawn so hangs. 1. Yikāī-acikè, the Daylight Boy, the Navajo dawn god. 2. Qayolkàl¢e, from the place of dawn. 3. Bitsídje, before him; yolkàlgo, as it dawns, as the night passes away. 4. Bikèc¢e, from behind him. Qojògo, in a beautiful (earthly) manner. 7. Bizàç¢e, from his voice. 8. Yikāī-açèç, the Daylight Girl—the dawn goddess. 9. Naqotsòï¢e, from the land of yellow light (horizontal terrestrial yellow).
The curtain of daybreak is hanging
The Daylight Boy (it is hanging),
From the land of the day it is hanging;
Before him, as it dawns, it is hanging;
Behind him, as it dawns, it is hanging.
Before him, in beauty, it is hanging;
Behind him, in beauty, it is hanging;
From his voice, in beauty, it is hanging.
The Daylight Girl (it is hanging),
From the land of yellow light, it is hanging, &c. (substituting her for him and his).
Loleyèe, Loleyèe. Loleyèe, Loleyèe.
Loleyèe, Loleyèe. Yahāièe qanaāī.
1. Qayolkàgo, Loleyèe.
2. Kaç Yikāī-acikèe. Loleyèe.
Loleyèe, Loleyèe. Yahāīee, qanaāī.
3. Kaç a¢a yiskàgo. Loleyèe.
4. Kaç Yikāī-açèçe. Loleyèe.
Loleyèe, Loleyèe. Yahāīee, qanaāī.
251.Translation.—1. Qayolkàgo, in the place of dawn. 2, 4. Yikāī-acikè and Yikāī-açèç, Daylight Boy and Daylight Girl (see paragraph248). 3. A¢a yiskàgo, it is day all around. Refrain, loleyè, lullaby, a meaningless expression to indicate sleepiness.
Lullaby, lullaby.
It is daybreak. Lullaby.
Now comes the Daylight Boy. Lullaby.
Now it is day. Lullaby.
Now comes the Daylight Girl. Lullaby.
253.As the daylight songs are sung just at dawn, in the corral, before the dance ceases, their significance is apparent.
Aïena.
1. Nagāī çonilínië, nagāī çonilínië,
2. Biçhyísgo cinì‘ ¢eyà‘
Haïniyèa, haïniyèa, āīèe niò haïne-yàhe, oöhè.
3. Nagāī çointyèlië, nagāī çonilínië,
4. Biçhyísgo cinì‘ ¢eyà‘ Haïniyèa, etc.
5. Nagāī sanbiçòië, nagāī çonilínië,
6. Biçhyísgo cinì‘ ¢eyà‘
Haïniyèa, etc.
255.Translation.—1. Nagāī that; çonilíni, flowing water, a river. 2, 4, 6. Biçhyísgo, across it; cinì‘, my mind; ¢eyà‘, it goes, or, it comes, it wanders to or from. 3. Çointyèli, broad water. 5. Sanbiço, water of old age.
256.For origin and free translation of this song, see paragraph22.
Oeà oeà, eà eà, he he;
Oeà oeà, eà eeà, he he, ee nana.
1. Dsilyi‘ Neyáni, cayolèli cayolèli;
2. Tcoyaj ¢ilhyíli, cayolèli cayolèli;
3. Tsíca alìli, cayolèli cayolèli;
4. Bija ¢igíngo, cayolèli cayolèli.
5. Tcikè-¢igìni, cayolèli cayolèli;
6. Tcoyaj çolíji, cayolèli cayolèli;
7. Tsí¢a alìli, cayolèli cayolèli;
8. Bíja ¢igíngo, cayolèli cayolèli.
258.Translation.—1. Dsilyi‘ Neyáni, Reared Within the Mountains, the prophet who instituted these ceremonies; cayolèli, he carries [something long and flexible, as a branch or sapling] for me. 2, 6. Tcoyaj, a spruce sapling, diminutive of tco, spruce; ¢ilhyíl, black; çolíj, blue. 3, 7. Tsí¢a alìli (usually tsí¢a bialìli), truly a dance implement. 4, 8. Bíja ¢igíngo (usually bíja-ye¢igíngo), a holy treasure, a magic wand.
Reared Within the Mountains carries for me;
A black spruce sapling, he carries for me;
An implement of the rites, he carries for me;
A holy treasure, he carries for me.
The Holy Young Woman carries for me;
A blue spruce sapling, she carries for me;
An implement of the rites, she carries for me;
A holy treasure, she carries for me.
260.The evergreen poles used in the dance and in making “the dark circles,” to both of which this song probably refers, were, in all cases where I have observed them, made of piñon and not of spruce; but all dances I have witnessed were at altitudes of about six thousand feet, where piñon was abundant and spruce rare. In those portions of the Navajo country with which I am familiar the spruce (Pseudotsuga douglassii) grows plentifully at the height of eight thousand feet, sparsely below that. There is good reason for believing that the spruce is the true sacred tree of these rites and that the piñon is only a convenient substitute. The song is called Ilnásjin Beniçà, “that with which the dark circle is built.” It is sung by the shaman at the eastern gate, while the young men are building the corral. (Paragraph124.) I have otherslightly different versions of it, probably suitable for different occasions. The form given above is recited, under ordinary circumstances, when the patient is a woman.
1. Dsilyi‘ Neyáni!
2. Dsil banaçà!
3. Tsilkè!
4. Naçàni!
5. Nigèl icla‘.
6. Na¢è hila‘.
7. Cikè caä¢ilil.
8. Citcàç eaä¢ilil.
9. Citsès eaä¢ilil.
10. Cinì‘ eaä¢ilil,
11. Cinè eaä¢ilil.
12. Qojògo qa¢àlçe aci¢ilil.
13. Citsídje qojolel.
14. Cikè¢e qojolel.
15. Cizàç qaqojolel.
16. Qojòni qaslè,
17. Qojòni qaslè,
18. Qojòni qaslè,
19. Qojòni qaslè.
262.Translation.—1. The name of the prophet. 2. Dsil, mountains, banaçà, chief (or master) for them. 3. Tsilkè, young man. 4. Naçàni, chieftain. 5. Nigèl, your peculiar sacrifice, i.e., the keçàn; icla‘, I have made. 6. Na¢è, a smoke, i.e., the cigarettes (paragraph87), for you; hila‘, is made. 7, 8, 9, 10, 11. Cikè, my feet; citcàç, my lower extremities; citsès, my body; cinì‘, my mind; cinè, my voice; eaä¢ilil, for me restore (as it was before) thou wilt. 12. Qojògo, in a beautiful manner; qa¢àlçe, repaired, mended; aci¢ilil, restore me thou wilt. 13, 14. Citsídje, in the direction before me; cikè¢e, from behind me; qojolel, wilt thou terrestrially beautify. 15. Cizàç, my words; qaqojolel, wilt thou personally beautify. 16, 17, 18, 19. Qojòni, in earthly beauty; qaslè, it is made, it is done.
263.In other prayers, closely resembling this in form, the shaman adds: “Beautify all that is above me. Beautify all that is below me. Beautify all things around me.”
264.The division into verses is that of the chanter. He pronounces the name in the first line; the patient repeats it after him. Then he gives out the words in the second line, and so on. For free translation, see paragraph88.
Oöniyàye, oöniyàye oöniyàhe yáhe yáhe heyiyoè [twice].
1. Qanaïçác¢e
2. Tsilkè-çigìni
3. Kátso-yisçàni
4. Yìyolnakòe
5. Qano qakòsko.
6. Tcihanoāīe
7. Akos nisínle.
Yáhe, yáhe eïa āī.
Oöniyàye, etc.
8. Inaïçác¢e
9. Tcikè-çigìni
10. Awètsal-yisçàni
11. Yìyolnakòe
12. Qana qokòsko.
13. Klehanoāīe
14. Akos nisínle.
Yáhe, yáhe eïa āī.
266.Translation.—1. Qanaïçác¢e, from where it (the sun) rises. 2. Tsilkè-¢igìni, Holy Young Man. 3. Kátso-yisçàni, the great plumed arrow. 4, 11. Yiyolna‘, he swallowed slowly or continuously. 5, 12. Qano qakòsko, it comes out by degrees. 6. Tcihanoāī, the sun. 7, 14. Akos nisín, he is satisfied. 8. Inaïçác¢e, from where it sets. 9. Tcikè-¢igìni, Holy Young Woman. 10. Awètsal-yisçàni, prepared or plumed cliff rose, i.e., cliff rose arrow. 13. Klehanoāīe, the moon.
Where the sun rises,
The Holy Young Man
The great plumed arrow
Has swallowed
And withdrawn it.
The sun
Is satisfied.
Where the sun sets,
The Holy Young Woman
The cliff rose arrow
Has swallowed
And withdrawn it.
The moon
Is satisfied.
268.This song is sung during the dance or alil described in paragraph142. The conception of the poet seems to be that, the dance of the great plumed arrow having been properly performed, the sun should be satisfied and willing to do the bidding of the dancers, i.e., rise when desired, on the pole.
1. Çi‘ betcána nilìnlel.
2. Çi‘ ¢a‘naniltyèl¢o.
3. Çi‘ beniqo¢ílsinlel. Aïbinìgi nizè ¢ela‘.
4.¢a‘yiltsísgo, ¢a‘bokògo tse‘na akàn hyis¢inìle.
5. Tsinetlol akàn bàçhyis hyis¢inìle; ako bàçhyis hyis¢ilçále.
6. Tse‘ elkàgi akàn hyis¢inìle.
7. Akoï kátso-yisçàn; aïbinigi djoçile, qoi¢igín¢e behoèqoi¢ilsin.
270.Translation.—1. Çi‘, this; betcána, a thing to rise with (as you progress); nilìnlel, will make for you. 2. Çi‘, this; ¢a‘naniltyèl¢o, will carry you along anywhere. 3. Beniqo¢ílsinlel, by means of it people will know you; aïbinìgi, for this reason, or purpose; nizè, your neck; ¢ela‘, it hangs (once) around. 4.¢a‘yiltsísgo, at any little valley (yiltsis, a little valley); ¢a‘bokògo, at any gully or arroyo (boko‘, arroyo); tse‘na, across; akàn, meal; hyis¢inìle, he sprinkles always across. 5. Tsinetlol, the root of a tree; akàn, meal; bàçhyis, across it; hyis¢inìle, he sprinkles across; ako, then; hyis¢ilçále, he steps across. 6. Tse‘ elkàgi, on flat rocks; akàn, meal; hyis¢inìle, he sprinkles across. 7. Akoï, then, next; kátso-yisçàn, the great prepared arrow—so says the chanter, but he really refers to the in¢ia‘, or çobolçà, the plumed wand which akáninili carries; aïbinigi, for this purpose; djoçile, he carries it (in the hand); qoi¢igín¢e, from a holy place (¢igin, holy); behoèqoi¢ilsin, by means of it people know him.
271.For free translation, see paragraph102.
1.¢a‘andje qahasdsìgo ançèlini, cilìn.
2. Hyininàleni, cilìn.
3. Ayàn¢ançocisyi‘go¢olèl¢a, cilìn.
4. Caï¢inilìl.
273.Translation.—1.¢a‘andje, at any time to you; qahasdsìgo, when I spoke; ançèlini, always you made or did it, i.e., granted my request or assisted me; cilìn, my domestic animal, my pet. 2. Hyininàleni, you were alive (once); cilìn, my pet. 3. Ayàn¢an, be sure, take care; ço¢a, negative; cisyi‘go, that I die; ¢olèl, I desire, I beg (the divided negative makes one word of the sentence). 4. Caï¢inilìl, watch thou for me, or over me.
274.For free translation, see paragraph27.
1. Aqalàni, citsíli.
2. Cakaïlçe ye qo¢igín¢e.
3.¢a‘çonasi¢ilsèl¢a.
4.¢a‘hoelçìgo ¢a‘¢eltcílgo, nagāīga cinàï anìla dsinisínle,
5.¢a‘no‘çílgo ayàc in¢i¢alàgo, anilçàni in¢i¢alàgo nagāīga cinàï binibikègola‘ dsinisínle.
276.Translation.—1. Aqalàni, greeting (farewell, in this case); citsíli, my younger brother. 2. Cakaïlçe, for me they have come; ye, the yays, the gods; qo¢igín¢e, from a holy or supernatural place. 3. (¢a‘, any, on any occasion, etc.; ço¢a, negative; na, again; si¢ilsèl, you will see me); ¢a‘çonasi¢ilsèl¢a, you will never see me again. 4.¢a‘hoelçìgo, on any occasion as the rain passes, i.e., whenever it rains; ¢a‘¢eltcílgo, whenever it thunders; nagāīga, in that; cinàï, my elder brother; anìla, is his voice; dsinisínle, you will think so. 5.¢a‘no‘çílgo, whenever they (crops) are ripening, i.e., in harvest time; ayàc, small birds; in¢i¢alàgo, of all kinds; anilçàni, grasshoppers; nagāīga, in that, in those; cinàï, my elder brother; binibikègola‘, is his ordering, his design (the trail of his mind); dsinisínle, so you will think.
277.For free translation, see paragraph79.