The Delight Makers

by Adolph Francis Alphonse Bandelier

  CHAPTER VI.

  "Hu-Hu-Hu-Hu-Hu-Hu-Hu-Hu-Hu-o-o-o-o!"

  Shrill cries, succeeding one another in quick succession, ending in aprolonged shout, proceed from the outer exit of the gallery that opensupon the court-yard of the large building.

  The final whoop, caught up by the cliffs of the Tyuonyi, echoes andre-echoes, a prolonged howl dying out in a wail. Men's voices, hoarseand untrained, are now heard chanting in rhythmic and monotonous chorus.They approach slowly, moving with measured regularity; and now strangefigures begin to emerge from the passage-way, and as they file into thecourt-yard the chant grows louder and louder. A refrain--

  "Ho-[=a]-[=a]! Heiti-na! Ho-[=a]-[=a]! Heiti-na!"

  breaks clearly and distinctly upon the ear, mingled with the discordantrumblings of a drum. The fantastic procession advances, forming a doublecolumn, composed of men and women side by side. The former are stampingand the latter tripping lightly, but all are keeping time. Theycertainly present a weird appearance, tricked out in their gaudy appareland ornamented with flashy trinkets. The hair of the men is worn loose;tufts of green and yellow feathers flutter over the forehead, whilearound their necks and dangling over their naked chests are seen stringsof porcupine quills, shell beads, turquoises, bright pebbles, feldspar,apatite,--anything in short that glitters and shines. Bunches of similarmaterial glisten in their ears. Fastened about the waist, and reachingas low as the knee, a rude kilt-like garment composed of white cottoncloth or of deerskin hangs and flaps. It is ornamented with anembroidery of red and black threads, and quills of the porcupine. Belowthe knee, garters of buckskin, tinged red and yellow, form a fringe towhich are attached tortoise-shell rattles and bunches of elk-hoofs. Theankles are encased with strips of the white and black fur of the skunk,and from the waist a fox-skin hangs, fastened to the back and reachingalmost as far as the heel. Each man carries a tuft of hawk's feathers inhis left hand, while the right grasps a rattle fashioned from a gourdand filled with pebbles.

  The women wear their ordinary dress, emphasized however with a profusionof necklaces, wristbands, and ear pendants, while in each hand is bornea bunch of pine twigs wagging from side to side as they move. But by farthe most striking feature of their costume is their headdress. Itconsists of a piece of buffalo-hide scraped and flattened like a board,about fifteen inches long and seven inches wide, one end of which is cutsquare. The other terminates in what resembles a triple turret, squarelynotched. This is painted green, and decorated with symbolic figures inred and yellow. White feathers flutter from each of the threeturret-shaped projections, and this peculiar headgear is held in placeby strips of buckskin attached to the squared end, and knotted aboutmeshes of the dark, streaming hair.

  The faces of both sexes are generously daubed with white clay, inaddition to which the men have their naked chests, upper arms, and handsalso decorated with stripes and blotches of the same substance.

  The procession is a long one; couple follows couple, the men gravelystamping, the women gracefully tripping. At the head are the tallest andmost robust youths, the best developed and most buxom girls. Followingthese, the dancers are less and less carefully assorted and matched,while boys and old women, little girls and old men, bring up the rear.

  As the last couple emerges, the chorus bursts out in full force, thechoristers themselves issuing from the dark passage-way. These aretwelve in number, all men, dressed or undressed as each one's fancydictates, their faces whitened like the dancers'. Their rude chant orrhythmic shouting is in the minor key. They advance in a body, keepingtime with their feet, gesticulating in a manner intended to convey themeaning of their song. In their midst goes the drum-beater, an aged manadorned with an eagle's feather behind each ear. Like the rest, his faceis daubed with white paint; his drum, which he thumps incessantly with asingle stick, being manufactured from a hollow tree. Both ends of it arecovered with rawhide, and the whole instrument is painted yellow. Werecognize easily in this musician the head of the Koshare, Shyuote'slate tormentor.

  At no great distance from the exit, the chorus comes to a halt, but thesinging, gesticulation and beating of the drum proceed. The dancersmeanwhile move about the whole court to the same step, but the couplesseparate and change places; man steps beside man, woman joins woman, allturning and passing each other, suggesting by their movements theflexures of a closely folded ribbon. The couples then re-form, thedouble rank strings out as at first, tramping and tripping in a widecircle to the rhythm and measure of the monotonous music.

  This solemn perambulation and primitive concert is witnessed by numerousinterested spectators, and listened to by a large and attentiveaudience. The Rito's entire population is assembled, eagerly, at timesalmost devoutly, gazing and listening. The assemblage crowds the roofsand lines the walls below, all confusedly gathered together. There isevery imaginable posture, costume, or lack of costume,--men, women,children clothed in bright wraps or embroidered skins, scantily coveredwith dirty rags, or rejoicing in the freedom of undress. The severalroofs of the large house, rising in successive terraces three storieshigh, form an irregular amphitheatre filled with humanity of all sizes,shapes, ages, clothing, in glaring contrast with one another. In thearena formed by the court-yard, form and colour intermingle with moreorder and regularity; and at the same time greater brilliancy isexhibited. The fantastic headdresses of the women nod and vibrate likewaving plants of Indian corn; the lustrous hair and the gaudy costumesglisten and sparkle in the sunlight, fox pelts wag back and forth,plumes and feathers flit and dance, the monotonous chanting, the dullthumping and drumming rise into the deep blue sky, re-echoing from thetowering cliffs, whose pinnacles look down upon the weird scene fromheights far above the uppermost tier of spectators.

  Among those looking on we may recognize some of our acquaintances.Seated upon one of the terraces, his chin resting on his hand, isTopanashka, who looks down upon the actors with a grave, cold, seeminglyindifferent gaze. Say Koitza stands in the doorway of her dwelling, herwan face wearing an immobile expression. Her little girl, elegantlyarrayed in a breech-clout and turquoise necklace, clings to her mother'swrap with one hand while the other disappears in her gaping mouth. Thechild is half afraid, half curious; and has an anxious, troubled look.Shyuote, however, evinces no sign of embarrassment or humility. Plantedsolidly on his feet, with legs well apart and both arms arched, he gapesand stares at everybody and everything, occasionally fixing his glanceupon the resplendent sky overhead. In vain we search for Zashue and hiselder son, Okoya.

  The mass of spectators--hundreds are here already and more are comingconstantly--do not content themselves with devout and reverentadmiration. Criticism is going on, and it is exercised with the mostunlimited freedom. Should any one attract attention to himself, eitherby the perfection or imperfection of his dress measured by the standardof the critic, he is not only mentioned by name and his garb audiblycriticised, but pointed at approvingly or derisively. The men are madethe butt of their own sex among the audience; while the women praise ordepreciate, according as the occasion may seem to require, the femalemembers of the procession. Frequently, when the costume of some duskybeauty in the arena is the object of publicly expressed admiration, someother within hearing may be seen casting a covert glance ofdisappointment at her own less successful apparel. Or she fixes her eyesupon her gorgeous necklace with evident gratification, satisfied thather own get-up is handsomer than the one that the others so much admire,while she soothes her injured vanity with haughty contempt for the tasteof those who see so much in her rival to admire.

  The beat of the drum ceases, the wild song is hushed, and the dancersbreak rank, seeking rest. They collect in groups or mingle with thebystanders, chatting, laughing, panting. Their violent exercise hasplayed sad havoc with the paint upon their faces and bodies, renderingthem less fantastic but more ludicrous. The drummer occasionally rapshis instrument to satisfy himself that it is in order, otherwise thereis a lull of which all avail themselves to take part in the generalconversation. Chi
ldren resume their sports in the court-yard.

  Suddenly loud peals of laughter are heard on every side, and all eyesturn simultaneously toward the passage-way whence are issuing half adozen strange-looking creatures. They do not walk into the polygon, butrather tumble into it, running, hopping, stumbling, cutting capers, likea troop of clumsy, ill-trained clowns. When they have reached the centreof the open space, laughter becomes louder and more boisterous allaround. Such expressions of mirth do not merely signify amusement, butare meant as demonstrations of applause. The Indian does not applaud byclapping his hands or stamping his feet, but evinces his approbation bylaughter and smirks.

  The appearance of the six men who have just tumbled into the arena isnot merely strange, it is positively disgusting. They are covered withwhite paint, and with the exception of tattered breech-clouts areabsolutely naked. Their mouths and eyes are encircled with black rings;their hair is gathered in knots upon the tops of their heads, from whichrise bunches of corn husks; a string of deer-hoofs dangles from eachwrist; fragments of fossil wood hang from the loins; and to the kneesare fastened tortoise-shells. Nothing is worn with a view to ornament.These seeming monstrosities, frightful in their ugliness, move aboutquite nimbly, and are boldly impudent to a degree approaching sublimity.Notwithstanding their uncouth figures and mountebank tricks theirmovements at times are undoubtedly graceful, and they appear to exercisea certain authority over the entire pageant.

  White is the symbolic paint of the Koshare; hence all the actors whohave performed their several parts, including the coarse jesters, makeup and represent the society of the Delight Makers, whose office it isto open the ayash tyucotz. The association whose name has been selectedas the title of our story is now before us fully represented, arrayed inits appropriate dress and engaged in the discharge of some of itsofficial duties. The clowns, too, the most agile and sprightly, in aword the most amusing of the company, are only an exaggeration of therest, whose joint task it is to diffuse mirth, joy, buoyancy, delight,throughout the whole tribe. The jesters are also the heralds andmarshals of the celebration. They gather together in the centre of thecourt and carry on a boisterous conversation accompanied withextravagant gestures. No one interrupts their noisy garrulity, but theentire assemblage listens eagerly, hailing their clumsy attempts at ajoke and their coarse sallies of wit with shrieks of laughter. Theirjests are necessarily of the coarsest; nevertheless excellent local hitsare made and satiric personalities of considerable pungency are notinfrequently indulged in. One of the clowns has tumbled down; he lies onhis back, feet in the air; another takes hold of his legs and drags himaround in the dust. The peals of laughter that greet this effort givetestimony to the estimation in which it is held by the lookers-on. Ifone of the spectators has the misfortune to display immoderateenthusiasm, forthwith he is made the target of merciless jeering. One ofthe merrymakers goes up to him and mimics his manner and actions in thecrudest possible way. The people on the terraced roofs exhibit their joyby showering down corn-cakes from their perches, which the performersgreedily devour. These things are delightful according to Indiannotions, and are well fitted to show how much of a child he still is,--achild however, it must be remembered, endowed with the physicalstrength, passions, and appetites of adult mankind.

  The jesters scatter. One of their number runs up to Say Koitza, whoshrinks at his approach. Nevertheless he plants himself squarely infront of her, bends his knees sidewise so as to describe a lozenge withhis legs, and thrusts out his tongue to its fullest possible extent.Upon this the woman laughs, for in the grimacing abomination she hasdiscovered her own husband, Zashue, who thus pleasantly makes himselfknown. The hit is simply magnificent in the judgment of his audience.Meanwhile one of his colleagues is astride a beam and endeavouring tocrawl up it; a third is actually on the roof and scatters the shriekinggirls everywhere by his impudent addresses; another bursts from a roomon the ground-floor holding ears of corn in each hand, and throwinghimself upon the earth begins to gnaw them as a dog would a bone, whileone of his companions leaps on him, and together they give a faithfulrepresentation of two prairie wolves fighting over carrion. The greatestuproar prevails all about; the Koshare are outdoing themselves; theyscatter delirious joy, pleasure, delight, broadcast among the people.

  The rumblings of the drum are heard again; the men and women dancerstake their places; once more the chorus surround the musicians. Theclowns hush at once, and squat or lie down along the walls, sober anddignified. The strange _corps de ballet_ re-forms in four lines, thesecond and third facing each other, and the first and fourth fronting inopposite directions; men and women alternate. Loud whoops and yellsstartle the air; the drum rolls and thunders; each dancer brandishes hisrattle. Softly and gently, at first, the chant begins,--

  "Ho-[=a]-[=a], Heiti-na, Heiti-na."

  Gradually it increases in power, the dancers marking time. Livelierbecome the motions, stronger and stronger the chanting, its textdistinct and clearly enunciated,--

  "Misho-homa Shi-pap, Na-ya Ha-te Ma-a-a-se-ua, U[=a]-tir-anyi, Tya-au-era-nyi, Shoto Ha-ya Ma-a-a-se-ua, Nat-yu-o-o, Nat-yu-o-o, Ma-a-a-se-ua, Heiti-na, Heiti-na, Ho-[=a]-[=a], Ho-[=a]-[=a]."

  The dancers intermingle; those in the front shift to the rear rank; thenall together utter a piercing shriek and dart back to their formerpositions. The ceremony continues for upward of half an hour, duringwhich the same words are sung, the same figures repeated. Then there isagain a pause, and the actors disband to rest and recuperate. The clownsforget their dignity and set to work with redoubled energy, growingbolder and bolder. A party of them has penetrated into a ground-floorapartment, and are throwing the scanty furniture through the doorway.Now they spread robes and mats in the open court, lie down on them,crack jokes, and make faces at the audience. A specially gifted memberof the fraternity hurries down a beam with a baby in his clutches, whichhe has powdered with ashes. He dances about with it, and exhibits thesqualling brat in every attitude as a potential Koshare. The peoplescream and shout with unmixed pleasure. Now they point at a pair ofmonsters, one stamping and the other tripping daintily, who effectuallymimic the late partners of the dance in the most heartless manner.Another of these hideous creatures is sitting down, his head coveredwith a dirty rag, staring, stuttering, and mumbling, like an imbecile.His pantomime is recognized at once as a cruel mimicry of the chiefpenitent while at prayer, and it is universally pronounced to be asuperb performance. To the Koshare nothing is sacred; all things arepermitted, so long as they contribute delight to the tribe.

  Topanashka appeared to be lonesome in his exalted seat upon the roof. Hearose quietly; and the bystanders made room for the tall man as witheyes fixed on an opposite terrace, he slowly descended and walked alongthe houses without deigning to take any notice of the gambols of theKoshare. He brushed past Say Koitza, and without looking at her ormoving a feature muttered so that she alone could hear,--

  "Watch, lest they discover the feathers."

  Passing to the other side of the court he seated himself near a small,slender man, somewhat younger than himself. This was the tapop, or chiefcivil officer at the Rito.

  The woman was greatly frightened by her father's words. It flashed uponher that should the Delight Makers raid her household and upset it, asthey had others, the owl's feathers might be detected. In the troubledstate of her mind she had failed to destroy or even remove them.Nevertheless, she could not immediately leave her post, through fear ofawakening suspicion; she must wait until the dance should begin and thegoblins become quiescent. Then? What then?

  The feathers lay buried in the earthen floor of the inner room. Theirremoval must be accomplished with great care, in such a manner as toleave no signs of the earth having been recently disturbed.[7] There wasno choice; they must be removed at all hazards. There would be ampletime if she could only afterward obliterate all traces of her work.Luckily the kitchen was very dark, and the hearth covered with ashes.Water was there also, but she dare not use it l
est the moistened spotbetray her. Her mind was made up, however, and the attempt would be madeas soon as the dance was renewed.

  Singing and drumming are heard once more; the dancers fall into line;and when the chorus was shouting the second verse,--

  "Na-ya, Ha-te Oyo-y[=a]-u[=a], U[=a]-tir-anyi Tya-au-era-nyi,"--

  and the jokers had dispersed, Say slowly retreated within the room,cowered down by the hearth, a sharp stone-splinter in her hand and hereyes fixed upon the door, watching lest anybody should appear. Shelistened with throbbing heart to discover whether there was anyshuffling sound to betray the approach of one of the Koshare. She sawnothing, and no sound was heard except the beats of the drum and themonotonous rhythm,--

  "Heiti-na, Heiti-na, Nat-yu-o-o, Nat-yu-o-o, Ma-a-a-se-e-e-ua."

  The woman began to dig. She dug with feverish haste. The dance lackedinterest for her; time and again had she witnessed it, and well knew thefigures now being performed. She made the hole as small as possible,digging and digging, anxiously listening, eagerly looking up now andthen at the doorway, and starting timidly at the least sound.

  At last her instrument struck a resisting though elastic object; it wasthe feathers.

  Cautiously she pulled, pulled them up until she had drawn them to thetop of the hole, then peered about her, intently listening. Nothing!Outside the uproar went on, the chorus shouting at the top of theirvoices,--

  "Ei-ni-a-ha, Ei-ni-a-ha-ay, Tu-ua Se-na-si Tyit-i-na, Tyit-i-na-a-a, Ma-a-a-se-ua."

  Wrenching the bundle from its hiding-place, she concealed it in herbosom; then carefully replaced the earth and clay; put ashes on this,then clay; rubbed the latter with a stone; threw on more ashes and moreclay; and finally stamped this with her feet,--all the while listening,and glancing into the outer room. At last, when it seemed to her thatthe most rigid search could detect no trace of her labours, she brushedthe ashes from her wrap and went out under the doorway again.

  She appeared composed and more cheerful, but her heart was palpitatingterribly; and at every pulsation she felt the dangerous bundle concealedbeneath her clothing, and she tightened still more the belt encirclingher waist.

  The third act of the dance soon ended, and the jesters went to work oncemore,--women and girls now became the objects of their attentions. Thescreams and shrieks from the roof terraces when a Koshare is tearingabout amongst the women, loud as they are, are drowned by the uproariouslaughter of the men, who enjoy hugely the disgust and terror of theother sex.

  From some of the houses the white painted horrors have taken out thegrinding-slabs. Kneeling behind them, they heap dirt on their flatsurfaces, moisten it with water, and grind the mud as the housewife doesthe corn, yelping and wailing the while in mimicry of the woman and hersong while similarly engaged. The pranks of these fellows are simplysilly and ugly; the folly borders on imbecility and the ugliness isdisgusting, and yet nobody is shocked; everybody endures it and laughs.

  The Dance of the Ayash Tyucotz]

  Say Koitza herself enjoyed seeing her sex made a butt by coarse andvulgar satyrs. Suddenly two of the beasts stand before her, and one ofthem attempts an embrace. With a loud shriek she pushes him away, stepsnimbly aside, and so saves the treacherous bundle from his grasp. Boththe monsters storm into the house, where a terrific uproar begins. Cornis thrown about, grinding-slabs are disturbed, pots and bowls, robes andmats, are dragged hither and thither; they thump, scratch, and poundevery corner of her little house. Gasping for breath, quaking fromterror and distress, she leans against the wall, for in the fellow whosought to embrace her she recognizes Tyope.

  All at once he darts out of the house, rushing past her with a large earof corn in each hand which he forthwith hurls at the head of one of hiscomrades. This provokes intense merriment, increased still more by hislying down and rolling over several times. The climax of his humour isattained, and exhibits itself in his squatting on the ground close toone of the clay-grinding artists, where he begins to feed very eagerlyupon the liquid mud, literally eating dirt. But a terrible weight hasbeen lifted from the breast of the poor woman, for the dangerous manhas, so she must conclude from his actions, discovered nothing.

  Meanwhile the other Koshare had stepped out of the house withwell-filled hands. Say is unconscious of his approach, and as he passesher he empties his treasures, fine ashes, upon her devoted head. Sosudden is his disappearance and so loud the laughter which this displayof subtle humour excites among the bystanders, that Say Koitza fails torecognize its author, Zashue, her own husband.

  She feels much relieved, and her heart has grown light now that theimmediate danger is past. And intently she tries to catch her father'seye, but the old man is quietly seated and does not look toward her.

  The drum beats to signal the close of the intermission. The clowns arebecoming too impudent, too troublesome, so that an end must be made totheir pranks. The society of the Koshare will appear now for the lasttime, as after the next dance they retire. While this is at its height,Topanashka rises and returns to his former place.

  Walking slowly past his daughter, he looks at her. She meets his gazecheerfully, and with a slight nod of approbation he moves onward.

  The dance is over, and the Koshare depart to scatter beyond the largehouse and to rest. On the disappearance of the last of their number,including the jesters, whoops and shouts fill the air again fromwithout, and a second procession similar to the former marches into thecourt-yard. It is composed of different persons similarly costumed,except that their paint is bluish instead of white. No clowns accompanythem. They go through a similar performance, and sing the same songs;but everything is done with gravity and even solemnity. This band ismore numerous by at least ten couples, and as a consequence thespectacle is more striking on account of a greater variety of dress andfinery. A tall, slender young man opens the march. It is Hayoue. Hispartner is a buxom lass from the Bear clan, Kohayo hanutsh, a strong,thick-waisted creature, not so good-looking for a girl as he is for aman, yet of such proportion and figure as strike the Indian fancy. Theypay each other little attention. During the pauses each one follows hisown bent, and when the time calls they meet again.

  In an Indian dance there is no need of engaging partners, though it isnot unusual for such as fancy one another to seize the opportunity of sodoing. The mere fact of a certain boy stamping the earth beside acertain girl on a certain occasion, or a certain maiden tripping by theside of a particular youth, does not call for that active gossipingwhich would result if a couple were to dance with one another alone atone of our balls. A civilized ball is professedly for enjoyment alone;an Indian dance is a religious act, a public duty.

  The society who are now exercising their calisthenics in the court hasmuch similarity to the Koshare, yet their main functions are distinct.They are called the Cuirana.

  If, during the conversation in which Topanashka informed his daughteras to the origin of the Koshare and the ideas underlying their role inIndian society, Say Koitza had inquired of him about the Cuirana hemight have given her very similar information.

  With this marked distinction, however, that whereas the former considerthemselves summer people, the latter are regarded as winter men. Whilethe Koshare are specially charged with the duty of furthering theripening of the fruit, the Cuirana assist the sprouting of the seed.

  The main work of the Koshare is therefore to be done in the summer andautumn, that of the Cuirana in the spring; and, moreover, while oncertain occasions the latter are masters of ceremonies also, they neveract as clowns or official jesters. Their special dance is never obscene,like that of the Delight Makers.

  During their performance, therefore, the public did not exhibit theunbounded hilarity which marked that of their predecessors. The audiencelooked on quietly, and even with stolidity. There was nothing to excitelaughter, and since the figures were slavish repetitions, it becamemonotonous. Some of the spectators withdrew to their houses, and thosewho remained belonged to t
he cliffs, whence they had come to witness therite, as a serious and even sacred duty.

  While the dance of the Cuirana is in progress, two of the white paintedclowns are standing outside of the big building, and at some distancefrom the new house of Yakka hanutsh, in earnest conversation. Heat andexercise have partially effaced the paint, so that the features of TyopeTihua, and of Zashue, the husband of Say, can be easily recognized.

  "I tell you, satyumishe," asserts the latter, "you are mistaken, orwords have been spoken to you that are not true. This wife of mine isgood. She has nothing to do with evil, nor has she tampered with it.You have done her wrong, Tyope, and that is not right." His features,already distorted by the paint, took on an expression of anger.

  The other responded hastily, "And I tell you, Zashue Tihua, that I sawyour wife sitting by the hearth with Shotaye,"--his voice trembled atthe mention of her name,--"and I heard when that mean, low aniehna"--hiseyes flashed, giving a terrible expression to his already monstrouslydisfigured countenance--"spoke to the yellow corn!"

  "Did you understand what she said?" Zashue interjected.

  "No, but can any one ask aught of the yellow corn but evil? I know, too,that this shuatyam picked up the body of an owl on the mesa"--he pointedto the southern heights--"and carried its feathers back to her foul holein the rocks."

  "But you did not see Say with them?" Her husband looked in the eyes ofthe other inquiringly, and at the same time threateningly.

  "That is the truth, but why does she go with the witch, and for whatpurpose does that female skunk need owl's plumage, if not to harm thetribe? She has done harm, too,"--he stamped his foot angrily,--"she isthe cause of our having no rain last summer. She destroyed themaize-plant ere it could bring forth ears. She did it, and your wifehelped her." Furious, and with flaming eyes, Tyope turned his head andstared into space.

  "Are you sure that Shotaye has done this, and that it is notP[=a]yatyama's will?"

  "Did we not fast and mortify ourselves while it was yet time, all of usfrom the Hotshanyi down to the youngest Koshare?" exclaimed Tyope. "Wasit of any use? No, for that base woman had power over us in order todestroy the tribe."

  "I am not defending her," Zashue muttered, "but it is not certain thatshe is guilty, nor is it proven that she is the cause of the hunger wesuffered last winter."

  His companion threw at him a glance of intense rage. The other'sincredulity exasperated Tyope, but he suppressed his feeling and spokein a quieter tone.

  "Come, satyumishe, the Naua is expecting us, and in his presence weshall speak further. Our father is wise and will teach our hearts."

  Say Koitza's husband stood motionless, looking away from his friend.

  "Come," Tyope urged, placing his hand on the other's shoulder. Zashue atlast turned around and reluctantly followed him. Both went toward thenew estufa of the Maize clan.

  From this circular building faint sounds, as of a drum beaten by a weakor lazy hand, were issuing. The principal Koshare and the Naua hadretired thither for recuperation after the dance. Although the old manwas not of the cluster to whom the estufa belonged, he had obtainedpermission from Yakka hanutsh to use the room on this occasion as ameeting and dressing place for himself and his associates. Theclub-house of the Corn people thus served to-day a twofold purpose, andwas used by two distinct groups of the inhabitants of the Rito.

  At this hour the Koshare Naua was its sole occupant. He sat on thefloor, holding the drum in his lap and touching the instrument lightlyfrom time to time. His vacant gaze was fixed upon a small heap of dyingembers, nearly in the centre of the room and beneath the hatchway.Occasionally he raised his head to glance at the wall opposite him. Theinterior of the estufa appeared quite different from what it did on theday when Shyuote's peep into it was so poorly rewarded. Its walls hadbeen whitened, and were in addition covered with strange-lookingpaintings. The floor was partly occupied by a remarkable display ofequally strange objects.

  The painting in front of which the old man sat, and at which he gazedfrom time to time, represented in the first place a green disksurrounded by short red rays, which three white squares, bordered withblack, converted into something like the rude semblance of a human face.This disk stood for a picture of the sun. Below it was the symbol of themoon's white disk, encircled by a black and red ring, and provided alsowith square eyes and mouth. Still lower were painted two crosses, a redone and a white one, both with black border.

  Above the sun there appeared a form intended to be human, painted invery gaudy colours. This was P[=a]yatyama, the sun-father. On each sideof him rose a terraced pyramid painted green, and from the top of one ofthese pyramids to that of the other there spanned or stretched atri-coloured arch, red, yellow, and blue, over the sun-father's head. Oneach side of sun and moon was the crudely executed picture of ananimal,--the one on the right, being intended for a bear, painted green;the one on the left, for a panther, painted red. The heads of thesebeasts were turned toward the central figures. Still farther, beyondthese beasts of prey, two gigantic green serpents with horned headsswept over the remainder of the wall, leaving but a narrow space facingthe sun, where four maize-plants, two green ones and two of areddish-brown hue, were painted.

  Below the central figures and not quite reaching up to them, an arch ofwood, painted green with a yellow middle stripe, was held aloft by twopoles driven into the floor of the estufa. Under this arch stood awooden screen, green and black with a yellow border at the bottom, whilethe upper edge was carved into four terraced pyramids surmounted by asmany black arches. Both right and left of the screen, pine-branchesresembling Christmas-trees of to-day were stuck into the floor. Thisstrange decoration expresses symbolically a meaning similar to thatintended to be conveyed by the dance of the ayash tyucotz.

  The sun-father, soaring above the sun, moon, and stars,--for the redcross is the star of morning, the white the evening star,--is surroundedby the symbols of the principal phenomena in nature that are regarded asessentially beneficent to mankind. Thus the terraced pyramids are theclouds, for the clouds appear to the Indian as staircases leading toheaven, and they in turn support the rainbow. The two principal beastsof prey, who feed upon game, like man, and whose strength, agility, andacute senses man hopes to acquire, are represented as the bear in thecolour symbolic of the east, and the panther in that of the south.Farther away from the sun-father are the two monstrous water-snakes,genii of the fish-bearing and crop-irrigating water-courses. Thesun-father stands surrounded by all these elements and beings; he fixeshis blissful magic gaze upon the nourishing maize-plants, that they maygrow and that their ripe fruit may sustain the tribe. Thus much for theallegory on the wall.

  But in order that the wish and hope which this allegoric paintingexpresses on the part of man may become realized, invocation risesbefore the picture in the shape of the screen, denoting an altar onwhich the rainbow has again settled down as a messenger from above. Bothare green, since it is summer; and the summer sun, or summer home of thesun-father, is green also, like the earth, covered with luxuriantvegetation.

  Invocation alone does not suffice to incline the hearts of Those Abovekindly toward mankind; gratitude is required as an earnest of sincereworship. But this gratitude can be expressed by words as well as bydeeds, and prayers must precede, accompany, or follow the offering. Infront of the altar a row of bunches artistically composed of snow-whitedown are placed on the floor. Each of these delicate fabrics has sacredmeal scattered about its base, and each of them symbolizes the soul ofone household. They are what the Queres Indian calls the _yaya_, ormother, dedicated to the moon-mother, who specially protects everyIndian home. All these stand below the altar in token of the manyprayers that each household sends up to the moon, painted above, thatthe mother of all, who dwells in the silvery orb, may thank her husbandin the sun for all the good received, and implore him to further shedhis blessings on their children. Between these feather-bushes and theembers, a great number of other objects are placed,--fetiches of stone,animal figures,
prayer-plumes, sacrificial bowls painted with symbolicdevices and surmounted by terraced prongs, and wooden images ofhousehold gods decorated with feathers. Sacred meal is in or about allof them, and all stand for so many intercessors praying for the good ofthe people, giving thanks in the name of the people and offering theirvows in token of gratitude.

  Similar to this estufa of the Corn clan are to-day all the other estufason the Tyuonyi. They contain similar pictures, and similar objects aregrouped on the floors in front of them. Before the altars the swan-whitemother-souls glisten and flutter. The estufas are without humanoccupants, their entrances alone are watched by old men or women outsideto prevent the work of invocation and gratitude performed inside bysymbolic advocates from being desecrated by rude or thoughtlessintruders.

  While this work is going on thus silently and without directintervention of man, man himself performs a similar duty in the openair through the ceremonies of the great dance.

  In this dance the Koshare came first, for their request was one ofimmediate importance. That the fruit may ripen is the object of theirsacramental performances,--"even the fruit in woman's womb," Topanashkahad explained. To this end man must contribute with delight and workwith love. Whoever mourns or harbours ill-will cannot expect his task toprosper. In this manner even the obscene performances of the Koshare aresymbolic, and their part in the great dance is above all an invocation.

  Next the Cuirana came. Their labours are over; the germs which they wereto protect with incantations have sprouted long ago, and the plants areready for maturing. For these results of their work they give thanks tothe sun-father,--thanks loud and emphatic, so that he may hear and seehow grateful his children are. Their performance to-day is a testimonialof gratitude.

  To close the dance, both societies will finally appear together, andwith them representatives of the tribe at large. All together they willgo through the same succession of ceremonies, in token that allacquiesce in the sentiments of the Koshare and the Cuirana,--that eachindividual for himself and in behalf of all the others joins in givingthanks for the past and praying for the future.

  This is the signification of the ayash tyucotz when performed about thetime of the summer solstice. However clumsy and meaningless it may seem,it is still a solemn performance. It gives public expression, under verystrange forms, to the idea that has found its most perfect utterance inthe German philosopher's[8] definition of "abject reliance upon God;"whereas in its lowest form it is still "a vague and awful feeling aboutunity in the powers of nature, an unconscious acknowledgment of themysterious link connecting the material world with a realm beyond it."

  Seated comfortably and alone, surrounded by the symbols of his creed,the old leader of the Koshare was tapping his drum and humming softly aprayer. On a sudden the hatchway above him became darkened, and as helooked up he saw the legs of a man appearing on the uppermost rounds ofthe ladder leading down into the subterranean chamber. As that mancontinued to descend, the body, and finally the head, of Tyope appeared.Then followed Zashue Tihua. When both men were below, they went to thenearest sacrificial bowl, each one took from it a pinch of yellowcornmeal and scattered it in front of the altar. Then they turned to theold man, but he did not take any notice of either of them. Tyopesquatted by his side, while Zashue remained erect.

  "Sa nashtio," began the former, "we have not found anything."

  "There is nothing," added Zashue, rather excitedly; "my wife isinnocent."

  The Naua raised his eyes with an expression of astonishment andsurprise, as if failing to understand.

  "What is it that you have not found?" he asked, rather dreamily.

  "No coco--" Tyope stopped and looked at the pictures on the wall. It isimproper to mention the names of evil powers or agencies in presence ofthe symbols of Those Above. So he corrected himself and said,--

  "No hapi."

  "Hapi?" the Naua inquired with a vacant stare, "what sort of hapi? Wheredid you look for them?" He bent his head, as if trying to remember.

  "Hapi," exclaimed Tyope, "in the house of Say Koitza, this mot[=a]tza'swife;" and he pointed at his companion.

  "Yes, indeed;" the chief of the Koshare now recollected. "I know; Irecollect well." His eyes suddenly brightened; they assumed anexpression of cunning as well as of suspicion. His quick glance movedback and forth from one of his visitors to the other. "So you foundnothing? Then there is nothing! You were right, Zashue; your wife isgood." He gave a chuckle which he intended for a benevolent smile.

  "See," Say's husband exclaimed, turning to Tyope; "the Naua believes asI do. My wife is no--" the evil word he suppressed in time. He stopped,biting his lips in embarrassment.

  Tyope's features moved not. He spoke to the chief of the Delight Makersas quietly and calmly as possible,--

  "I believe as you do, nashtio; but while Say may be guiltless, Shotayeis not."

  "Hush!" the Naua sternly interrupted; "think of those here." He pointedtoward the symbols. "Don't you know that they must not hear the name ofthat woman?"

  Tyope replied hastily, and eager to drown the reprimand his chief hadgiven him,--

  "What shall we do, Naua?"

  The old man became impatient. "Don't you see that I am at work? I ambusy. Those here," he again nodded at the idols, "leave me no peace. Imust be with them until the last otshanyi begins. In three days we go tothe kaaptsh,--you, he, all our brethren,--and then we may speak. Nowleave me alone. Go! Leave me! Go! Go!" he cried, and waved his handupward. He was not to be spoken to any longer; he began to beat his drumand took up the low chant again. Zashue hurriedly climbed out of theestufa, and Tyope followed with an angry face. When the latter was onthe open ground again, Zashue stepped up to him and said in a verydecided tone,--

  "You see now, satyumishe, that Say is innocent. Hereafter, Tyope, leaveher alone." Turning about, he walked toward the large house. Tyope castafter him a look less of anger than of bitter disappointment.

  The last act of the great ceremony began. A tremendous shout soundedfrom the outer entrance to the gallery leading into the court-yard ofthe great house. The chant arose stronger and louder than ever before,and several drums rumbled at once. Again were the terraces filled withpeople, the walls below lined with spectators. Topanashka sat on theroof, cold and impassable. Say Koitza leaned in the doorway of her home,with a quiet, almost smiling, countenance.

  A long array of couples, dressed as before but painted red, opened theprocession; then came the Cuirana, and last the Koshare. Topanashkaarose and joined the dancers; the Tapop stood beside him, and bothstamped along, keeping time as if they were young once more. The singerswere reinforced by several aged men with snow-white hair, three of whomwore dark wraps, sleeveless and covered with red embroidery. These werethe chief penitents; those without badges or distinctive dress, theprincipal shamans of the tribe. A thrill of excitement ran through thespectators; children on the roofs gathered in groups, moving in harmonywith the strong rhythmic noise below. The jesters had become very quiet;they went about gravely keeping order, for the court was now filled withperformers. The green headdresses waved like reeds before the wind, andthe whole space looked like a rhythmically wafted cornfield. When thedancers were executing the beautiful figure of the planting ofmaize,--man and woman bending outward simultaneously, each one to hisside, and all the rattles sounding as if upon command,--everythingaround was hushed; everybody looked on in respectful silence, socorrect were the motions, so well-timed and so impressive the sight. Sayalso felt genuine delight. She thought of times long past when she, too,had joined in the dance. Now, alas, she could not. With all the reliefthis day had brought her, there still remained a dull weight in herbosom, and an inner voice forbade her to mingle with those so sincerelyengaged in rites of thanksgiving to the powers of good and happiness.

  While she stood and gazed around, her attention was directed to a youngcouple passing in front of her. The handsome lad with the dark,streaming hair was Okoya, and she recognized him proudly as thebest-looking youth on the
ground, Hayoue perhaps excepted. But then, wasnot Hayoue, Okoya's father's brother? But who was the girl by Okoya'sside? That slender figure of medium height, that earnest, thoughtfulexpression of the face, those lustrous eyes,--whose were they? The twowere manifestly a handsome pair, and the longer she watched them themore she became satisfied that they were the prettiest couple in thedance. They were certainly well matched; her son's partner was thehandsomest girl of the tribe; of this she was convinced, and she feltproud of it. Motherly pride caused her heart to flutter, and theinstinct of woman made her eager to know who the maiden was who appearedsuch a fitting partner for her own good-looking son. Say Koitzadetermined to improve the first opportunity that might present itselffor ascertaining who the girl was and where she belonged.

  The day was drawing to a close, a day of joyful excitement for thepeople of the Tyuonyi. The dance terminated. As the sun went down thedancers crowded out of the passage-way; so did the visitors; it grewquieter and quieter on and about the large house. The swarm of peopleleaving it scattered toward the cliffs in little bands and thinstreams, separating and diverging from each other like the branches ofan open fan. And yet, after night had come and the moon had risen in acloudless sky, there was still bustle everywhere. Households ravaged bythe visitations of the Koshare were being restored to order, theexhausted dancers were being feasted, and the estufas were being clearedof everything bearing a sacred character. Young men and boys stillloitered in groups, repeating with hoarse voices the songs and chantsthey had lately addressed to the ruler of day.

  On the terrace roof of the home of Tyope's wife a young girl stood quitealone, gazing at that moon where the mother of all mankind, theSanatyaya, is supposed to reside. It was Mitsha Koitza, who had justreturned from the estufa of her clan with the mother-soul of her ownhome, and who still lingered here holding in her hands the cluster ofsnowy, delicate feathers. She thinks, while her nimble fingers play withit, of the young man who has been her partner the whole day, who hasdanced beside her so quiet, modest, and yet so handsome, and who onceappeared to her on this same roof brave and resolute in her defence.While she thus stands, gazes, and dreams, a flake of down becomesdetached and quivers upward into the calm, still air. Involuntarily themaiden fastens her glance on the plumelet, which flits upward and upwardin the direction of the moon's silvery orb. Such a flitting and floatingplume is the symbol of prayer. Mitsha's whole heart goes anxiously withthe feather. It rises and rises, and at last disappears as if absorbedby moonlight. The features of the maiden, which till now have carried ananxious, pleading look, brighten with a soft and happy smile. The motherabove has listened to her entreaty, for the symbol of her thoughts, thefeather, has gone to rest on the bosom of her who watches over everyhouse, who feels with every loving and praying heart.

  FOOTNOTES:

  [Footnote 7: It was natural for her to think of removing the feathers,as they would in all probability be looked for just where she had putthem; that is, under the floor. Such was the case at Nambe in March,1855, when owl's feathers were found buried at several places in thePueblo. The result of the discovery at Nambe was the slaughter of threemen and one woman for alleged witchcraft by the infuriated mob ofIndians.]

  [Footnote 8: Schleiermacher.]