There was a time when nothing existed to form the universe—no earth, no sky, and no sun or moon to break the monotony of the illimitable darkness. But as time rolled on, a spot, a thin circular disc no larger than the hand, yellow on one side and white on the other, appeared in midair. Inside the disc sat a bearded man but little larger than a frog, upon[pg 024] whom was to fall the task of creating all things. Kútĕrastan, The One Who Lives Above, is the name by which he is now known, though some call him Yŭádĭstan, Sky Man.
From Copyright Photograph 1903 by E.S. Curtis
Kútĕrastan, as if waking from a long sleep, sat up and rubbed his face and eyes with both hands. Then bending forward, he looked up into the endless darkness, and lo! light appeared everywhere above him. He then looked down, and all below became a sea of light. A glance to the east created yellow streaks of dawn, another to the west the saffron tints of the dying day, both soon becoming obscured by numerous clouds of many hues, formed by his looking around and about in all directions.
Again with both hands Kútĕrastan wiped his eyes and sweating face and, rubbing his hands together as if he were rolling a small pebble between the palms, suddenly parted them with a quick downward fling, and there before him on a shining, vaporless, mirage-like cloud sat a little girl no larger than a doll. Kútĕrastan directed her to stand up, asking where she intended to go, but she replied not. He cleared his vision once more with his hands, then proffered his right hand to the girl, Stĕnátlĭhăn, Woman Without Parents, who grasped it, with the greeting "Whence came you?"
For reply Kútĕrastan merely repeated her question, adding, "Look to the east, it is light! There will be light in the south, in the west, and in the north." And as she looked she saw light. He then came out upon the cloud.
"Where is the earth?" asked Stĕnátlĭhăn, to which Kútĕrastan replied by asking:
"Where is the sky?" Then requesting that he be not disturbed, he began to sing: "I am thinking, thinking, thinking, thinking what shall I do next." Four times he thus sang, at the end of the fourth time brushing his face with his hands, which he rubbed briskly together and parted quickly; and there before him stood Chuganaái, the Sun. Raising his left hand to his brow, from the sweat thereon, which he rolled in his hands as before, Kútĕrastan let drop from his right palm a small boy, Hádĭntĭn Skhĭn.
[pg 025]The four sat upon that still cloud for a time as if in reverie, the first to break the silence being he who commenced the creation: "What shall we do next? I do not like this cloud to live upon, but we are to rule and must stay together. How dreary it is here! I wish we had some place to go." And then he set to work again, creating Nacholécho, the Tarantula, who was later to help in completing the earth, and Nôkusé, the Big Dipper, whose duty it would be to befriend and to guide. The creation of Nĭlchídĭlhkĭzn, the Wind, Ndídĭlhkĭzn, the Lightning Maker, and the clouds in the west to house Ndísâgochan, Lightning Rumbler, whom he placed in them at the same time, next occupied his attention. Then turning to Stĕnátlĭhăn, Kútĕrastan said, "Truly this is not a fit place in which to live; let us make the earth." And so saying he at once began to sing, "I am thinking of the earth, the earth, the earth; I am thinking of the earth," which he repeated four times. As he ceased, Stĕnátlĭhăn, Chuganaái, and Hádĭntĭn Skhĭn each shook hands with him. Sweat from their hands adhered to his. He at once began rubbing his palms, when suddenly there slipped from between them a small brown body, no larger than a bean. Kútĕrastan kicked it and it expanded; Stĕnátlĭhăn then kicked it and its size further increased; Chuganaái next gave it a severe blow with his foot and it became larger still; a kick from Hádĭntĭn Skhĭn made it greater yet. Nĭlchídĭlhkĭzn, the Wind, was told to go inside and blow outward in all directions. This he did, greatly expanding the dimensions of that body, now so wide that they could hardly see its edge. The Lightning was next directed to exert his strength, so with a terrific flash and roar he penetrated the body to its centre, spreading it still wider. Then Tarantula was called on to assist, and accordingly he started off to the east, spinning a strong black cord, on which he pulled with all his might; another cord of blue was spun out to the south, a third of yellow to the west, and a fourth of glistening white to the north. A mighty pull on each of these stretched the surface of that dark brown body to almost immeasurable size. Finally Kútĕrastan directed all to cover their eyes with their hands, and when they[pg 026] opened them a moment later they beheld Nigostú̆n, the Earth, complete in extent. No hills or mountains were there in sight, nothing but a smooth, treeless, reddish-brown plain.
Nĭlchídĭlhkĭzn, the Wind, scratched his chest and rubbed his fingers together, when out from between them flew Dátĭlyĕ, the Humming-bird. Dátĭlyĕ was told to make a circuit of the earth and report what he saw. He started off toward the east, circled south, west, north, and back from the east. All was well; the earth was most beautiful, very smooth, and covered with water on the western side.
But the Earth was not still; it kept shifting and rolling and dancing up and down, so Kútĕrastan made four great posts—colored black, blue, yellow, and white—to support it. Then he directed Stĕnátlĭhăn to sing a song. She sang, "The world is made and will soon sit still." These two then stood and faced Chuganaái and Hádĭntĭn Skhĭn, when into their midst came Nĭlchídĭlhkĭzn, who dashed away to the cardinal points with the four posts, which he placed under the sides of the earth; and upon them it sat and was still. This pleased Kútĕrastan, so he sang a song, repeating, "The world is now made and sits still."
Then Kútĕrastan began another song, referring to the sky. None existed as yet, and he felt there ought to be one. Four times he chanted the song, at the end of the fourth time spreading his hands wide before him, when lo! there stood twenty-eight men and women ready to help make a sky to cover the earth. He next chanted a song for the purpose of making chiefs for the sky and the earth, and at its close sent Ndídĭlhkĭzn, the Lightning Maker, to encircle the world. Ndídĭlhkĭzn departed at once, but returned in a short time with three very uncouth persons, two girls and a boy, whom he had found in the sky in a large turquoise bowl. Not one of them had eyes, ears, hair, mouth, nose, or teeth, and though they had arms and legs, they had neither fingers nor toes.
Chuganaái at once sent for Doh, the Fly, to come and erect a kaché̆, or sweat-house. It took but a short time to put up the[pg 027] framework, which Stĕnátlĭhăn covered closely with four heavy clouds: a black cloud on the east, a blue one on the south, a yellow one on the west, and a white one on the north. Out in front of the doorway, at the east, she spread a soft red cloud for a foot-blanket after the sweat. Twelve stones were heated in a fire, and four of them placed in the kaché̆. Kútĕrastan, Stĕnátlĭhăn, Chuganaái, and Hádĭntĭn Skhĭn each inspected the sweat-house and pronounced it well made. The three newcomers were bidden to enter and were followed by Chuganaái, Nĭlchídĭlhkĭzn, Ndídĭlhkĭzn, Nôkusé, and Doh. The eight sang songs as their sweat began. Chuganaái led, singing four songs, and each of the others followed in turn with the same number. They had had a good sweat by the time the songs were finished, so Stĕnátlĭhăn removed the black cloud and all came out. She then placed the three strangers on the red-cloud blanket, and under the direction of Kútĕrastan made for them fingers, toes, mouth, eyes, ears, hair, and nose. Then Kútĕrastan bade them welcome, making the boy, whom he called Yádĭlhkĭh Skhĭn, Sky Boy, chief of the sky and its people. The second he named Nigostú̆n Nalí̆n, Earth Daughter, and placed her in charge of the earth and its crops; while to the third, Hádĭnĭn Nalí̆n, Pollen Girl, was assigned the care of the health of the earth's people. This duty also devolved upon Hádĭntĭn Skhĭn, but each looks more to the welfare of his own sex than to that of the other.
From Copyright Photograph 1903 by E.S. Curtis
The earth was smooth, flat, and barren, so Kútĕrastan made a few animals, birds, trees, and a hill. Then he sent Ágocho, the Pigeon, to see how the world looked. Four days later Ágocho returned and said all was beautiful, but that in four days more the water on the opposite side would rise and flood the land. Kútĕrastan at once created a piñon tree. This Stĕnátlĭhăn skilfully tended until it grew to be of gigantic size at the end of four days. Then with four great limbs as a framework she made a very large water bottle, tus, covering it with gum from the piñon. When the water appeared as predicted, Kútĕrastan went up on a cloud, taking his twenty-eight helpers with him, while Stĕnátlĭhăn summoned all the others and put them[pg 028] into the tus, into which she climbed last, closing the mouth at the top.
From Copyright Photograph 1903 by E.S. Curtis
The flood completely submerged the earth for twelve days. Then the waters subsided, leaving the tus on the summit of the hill Kútĕrastan had made. The rush of the waters had changed the once smooth, level plain into series of mountains, hills, rivers, and valleys, so that Stĕnátlĭhăn hardly knew where they were when she opened the tus and came out. Tázhĭ, the Turkey, and Gấgĕ, the Crow, were the first to make a tour of the land. At the base of the hill they descended into a small muddy alkaline creek, in which the Turkey got the tips of his tail-feathers whitened, and they have been white ever since. On return they reported that all looked beautiful as far as they had travelled. Stĕnátlĭhăn then sent Ágocho to make a complete circuit and let her know how things appeared on all sides. He came back much elated, for he had seen trees, grass, mountains, and beautiful lakes and rivers in every direction.
Directing the others to remain where she left them, Stĕnátlĭhăn summoned Hádĭntĭn Skhĭn, Hádĭntĭn Naln, Ndídĭlhkĭzn, and Ágocho, and took them up in a cloud, in which they drifted until they met Kútĕrastan and his band of workers, who had completed the sky during the time of the flood. The two clouds floated to the top of the hill on which stood the tus. All descended to the valley below, where Stĕnátlĭhăn marshalled them into line, that Kútĕrastan might talk to them. He briefly told them that he was going to leave them and wished each one to do his part toward making the world perfect and happy. "You, Ndísâgochan, shall have charge of the clouds and the water. You, Yádĭlhkĭh Skhĭn, I leave in charge of the sky. Nigostú̆n Nalí̆n, you are to look after the crops of our people; and you, Hádĭntĭn Skhĭn, must care for their health and guide them." He then called Stĕnátlĭhăn to him and placed her in charge of all.
The people stood in line facing their god, with hands extended as if in supplication. Kútĕrastan and Stĕnátlĭhăn stood facing each other. Each rubbed their thighs with their hands, then cast their hands downward, and there arose between them a[pg 029] great pile of wood. Stĕnátlĭhăn knelt and slipped a hand under it, and as she did so Kútĕrastan passed his hand over the top. Great white billowy clouds of smoke at once issued forth, rising straight skyward. Into these Kútĕrastan disappeared. All the other gods and goddesses soon followed, leaving the twenty-eight whom Kútĕrastan had made to build the sky to remain upon the earth and people it. Chuganaái went east to travel with the sun; Stĕnátlĭhăn departed westward to make her home in clouds on the horizon, while Hádĭntĭn Skhĭn and Hádĭntí̆n Nalín sought homes among the clouds in the south, and Nôkusé may still be seen in the northern sky at night.
The Apache is inherently devoutly religious; his life is completely moulded by his religious beliefs. From his morning prayer to the rising sun, through the hours, the days, and months—throughout life itself—every act has some religious significance. Animals, elements, every observable thing of the solar system, all natural phenomena, are deified and revered. Like all primitive people, not understanding the laws of nature, the Apache ascribe to the supernatural all things passing their understanding. The medicine-men consider disease evil, hence why try to treat evil with drugs? Disease is of divine origin, so to the beneficent and healing gods the Apache naturally make supplication for cure.
The Apache, even if willing, could not directly impart their religious beliefs or their philosophy. It is only by study of their myths, myth songs, and medicine practices, and by close observance of their life, that a comprehensive idea of such beliefs can be gained.
A concise outline of the mythology of the Apache is given in the following description of the painted medicine skin2 shown in the accompanying plate.
[pg 030]A—The nucleus of the universe, called Chalhké̆lh Nalíín, Night Girl. In the beginning it was merely a spot of color in which, during the course of time, a form appeared, and later emerged. This was Kútĕrastan, the Creator.
B—Kútĕrastan, the Creator of All, is standing on the clouds, his first home, holding lightning in each hand. To his left is the tus, or water bottle, in which the people of the earth took refuge from the flood shortly after their creation. Above him are four clouds, those into which he departed when leaving the earth for his celestial abode. He first created several assistants, who in turn created others by rubbing sweat and small particles of cuticle from the face and body.
C—Stĕnátlĭhăn, the chief goddess, first helper of Kútĕrastan, is seen standing on the clouds. In her right hand is a piñon tree, from the branches and gum of which the large tus was made at the time of the deluge. Above her flies Dátĭlyĕ, the Humming-bird, who was sent as a messenger about the world to note how its creation progressed.
D—Chuganaái Skhĭn was the second person created by Kútĕrastan. He followed Stĕnátlĭhăn, and is therefore third in importance of the many deities. Not only does he give light to the day, but he has the power to relieve and cure disease with the aid of the first beams of his morning light. The Apache ask his blessing before sunrise, generally imploring his beneficence "as soon as you look upon me." The serrated circles typify the abodes of these gods, which are protected by insurmountable barriers.
E—Here the sun as first made by the great creator is pictured. As time wore on, it grew to become the full round disc it now is.
F—The moon as first made by Stĕnátlĭhăn, at the behest of Kútĕrastan, who asked that she make something to illumine the night. The streaks represent catamenia, and the gradual growth of the moon is assumed to be parallel with prenatal growth.
G—This single symbol, a maltese cross, represents the four personages who made the stars. They have to do with the stars[pg 032] only, and are not prayed to as deities having power over the people on earth.
From Copyright Photograph 1903 by E.S. Curtis
EXPLANATION OF PLATE
A—Chalhké̆lh Nalín,
Night Girl
B—Kútĕrastan, The One Who Lives Above
C—Stĕnátlĭhăn, Woman Without
Parents
D—Chuganaái Skhĭn, Sun Boy
E—Chuganaái, The Sun
F—Klĕganaái, The Moon
G—Yádĭlhkĭh Bĭnálzĕ, Sky Messengers
H—Nigostú̆n Bĭká Bĭnálzĕ, Earth Messengers
I, J—Nasté̆lh, Makers of Dreams and Visions
K—Hádĭlhkĭh, Lightning
Disc L
1—Nayé̆nĕzganĭ, Slayer of Alien Gods
2—Dutlí̆shĭ Skhĭn, Turquoise Boy
3—Yólkai Skhĭn, White-Shell Boy
4—Hádĭntĭn Skhĭn, Pollen Boy
Disc M
1—Tubadzĭschí̆nĭ, Born From Water
2—Yádĭlhkĭh Skhĭn, Sky Boy
3—Yólkai Skhĭn, White-Shell Boy
4—Hádĭntĭn Skhĭn, Pollen Boy
Disc N
1—Yólkai Nalí̆n, White-Shell Girl
2—Dutlí̆shĭ Nalí̆n, Turquoise Girl
3—Ĕnásho Dĭlú̆hklí̆shĕn, Black Alien Talker
4—Hádĭntĭn Nalí̆n, Pollen Girl
Disc O
1—Hádĭntĭn Nalí̆n, Pollen Girl
2—Nĭlchídĭlhkĭzn, The Wind
3—Yólkai Nalíí̆n, White-Shell Girl
4 —Yakósha Skhĭn, Frost Boy
P—Gáŭncho -
Gods
Q—Gaŭnchĭné̆ - Gods
R—Gáŭn - Gods
S—Gaŭnchí - Gods
H—Another maltese cross, symbolizing four spirits of the air, who act as messengers of the gods. They are supposed to communicate with the medicine-men, bringing to them words of wisdom from the several gods as they sit and chant in ceremony, or when they are fasting. Their name, Nigostú̆n Bĭká Bĭnálzĕ, Earth Messengers, indicates that their powers extend to both the earth and the sky.
I and J symbolize spirits of the air who reveal to the medicine-men the wonders they claim to know in a priestly way. Such revelations are made to them in visions as they sit and drum and sing when endeavoring to discover some new cure for an affliction, or to initiate new customs that might be pleasing to the gods. The priests often take a medicine skin of this sort and go out into the mountains, where they fast and sing over it for hours at a time, awaiting the coming of the spirits.
K—It is supposed that any of the various gods have the power of calling on the lightning to carry messages from one to the other. Wherever shown in the symbolism of the Apache, lightning lines are drawn to indicate communication from one god to another.
Disc L 1—Nayé̆nĕzganĭ is the first son of Stĕnátlĭhăn, who was made to conceive by the sun's rays as she lay asleep on the eastern slope of a mountain. He is the War God and miracle performer, the culture hero who in parallel legends appears in many North American aboriginal cults. Great monsters in the form of giant antelopes, rolling stones, and beasts of hideous conception are supposed to have inhabited the earth for a time, destroying its people. These monsters typify only the evils of this life; in fact death itself is spoken of in many legends as one of the monsters, in such form engaging in a long discussion with the miracle performer to prove that he should not be destroyed; if he were, the earth would become overpopulated. With his bow and arrow and turquoise lance Nayé̆nĕzganĭ banished these curses from earth. He himself was invulnerable as he appeared before[pg 033] these monsters, for the reason that he always buried his veins near a tree before attacking them. After he had killed them all, he and his younger brother, Tubadzĭschí̆nĭ, quarrelled. The Bluebird revealed to the latter the spot where Nayé̆nĕzganĭ kept his veins buried, so he sought them out and shot arrows into them, thus killing him. Other myths relate how Nayé̆nĕzganĭ was later resurrected, and he is still prayed to as the chief War God.
From Copyright Photograph 1906 by E.S. Curtis
2—Dutlí̆shĭ Skhĭn was created within the blue clouds at the time they were made, and emerged from them. He took part in the creation, assisting Kútĕrastan and Stĕnátlĭhăn in finishing their work. At their direction he made a few people and many birds and animals.
3—To Yólkai Skhĭn is attributed the creation of all white things. He himself was brought into existence in the white cloud, and on emerging therefrom immediately began the work of making white rock and shells under the direction of Kútĕrastan and Stĕnátlĭhăn.
4—Hádĭntĭn Skhĭn is the God of Disease and Health. It is he who causes much sickness and he who can cure any disease, if he be so disposed. Especial care is taken by the Apache not to arouse his displeasure, and he is supplicated and propitiated whenever disease appears among them.
Disc M 1—Tubadzĭschí̆nĭ, the second son of Stĕnátlĭhăn, is the God of Water, because his mother conceived as she slept one afternoon under a ledge of rock from which drops of water trickled upon her. In the dance for rain all prayers and songs are addressed to him. It was he who created the ocean.
2—Yádĭlhkĭh Skhĭn is Chief of the Sky. In the origin story the Lightning was sent to encircle the earth to find how things appeared on all sides. On his return he brought back with him a large turquoise bowl containing three ill-formed persons, one of whom was Sky Boy. Later all three were put through a sweat-bath and their bodies perfected.
3—Yólkai Skhĭn, described above.
4—Hádĭntĭn Skhĭn, described above.
[pg 034]From Copyright Photograph 1903 by E.S. Curtis
Disc N 1—Yólkai Nalí̆n, one of the most venerated and greatly feared personages in the Apache mythology. She is the Goddess of Death, or rather of the after-life, for she controls all souls that pass on to the future world. The road to this afterworld is supposed to cross her shoulders and is symbolized by the Milky Way, a trail made by the departing spirits. The Apache will not utter the name of a deceased person, because they say the dead have gone on to Yólkai Nalí̆n and are her people. If they talked of them it might anger her, and when their death ensues she might refuse them admittance to the eternal paradise. This goddess is supposed to preside over the birth of children, hence supplications and offerings are made to her immediately before childbirth. She is invoked at other times to withhold her call, for it is believed that she can cause death. These prayers are addressed to Yólkai Nalí̆n through the medium of small white shells and white stone beads. The white beads are symbolic of purity, and through them Yólkai Nalí̆n is asked to keep the minds of the people free from evil thoughts or deeds.
2—Dutlí̆shĭ Nalí̆n, the Turquoise Girl, is the creator of all things green. She has to do with the crops in the fields, and the devout Apache prays to her every morning during the season of growth.
3—Ĕnásho Dĭlhklí̆shĕn is the God of Intellect. He controls the minds of the people, making their thoughts good or evil at will. It was he who first talked to the people on earth. When a child is born its parents often pray that Kútĕrastan will make it grow to be like Ĕnásho Dĭlhklí̆shĕn, to whom prayers are addressed for aid when one must talk to the people. In such case no offering of pollen is made unless the request be presented to an image representing this god, when pollen is sprinkled upon it.
4—Hádĭntĭn Nalí̆n is Chieftainess of Pollen, because she causes pollen to grow on the trees. The Indians know the function of pollen in plants and pray that their corn and other products of the fields, as well as the nuts and fruits that grow wild, may be fructified early in the season, to insure good harvests.
[pg 035]Disc O 1—Hádĭntĭn Nalí̆n, described above.
2—Nĭlchídĭlhkĭzn, Chief of the Winds. The Apache never complains of the wind, for should he become impatient about them and give vent to sacrilegious utterances he might anger the Wind God and thereby bring on destructive storms.
3—Yólkai Nalí̆n, described above.
4—Yakósha Skhĭn, God of Moisture and also Controller of Rain. Since snow, ice, hail, frost, dew, and fog are derived from the clouds, Yakósha Skhĭn is sometimes termed Chief of the Clouds, but in general the clouds are regarded as his workshop, for there is another who has direct charge and control of them.
P, Q, R, and S—These figures represent gods, or, in Apache, gáŭn, who are supposed to have been made by the Sun for the purpose of curing people stricken with bodily disease. Diseases of the body are regarded as distinct from those of the mind. The gáŭn live in the four cardinal directions and are impersonated in medicine ceremonies by men wearing stick masks, who always take stations at the four sides of the patient. These doctors are not called in case of illness until after the four chief deities have been supplicated, when, as a last resort, the medicine-man prays to the gáŭn. If the gáŭn cannot help, there is believed to be no hope for the patient. In ancient times all animals could talk, and many were used as beasts of burden. The bear and the deer were the horses of that time. In the graphic representations of the Apache these four spirits are often pictured riding deer and bear.
The medicine-men of the Apache are most influential personages. They are usually men of more than ordinary ability, claiming, through their many deities and their knowledge of the occult and ominous, to have supernatural power. In sickness any individual may make supplication to the deities, but the prayers of the medicine-men are accepted as being most efficacious.
[pg 036]From Copyright Photograph 1907 by E.S. Curtis
Many of the medicine-men have some knowledge of the medicinal properties of plants and generally make use of them in the treatment of disease, but their treatment consists more of incantation than aught else. Even in collecting the plants they invoke the deities, usually facing the cardinal points in turn. In case the prescription calls for a combination of herbs or other vegetal products, the number four is always strictly adhered to; it might be a decoction made of four roots of one variety or of a single root from each of four varieties of plants.
Every Apache medicine-man has a medicine skin, his ĕpú̆n ezchí, inscribed with the symbolism of the tribal mythology. With his prayer wands he rehearses the symbolic figures, praying to the mythical characters who are regarded as most efficacious in the particular ailment under treatment. In his own little kówa, or dwelling, with the painted deerskin spread before him, on which are delineated the symbolic representations of a score of gods comprising the Apache pantheon, a medicine-man will sit and croon songs and pray all day and all night in the hope of hearing the voices of celestial messengers.
Many of the prayers and songs of the Apache medicine-men are very beautiful. The following is an example:
1 Stĕná pĕhí̆nda nzhóni, tógonĭl ádahĕ bé̆oĭshkan.
2 Inaté̆sh nzhóni bé̆oĭshkan.
3 Ĕnŭdé̆tsos nzhóni bé̆oĭshkan.
4 Ĭnyátĭl nzhóni bé̆oĭshkan.
5 Bé̆hnandahĭ ĭnkéhĭ tógonĭl ádahĕ bé̆oĭshkan.
6 Ĭndú̆h bĭnandáhĕ bé̆oĭshkan.
7 Bĕh nashálolĕzh ndĕ; nashéyo shĭchí̃sĭgon zhóndolĕzh.
8 Ndĕ shĭnklóho bĕh sanandáhĕ bé̆oĭshkan.
9 Bĕh sanashádo bé̆oĭshkan.
10 No oskóngo adĭshní daházhĭ bĕhnashádo ti ndĕ ta nashéyo gonzhódo.
11 Shágocho paógo násha.
12 Akúd ndĕ sa nzhóni yé̆sĭtchĭ yé̆atido.
13 Pídi yú̆gga sa nzhóni yé̆kĭssĭn shí̃dĭl é̆ndo.
14 Shĭtú̆h gozhóndolĕzh pógo hádĭshndi.
[pg 037]1 Stĕnátlĭhăn, you are good, I pray for a long life.
2 I pray for your good looks.
3 I pray for good breath.
4 I pray for good speech.
5 I pray for feet like yours to carry me through a long life.
6 I pray for a life like yours.
7 I walk with people; ahead of me all is well.
8 I pray for people to smile as long as I live.
9 I pray to live long.
10 I pray, I say, for a long life to live with you where the good people are.
11 I live in poverty.
12 I wish the people there to speak of goodness and to talk to me.
13 I wish you to divide your good things with me, as a brother.
14 Ahead of me is goodness, lead me on.
While this prayer is worded as if uttered by the supplicant, it is in reality offered by the medicine-man in his behalf.
There are head medicine-men and medicine-men of lesser degree. The man who becomes influential enough to be considered the head medicine-man of the tribe is more of a politician than a doctor of diseases, and in important cases only is he called to treat in a healing ceremony. It requires a particularly capable Indian to attain the position of head medicine-man, for to do so he must not only make the people subservient to his will, but must wrest the leadership from some other and usually older medicine-man who is himself an influential character. Unfortunately it is apt to be the most crafty, scheming man who gains such power over his tribesmen.
A case in point was the recent strife between Das Lan and Goshonné. For some years the latter, an Indian of exceptional ability and withal apparently an honest man in his treatment of diseases, was the head medicine-man of the White Mountain Apache. Then it came to pass that the crafty old Das Lan of the Cibicu had his vision, in which was revealed a special[pg 038] message brought by Chuganaái Skhĭn from Kútĕrastan to the Apache people. This was the beginning of the present so-called messiah craze.
From Copyright Photograph 1907 by E.S. Curtis
From the first there was promise of a battle to the end between Goshonné and Das Lan. Goshonné well knew that if the new cult gained a firm footing he would lose his influence and at best be but a mediocre medicine-man. Das Lan, on the other hand, knew that he must break the power of such a man as Goshonné, if he was to assume the leadership. Goshonné scoffed and scorned, and would have none of the new belief. Still, he was an Indian, and the prophecies of his rival gradually filled him with superstitious fear, while his followers were either deserting him openly or were secretly joining the ranks of the enemy. Death was predicted for the members of Goshonné's own family, and well could Das Lan make such prophecies, for Goshonné's two brothers were already stricken with tuberculosis. First one died, then the other. Das Lan could now point to him and say, "That is what Kútĕrastan does to those who do not believe!" It was thus that Goshonné's power finally was broken and Das Lan became a seer.
Sacred pollen, hádĭntĭn, is used in all ceremonies, particularly in those designed for healing. The principal source of hádĭntĭn is the tule, but much of it comes from the piñon. For prayers invoking an abundance of corn, pollen is mixed with cornmeal. Not only do the medicine-men use this powder, but each individual carries a small quantity of it in a deerskin pouch somewhere about his person. In the pollen may be small medicine trinkets—sometimes consisting of a few shell beads from prehistoric ruins—and there is scarcely a person, old or young, who does not have a small section of the candle cactus fastened somewhere about his clothing.
When childbirth approaches, the medicine-men are always summoned. Nothing can give a better idea of the medicine rites on such an occasion, and of the use of sacred pollen, than a description of a maternity belt procured by the writer and here illustrated. So far as can be learned, this belt is very old, so old that its painted symbolic figures have been three times renewed. Belts[pg 039] of this kind are very rare, and are hired whenever their use is required. The owner of this particular belt, a widow, did not care to dispose of it; as she expressed it, "it is like a husband": the remuneration from granting its use was sufficient to support her.
The belt is made from skin of the mountain lion, the black-tail deer, the white-tail deer, and the antelope—animals which give birth to their young without trouble. Medicine-men are called in to pray to the spirits of these animals when a woman approaching confinement puts on the belt. It is worn for a day or so only, but constantly during the critical period, not being removed until after the child is born. Prayers are made, first by a mother or father for their daughter, then by a medicine-man, and lastly by the patient to the gods and elements depicted on the belt. These figures are all connected with lightning lines. The first one to the left is Stĕnátlĭhăn; on the same portion is the Snake Girl, Klĭshcho Nalí̆n; the next is Nayé̆nĕzganĭ, the third Tubadzĭschí̆nĭ, and the last Yólkai Nalí̆n. The sharp points around the circular abodes of the two goddesses represent barricades for protection. At the real homes of these deities, none can pass through these barriers.
Each of the gods from left to right is prayed to successively, and hádĭntĭn is sprinkled around them afterward. Stĕnátlĭhăn is the first to be addressed by the prospective mother:
"We are your children. When you gave birth to your children, it caused you no trouble. Make me like yourself, that my child, soon to be born, may come into this world easily and quickly, without pain to me."
Next the Snake Girl is prayed to:
"Klí̆shcho Nalí̆n, you came into this life with ease. Do what you can for me now, that my child may come in like manner."
Then to Nayé̆nĕzganĭ:
"Help my babe, soon to be born, to come as you did—quickly, easily, and without pain."
The belt in Nayé̆nĕzganĭ's left hand represents the one worn by his mother, Stĕnátlĭhăn, when he was born. There was a time when skirts, too, having the same magic power the belt is[pg 040] supposed to possess, were worn by women at childbirth. One such is shown in the hand of Tubadzĭschí̆nĭ, next pictured, to whom the woman addresses a prayer much the same as the last. The skirt also is the one worn by Stĕnátlĭhăn when the two brothers were born.
From Copyright Photograph 1907 by E.S. Curtis
Yólkai Nalí̆n is the favorite goddess from whom, in their belief, the Apache women are endowed with great beneficence. She lives in the skies, where all souls go. The prayer to her is, as to the others, "Save me from pain and let my child come as you did."
Clouds at the feet of Nayé̆nĕzganĭ typify the bounties of the world into which it is hoped and prayed the child will be happily born.
The prayers finished, hádĭntĭn is sifted over all the figures. Beginning at the left, the lightning line is followed into Stĕnátlĭhăn's abode, which is then encircled, and the sacred powder is liberally sprinkled around and over her body. Each figure is treated in like manner.
The accompanying plate shows a medicine-cap made by Yotlú̆nĭ, a medicine-man, about forty years ago, to cure a boy of lightning stroke which had impaired his reason, and a small wooden image of a god recently made to be carried by a girl troubled with nervousness. On both these objects the gods and elements which cause afflictions and which alone can give relief are symbolically represented.
The central figure on the cap pictures Ndídĭlhkĭzn, Lightning Maker, with lightning, hádĭlhkĭh, in zigzag lines above his head and beneath his feet. The broad arch indicates clouds with rifts in them, out of which the evil came and into which it may return. The cross of abalone, the small white bead, and the eagle feather are media through which Tu Ntĕlh (Wide Water), Yólkai Nalí̆n (White-Shell Girl), and Itsád Ndé̆yu (Eagle People) are supplicated.
The cap was worn at night by the boy, whose parents each morning at sunrise prayed to the various gods and elements represented on it, invoking them to take back that which they[pg 041] had left with the boy, and adding: "Keep us even in temper and mild and clean in action. We do wrong at times, but that is not our wish. If our minds are kept clean we will do nothing bad. We wish to have good thoughts and to do good deeds. Keep our minds clear that we may think them and do them." After each prayer hádĭnĭn was sifted upon the symbol representing the deity addressed.
As the boy soon recovered, the virtue of the cap was attested, and subsequently its owner often hired it to others.
The little wooden image represents Hádĭnĭn Skhĭn, Pollen Boy, God of Health. The painted figures on the skin pouch in which it is carried are similar to those on the cap, and all are supplicated in the same manner. The medicine-man who made the image and pouch received a horse from the father of the patient in payment; but not the least interesting feature of the case for which these objects were made is that the god of the natives received all the credit for the efficient treatment given the afflicted girl for a year by the reservation physician.
Dry-paintings, or figures drawn upon the ground with colored earths, were used in the Apache healing ceremonies, but never to a great extent, and of late years they have been practically abandoned. These paintings, compared with the beautiful, conventional productions of the Navaho, are crude; in making them the Apache always attempt to picture the objects literally rather than to represent them conventionally or symbolically.
On the infrequent occasions when the dry-paintings are employed, the medicine-man in charge of the ceremony directs his assistants, at daylight, to begin the painting. When it is finished he takes his station close to the easternmost figure of the painting, on its northern side. At the right of the medicine-man sit twelve chosen singers with a drum. The four masked gáŭn, or gods, at the same time take their places at the cardinal points. The patient then enters from the east and sits down on the head of the large figure in the centre of the dry-painting. As he does so the medicine-man commences to sing, and is joined by the chorus at once. They may sing the song four times, or sing four[pg 042] different songs, or any multiple of four, at the pleasure of the medicine-man. When the songs are finished the four masked personages scrape the colored earths into a heap about the patient and rub them in handfuls over his body. If this ceremony proves to be ineffectual, it is believed to be the will of the gods that the patient be not cured.
From Copyright Photograph 1907 by E.S. Curtis