198. FIRST SONG OF THE FIRST DANCERS.
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 I will 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 paragraphs 35, 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 (paragraph 3), 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
paragraph 204)
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. (Paragraph 35.) The reason for introducing the deer into
the song is not obvious.
* * * * *
236. ONE OF THE AWL SONGS.
Òwe òwe òwe yàni yàï owàn na 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
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].
|
239. FIRST SONG OF THE EXPLODING STICK.
Aïena.
Aïeyà āīa aïeya iè eè ieèe [three
times] ië lan.
|
|
1. ‘Ke-cac-nátlèhi dsilyi‘ ¢i¢ílkon ië nan,
2. Dsilyi‘ ¢olkòlkon; dsil bekonnìçe ië nan,
Ië nan yahà hāīà ië
nan aï.
|
3. Çabasçìni ço‘yi‘ ¢i¢ílkon ië nan,
4. Ço‘yi ¢olkòlkon; ço‘bekonnìçe ië nan,
Ië nan yahà hāīà ië
nan aï.
|
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 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.
243. LAST SONG OF THE EXPLODING STICK.
Hiè ieeè naāīà āīà i a ai an an [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.
* * * * *
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 san biçòië, 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. San biço, water of old age.
256. For
origin and free translation of this song, see paragraph 22.
[Free Translation by Edgar Garcia]
Aïena.
Now I
see the Nile flow,
Now I see the Nile,
Bearing in its broad water my thoughts.
How it
wanders, how it wanders.
Now I
see the water is old with age; now I see it is the Nile,
Bearing in its broad water my thoughts.
How it
wanders, how it wanders.
No comments:
Post a Comment