.St. Patrick and his companions escaping theirenemies unrecognized, in the guise <strong>of</strong> deer,while singing the Lorica, known as "St. Patrick'sBreastplate" or "The Deer's Cry" — atranslation <strong>of</strong> which appears today in Anglicanhymnals as "I bind unto myself today thestrong name <strong>of</strong> the Trinity." This mysteriousincident was explained by Macalister (pp.144-46) by suggesting that the saint and hiscompanions had the wit to trick themselvesout in the deer skins that were the workingclothes <strong>of</strong> a formidable secret society knownas the "Fair-lucky Harps." Pr<strong>of</strong>essor Macalistergave considerable <strong>of</strong>fense in some quarters<strong>of</strong> Ireland by suggesting a parallel betweenthis ancient Irish magical college and presentdayDuk-Duk dancers <strong>of</strong> frightening appearancein the Bismarck Archipelago!Deer skins and horns are dancing costumein many parts <strong>of</strong> the world. The Pueblo Indianshave a deer dance in winter with elaboratehorned headdresses.A STUDY OF NAVAJO SYMBOLISMIn one <strong>of</strong> the villagesin the Coorg hill country in South India,Whitehead (pp. 91-92) reports that theCoorgs after sacrificing a buffalo, have peculiardances around the temple, in which ornamentsbelonging to and kept in the temple areworn. In the Kombata or horn dance, eachman wears the horns <strong>of</strong> a spotted deer or stagon his head, while in the Pili-ata, or peacock'sfeather dance, the performers are ornamentedDONTSOwith feathers. In England the Abbots Bromleydeer dance, which is held in October (theseason <strong>of</strong> the stag's rutting), is one <strong>of</strong> the oldestfolk customs to have survived. It is <strong>of</strong> aprocessional type, and the whitened deerhorns, which are held before the faces <strong>of</strong> thedancers, are kept in the church during the remainder<strong>of</strong> the year.The Christian devil, both in mediaeval andmodern times, was usually horned. Hornsalso normally appeared on the fool's cap andon the heads <strong>of</strong> cuckolds. The Marquis deMontespan advertised his condition <strong>of</strong> royalcuckold after his wife had become the mistress<strong>of</strong> Louis XIV by driving into the courtyard <strong>of</strong>the palace at Versailles in a coach draped inblack with a stag's antlers wobbling about onthe ro<strong>of</strong>.It might be noted that, whether throughmistranslation <strong>of</strong> the Old Testament or throughprimitive tradition, Michelangelo's Moses hasbudding horns on his head. Horned headscome down to recent times, as one sees in theterminal figures on certain staffs, made inAfrica <strong>of</strong> iron and in Persia, and possiblyIndia, <strong>of</strong> steel inlaid with silver. A nineteenthcentury Persian example from a New Yorkprivate collection is reproduced here (pi. IV,a), and in 1954 Dr. Leland C. Wyman saw inBeirut a Persian helmet topped by a similarhorned human head <strong>of</strong> steel inlaid with silver.The <strong>Navajo</strong>s call him the Messenger. Althoughhis earthly form is a white-headed fly,he is a powerful agent in the myths, unafraid<strong>of</strong> any force, who is the comforter and helper<strong>of</strong> the hero. Every myth tells <strong>of</strong> the choice<strong>of</strong> a prophet to bring a particular message,and thereby give help and healing tomen. During this process the prophet is testedby the gods, and needs the help and advice<strong>of</strong> beneficent and wise counsellors such asDontso. While traveling in India I found thatDontso was similar to the Purusha symbol <strong>of</strong>the spirit or soul, and apparently in the mostancient Chinese symbols there is a similarunity <strong>of</strong> meaning. The similarity <strong>of</strong> appearancewill be seen in figure 1, where four versions<strong>of</strong> Dontso (shown through the kindness <strong>of</strong>Dr. Leland C. Wyman) are reproduced withexamples <strong>of</strong> the ancient Chinese calligraphicsymbol <strong>of</strong> the Cicada (H. Hentze, fig. 1 e, f, g,h). Compare also the Central American goldsymbol from Colombia in the British Museum(fig. 2), and a jade circle from British Honduras(fig. 3), also in the British Museum,which is decorated with four faces, probablytypifying the four directions, beside one <strong>of</strong>which is a small symbol similar to Dontso.There is the same apparent meaning to theKa <strong>of</strong> Egypt (fig. 4), which is the symbol <strong>of</strong>the spirit part <strong>of</strong> man as contrasted with theBa, or physical side (see Gardiner's EgyptianGrammar)Hentze says (p. 15), in relation to the Cicadasymbol, that the Australian aborigines' idea<strong>of</strong> the resurrection <strong>of</strong> their particular deity,the Witchety Grub, is almost identical with
NOTES ON CORRESPONDING SYMBOLS: WHEELWRIGHT 87r-—^JuFigs. 1-4. 1, a, b, c, d, four versions <strong>of</strong> Dontso. e, f, g, h, ancient Chinese calligraphic symbols for Cicada,(e-h, courtesy Metropolitan Museum <strong>of</strong> Art.) 2. Gold symbol from Colombia in British Museum. 3. Jadecircle from British Honduras in British Museum. 4. Symbol associated with Ka.the Chinese idea shown in the figure <strong>of</strong> Cicadalarva on Shang period bronzes. He furtherstates that the Cicada symbol is not only one<strong>of</strong> resurrection but <strong>of</strong> renovation. Hentze'sfirst page <strong>of</strong> representations <strong>of</strong> the Cicada somuch resembled the <strong>Navajo</strong> Dontso that Itried for years to locate the Japanese book byNakashima, Shu-clfieh yuan-yuan, from whichhe quoted on this subject and finally located itin the <strong>Free</strong>r Gallery in Washington, D. C.Mr. John Hadley Cox, who has lived andstudied in China, and is now making a <strong>study</strong><strong>of</strong> the Ch'angsha Codex in the <strong>Free</strong>r Gallery,has given me the following notes on the subject."This character appears generally in inscriptionsand calligraphy; not usually onbronzes. A character which does not fit intoeither calendric nor zodiacal system, unlikethe characters meaning rabbit, turtle, tiger ordragon, it is not associated with any specificorientation or particular time <strong>of</strong> year. Itmeans only itself, and stands for the precursor<strong>of</strong> First Man as a symbol <strong>of</strong> rebirth, accordingto the Ch'angsha Codex. Later it was con-
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UNIVERSITYOF FLORIDALIBRARIES
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PAPERS OF THE PEABODY MUSEUMVOLUME
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PAPERSOF THEPEABODY MUSEUM OF ARCHA
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PART I: NAVAJO SYMBOLS IN SANDPAINT
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CONTENTSPLATE III. Antlered altar f
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PART I:NAVAJO SYMBOLS IN SAND PAINT
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TOTHE NAVAJO SAND PAINTINGBECOME ac
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A STUDY OF NAVAJO SYMBOLISMa bruise
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GREAT POWERS OF EARTH, SKY, WATER,A
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SKY SYMBOLS, STARS AND COMETSA land
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WIND, RAIN, HAIL, CLOUDS, MIST, LIG
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