Navaho poets. Similar distortions found in an Aryan tongue with a written literature are spoken of as figures of orthography and etymology, and, although there is yet no standard of spelling for the Navaho language, we would perhaps do well to apply the same terms in speaking of the Navaho compositions. The distortions are not always left to the whim of the composer. They are made systematically, as a rule. If the language were reduced to a standard spelling, we should find that the Navaho poets have as many figures of these classes as the English poets have, and perhaps more.
44. Some of the words, too, are archaic,—they mean nothing in modern Navaho; but the priests assign traditional meanings to them, and this adds to the task of memorizing. But, in addition to the significant words, there are (as instanced above) numerous meaningless vocables in all songs, and these must be recited with a care at least equal to that bestowed on the rest of the composition.
Fig. 21. Loom for weaving diagonal cloth.
These meaningless sounds are commonly introduced in the preludes and refrains of the stanzas and in the verse endings, but they may occur anywhere in the song.
45. The preludes and refrains here referred to are found, with rare exceptions, in every stanza and in every song. Although they are all either totally meaningless or only partly significant, they are the most characteristic parts of the poems and the singer cons the preludes over when he wishes to call to mind any particular composition, just as we often remember a poem or song by means of the first line. They are rarely or never quite alike in any
