Stephen, who is
specially well equipped for such investigations, discovered that a
definite conception exists concerning the significance of the structural
plan of the kiva. Still, from many suggestive allusions made by the
various kiva chiefs and others, he also has been led to infer that it
typifies the four "houses," or stages, described in their creation
myths. The sipapuh, with its cavity beneath the floor, is certainly
regarded as indicating the place of beginning, the lowest house under
the earth, the abode of Myuingwa, the Creator; the main or lower floor
represents the second stage; and the elevated section of the floor is
made to denote the third stage, where animals were created. Mr. Stephen
observed, at the New Year festivals, that animal fetiches were set in
groups upon this platform. It is also to be noted that the ladder
leading to the surface is invariably made of pine, and always rests upon
the platform, never upon the lower floor, and in their traditional
genesis it is stated that the people climbed up from the third house
(stage) by a ladder of pine, and through such an opening as the kiva
hatchway; only most of the stories indicate that the opening was round.
The outer air is the fourth world, or that now occupied.
There are occasional references in the Tusayan traditions to circular
kivas, but these are so confused with fantastic accounts of early mythic
structures that their literal rendition would serve no useful purpose in
the present discussion.
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