Then they kindled a large fire of brush near the trail and hid themselves in the laurels, because they knew she would come as soon as she saw the smoke.
Sure enough they soon saw an old woman coming along the trail.
She looked like an old woman whom they knew well in the village, and although several of the wiser men wanted to shoot at her, the others interfered, because they did not want to hurt one of their own people.
The old woman came slowly along the trail, with one hand under her blanket, until she stepped upon the pitfall and tumbled through the brush top into the deep hole below.
Then, at once, she showed her true nature, and instead of the feeble old woman there was the terrible Uʼtlûñ′tă with her stony skin, and her sharp awl finger reaching out in every direction for some one to stab.
The hunters rushed out from the thicket and surrounded the pit, but shoot as true and as often as they could, their arrows struck the stony mail of the witch only to be broken and fall useless at her feet, while she taunted them and tried to climb out of the pit to get at them.
They kept out of her way, but were only wasting their arrows when a small bird, Utsŭ′ʻgĭ , the titmouse, perched on a tree overhead and began to sing “ un, un, un .” They thought it was saying u′nahŭ′ , heart, meaning that they should aim at the heart of the stone witch.
They directed their arrows where the heart should be, but the arrows only glanced off with the flint heads broken.
Then they caught the Utsŭ′ʻgĭ and cut off its tongue, so that ever since its tongue is short and everybody knows it is a liar.
When the hunters let it go it flew straight up into the sky until it was out of sight and never came back again.
The titmouse that we know now is only an image of the other.
They kept up the fight without result until another bird, little Tsĭ′kĭlilĭ′, the chickadee, flew down from a tree and alighted upon the witch’s right hand.
The warriors took this as a sign that they must aim there, and they were right, for her heart was on the inside of her hand, which she kept doubled into a fist, this same awl hand with which she had stabbed so many people.
Now she was frightened in earnest, and began to rush furiously at them with her long awl finger and to jump about in the pit to dodge the arrows, until at last a lucky arrow struck just where the awl joined her wrist and she fell down dead.
Ever since the tsĭ′kĭlilĭ′ is known as a truth teller, and when a man is away on a journey, if this bird comes and perches near the house and chirps its song, his friends know he will soon be safe home.
67.
NÛÑ′YUNU′WĬ, THE STONE MAN This is what the old men told me when I was a boy.
Once when all the people of the settlement were out in the mountains on a great hunt one man who had gone on ahead climbed to the top of a high ridge and found a large river on the other side.
While he was looking across he saw an old man walking about on the opposite ridge, with a cane that seemed to be made of some bright, shining rock.
The hunter watched and saw that every little while the old man would point his cane in a certain direction, then draw it back and smell the end of it.
The doctrine and worldview that natural phenomena, places, and objects possess inherent spirit, soul, or personality — and that the cosmos is populated by countless local, plural, embodied divine agents: kami in mountain and tree, sidhe in cairn and well, landwights in field and stone, nymphs in spring and grove, haltija in forest and lake, lares and penates in household and threshold, Iamblichean daemons in element and place. Distinct from monotheism (single transcendent God), pantheism (one underlying substance), and emanation_hierarchy (cascading single source); animism's signature is the plurality, locality, and embodied-in-landscape character of the divine.
The passage depicts a worldview where natural entities like birds (titmouse, chickadee) and landscape features possess inherent spirit, agency, and the capacity to communicate with humans, while supernatural beings like the witch Uʼtlûñ′tă are embodied agents within the physical world.
Form-mutability as a constitutional property of divine and preternatural beings — gods, heroes, spirits, and their human practitioners possessing inherent capacity to alter form across human, animal, plant, or elemental states. Loki and Odin's transformations in Norse, Math's pigs and Blodeuwedd's owl-shape and Pwyll's exchange with Arawn in the Mabinogion, the Greek Proteus, the Indian dasavatara, Vainamoinen's bird-flight in the Kalevala, Ovid's metamorphoses, the shamanic and witch's capacity for ritual form-change. Distinct from anthropomorphism (divine taking specific human form, single embodiment) in that anthropomorphism establishes a stable form whereas this concept establishes form's plurality and instability.
The central narrative device involves the witch Uʼtlûñ′tă disguising herself as a feeble old woman before revealing her true stony form, and the text explicitly discusses the transformation of the titmouse into a 'liar' image.