Paíyatuma and the Maidens of the Corn

Author: Traditional Zuni

Time Period: 1001 CE–1500 CE

Country or Culture: North America

Genre: Folktale

PLOT SUMMARY

In a time long ago, the sky father and the first mother set about creating the heavens and the earth. The sky father spreads out his hand, throwing out seeds that land in the soil and grow into corn that would nourish the people and animals living on earth. Paíyatuma, the god of the dew and the dawn (as well as the inventor of the flute and the beautiful music it creates), soon arrives and plants seven plants of corn. To help the plants grow, Paíyatuma brings forth seven maidens, dressed in white. Each virgin maiden dances around the corn, magically creating colorful and fiery light as the plants grow. The people rejoice at the corn maidens’ dance, celebrating Paíyatuma’s gift. Paíyatuma reminds the people to hold these maidens sacred and not to violate their purity, for their flesh would enrich the corn.

Over time, however, the people become aware of a new music, coming from the mountains. They determine that it is again Paíyatuma, who this time is playing intoxicating music accompanied by the dancing of maidens of the dew. The maidens of the mist perform their own captivating dance, creating rainbows and ethereal light as they follow Paíyatuma’s flute music. When their dance is over, the maidens of the corn return to perform their own dance. However, the men and women who had previously celebrated the corn maidens’ dance are not as captivated as they once were. The dance of the maidens of the mist now holds their attention. In response, the maidens of the corn lay down their magic wands and white robes and disappear.

The people attempt to call forth the maidens of the corn, but the maidens do not appear. The men and women soon realize that the maidens are gone. They looked to Eagle, who can see everything in the world, but Eagle cannot find the maidens. The people then turn to Falcon, who flies much closer to the ground than Eagle. Despite this different perspective, Falcon cannot find the maidens either. The people next look to Raven, who is known to dig his beak into the dirt. They offer him food and tobacco to find the maidens. He agrees and begins searching along the ground, digging in mounds of dirt and trash heaps. Although Raven cannot find them, he does have a suggestion: Paíyatuma can find the maidens.

The priests find Paíyatuma, but the god is in his daytime form, that of a human with a rude, clownish attitude. The priests beseech him to help them, but Paíyatuma scolds the priests and the people alike for their sins. The priests purify themselves, and Paíyatuma transforms into his sacred form—the god of the dew and the dawn. The priests bring forth four boys who have not sinned. Paíyatuma takes the boys and begins searching for the maidens. While Paíyatuma plays his flute, the butterflies and birds begin to gather around the maidens, who are hiding in Summerland.

The maidens of the corn return to the village. They are received with great rejoicing. However, as each maiden embraces her respective corn plant, she becomes one with the plant and disappears. Paíyatuma solemnly explains to the people that because they did not hold the maidens sacred, the flesh of the corn maidens will join the corn and the maidens will never be seen again. Still, because of this merger between the maidens and the corn, the village will be nourished. He adds that although the maidens will not return, the people should forever hold sacred the use of corn as a seed.

SIGNIFICANCE

The story of Paíyatuma and the maidens of the corn reflects two major themes in the tradition of the Zunis, who today are located largely in New Mexico. The first of these themes is the presence of Paíyatuma. Like the Greek god Apollo, Paíyatuma is associated with music, which is used for the benefit of the natural world. In the story, Paíyatuma creates the maidens of the corn, whose magical dance (accompanied by the god’s flute music) helps the people’s crops grow. Paíyatuma is also associated with the morning and the dew. When he is not in his god form, Paíyatuma is described as a clown who does not wish to be bothered by the villagers. Only when the village priests ingratiate themselves to Paíyatuma does he return to his celestial form and help the people find the maidens.

The second major theme of the story is the corn. Paíyatuma instructs the village to hold the maidens in the highest regard, as their relationship with the corn is essential to feeding the people. When the maidens join with the corn, their flesh helps it grow. Furthermore, Paíyatuma instructs the villagers to show the same reverence they were to show the maidens to the corn itself. Each kernel of corn, when planted, is to be seen as sacred—when buried in the ground, this burial should not be unlike burying a loved one. After all, Paíyatuma reminds the people, the corn contains the spirits of not just Paíyatuma and the corn maidens. Since corn grows annually under certain conditions, it contains the spirits of the god of the seasons and time, Tenatsali, and the god of heat, Kwelele, as well. For this reason, the people are advised in this story to give deference to all aspects of corn, a tradition that continues to the present day.

BIBLIOGRAPHY

Colum, Pádraic. “Paíyatuma and the Maidens of the Corn.” Orpheus: Myths of the World. New York: Macmillan, 1930. 311–18. Print.

Cushing, Frank H. Outlines of Zuni Creation Myths. Whitefish: Kessinger, 2006. Print.

Hewitt, Edgar Lee. Ancient Life in the American Southwest. New York: Biblo, 1968. Print.

Judson, Katharine Berry, comp. and ed. “The Corn Maidens.” The Myths and Legends of California and the Old Southwest. Chicago: McClurg, 1912. Print.

Miller, Joseph. New Mexico: A Guide to the Colorful State. New Mexico: Native American Book Distributors, 1953. Print.