IV
During the Summer at the time when the sun reached his greatest strength, according to the ancient custom, the Selish gathered together to dance. In this celebration is embodied the spirit of the people, their pride, their hates and loves. But this dance had a peculiar significance. It was, perhaps, the last that the tribe will celebrate. Another year the white man will occupy the land, and the free, roving life and its habits will be gone. It was a scene never to be forgotten. Overhead a sky deeply azure at its zenith which mellowed toward the West into a tide of ruddy gold flowing between the blue heavens and the green earth; far, far away, dim, amethyst mountains dreaming in the haze; and through that rose-gold flood of light, sharply outlined against the intense blue above and the tender green below, silent figures on horseback, gay with blankets, beads and buckskins, rode out of the filmy distance into the splendour of the setting sun, and noiselessly took their places around the musicians on the grass.
There were among them the most distinguished men of the tribe. Joe La Mousse, once a warrior of fame, grown to an honored old age, watched the younger generation with the simple dignity which becomes one of his years and rank. He possessed the richest war dress of all, strung with elks' teeth and resplendent with the feathers of the war-eagle. It was he, who with Charlot, met the Nez Percés and repudiated their bloody campaign; he, whose valiant ancestor, Ignace La Mousse, the Iroquois, helped to make glorious the name of his adopted people. François and Kai-Kai-She, the judge, both honoured patriarchs, and Chief Antoine Moise, Callup-Squal-She, "Crane with a ring around his neck," who followed Charlot to Washington on his mission of protest, moved and mingled in the bright patchwork of groups upon the green. There was none more imbued with the spirit of festivity than old François with white hair falling to his bowed shoulders. These and many more there were whose prime had known happier days. Chief Moise's wife, a handsome squaw, rode in with her lord, and conspicuous among the women was a slim wisp of a girl with an oval face, buckskin-colored complexion, and great, dusky, twilight eyes. A pale gray-green blanket was wrapped about her head and body, hanging to her moccasined feet. She was the wife of Michel Kaiser, the young leader of the braves. But towering above the rest of the assembly, regal to the point of austerity, was a man aged but still erect, as though his strength of pride would never let his shoulders stoop beneath the conquering years. He wore his blanket folded closely around him and fanned himself with an eagle's wing, the emblem of the warrior. One eye was hidden beneath a white film which had shut out its sight forever, but the other, coal-black and piercing, met the stranger gaze for gaze, never flinching, never turning aside. It was Charlot. Though an exile, his head was still unbent, his spirit unbroken.
Sometimes we see in the aged, the placid melancholy which comes with the foreknowledge of death, so in the serenely sad faces of the aged Indians, we recognize that greater melancholy which is born of the foreshadowing of racial death. They cherish, too, a more personal grief in that they shall live to see the passing of the old life. Patiently they submitted to the expulsion from the Bitter Root, but now in the darkness of gathering years once more they must strike their tipis to make room for the invading hosts. The setting sun streamed through the leaves and touched the venerable faces with false youth. Wagon and pony discharged their human loads who sat passively, listening to the admonition of the tom-tom and the chant:
"Come, O! ye people! Come and dance!"
After this preliminary measure had lasted hours, not an Indian professed to know whether the people would be moved to dance or not. A race characteristic is that impulse must quicken them to action. It was strange how the tidings had spread. The tipis and lodges are scattered over many miles, but the Indians kept coming as though called up by magic from their hiding places in the hills.
Beneath a clump of cottonwood trees around the tom-tom, a drum made of deer hide stretched over a hollowed section of green tree, sat the four musicians beating the time of the chant with sticks bound in strips of cloth. Of these players one was blind, another aged, and the remaining two, in holiday attire, with painted lips and cheeks, were braves. One of these, seated a trifle higher than his companions, leaned indolently over the tom-tom plying his sticks with careless grace. He possessed a peculiar magnetism which marked him a leader. Occasionally his whole body thrilled with sudden animation, his voice rose into a strident cry, then he relapsed into the languid posture and the bee-like drone. Of all that gathering he was the one perfect, full-blood specimen of a brave in the height of his prime. The dandy, Victor Vanderberg, was handsomer perhaps, and little Jerome had the beauty of a head of Raphael, but this Michel Kaiser was a type apart. His face and slim, nimble hands were the colour of bronze. His nose curved sharply as a hawk's beak, his mouth was compressed in a hard, cold line over his white teeth, his cheek bones were high and prominent, his brows straight, sable strokes above small, bright-black eyes that gleamed keen as arrow darts. His hair was made into two thick braids wrapped around with brown fur, his arms were decorated with bracelets and from his neck hung string upon string of beads falling to his waist. It was he who with suppressed energy flung back his head as he gave the shrill cry and quickened the beat of the tom-tom until louder and louder, faster and faster swelled the chant:
"Come, O! ye people! Come and dance!"
Then out into the open on the green stepped a girl-child scarcely three years of age, who threw herself into rhythmic motion, swaying her small body to the time of the music and bearing in her quavering treble the burden of the chant. The impressive faces of the spectators melted into smiles. She was the pet of the tribe, the orphan granddaughter of Joe La Mousse and his venerable wife. Loving hands had made for her a war dress which she wore with the grave complaisance of one favoured above her peers. She scorned the sedate dances of the squaws and chose the quicker action of the war dance, and she would not yield her possession of the field without a struggle which showed that the spirit of her fighting fathers still lived in her.
Suddenly a brave painted grotesquely, dressed in splendid colours with a curious contrivance fastened about his waist and standing out behind like a tail, bounded into the ring, his hurrying feet beating to the tintinnabulation of sleigh bells attached to his legs. Michel Kaiser and the young man who sat beside him at the tom-tom gave up their places to others, and after disappearing for a moment came forth freed from encumbering blankets, transformed with paint and ornament. A fourth dancer joined them and the awe-begetting war dance began. The movement was one of restrained force. With bent heads and bodies inclined forward, one arm hanging limp and the other resting easily at the back, they tripped along until a war-whoop like an electric shock, sent them springing into the air with faces turned upward and clenched fists uplifted toward the sky.
It was now that Michel stood revealed in all his physical beauty. In colour and form he was like a perfectly wrought bronze statue. He was tall and slender. His arms and legs, metal-hard, were fleet and strong and his every motion expressed agility and grace. He was clad in the full war-dress of the Selish, somewhat the same as that which his ancestors had worn before the coming of the white man. Upon his head was a bonnet of skunk tails that quivered with the slightest motion of his sinewy body. He wore, besides, a shirt, long, fringed buckskin leggins and beaded moccasins. He was decorated with broad anklets and little bells that tinkled as he moved. Of the four dancers Michel sprang highest, swung in most perfect rhythm, spent in that wild carnival most energy and force. Supple and lean as a panther he curvetted and darted; light as the wind his moccasined feet skimmed over the green, scarcely seeming to crush a spear of grass. As he went through that terrible pantomime practiced by his fathers before they set out to kill or die, the fire flashing in his lynx-eyes, his slim arm poised over his head, his whole willow-lithe body swaying to the impulse of the war-lust, it was easy to fancy how that play might become a reality and he who danced to perpetuate an ancient form might turn relentless demon if the intoxication of the war-path once kindled in his veins.
Abraham Isaac and Michel Kaiser
This war dance explained many things. It was a portrayal of the glorious deeds of the warriors, a recitation of victorious achievement, a picture of battle, of striking the body of the fallen enemy—one of the great tests of valor. The act of striking was considered a far more gallant feat than the taking of a scalp. After a foe was shot and had fallen, a brave seeking distinction, dashed forth from his own band into the open field and under the deadly rain of the enemy's arrows, struck with his hand the body of the dead or wounded warrior. In doing this he not only courted the desperate danger of that present moment, but brought upon his head the relentless vengeance of the family, the followers and the tribe of the fallen foe,—vengeance of a kind that can wait for years without growing cold. By such inspiring examples the young men were stirred to emulation. The dance showed, too, how in the past the storm-clouds of war gathered slowly until, with lightning flash and thunder-blast, the warriors lashed themselves to the white-heat of frenzy at which they mocked death. The whole thing seemed to be a marshalling of the passions, a blood-fire as irresistible and sweeping as those floods of flame which lay the forests low.
The warriors ceased their mad career. The sweat streamed from their brows and down their cheeks as they sat beneath the shade trees in repose. Still the tom-tom beat and the chant continued:
"Come, O! ye people! Come and dance!"
They needed no urging now. What did they care for vespers and sermons when the ghostly voices of warrior-ancestors, of forest dwellers and huntsmen came echoing from the lips of the past? Their spirit was aroused and the festival would last until the passion was quenched and their veins were cooled.
The next dance was started by a squaw. It was called the "choosing dance," from the fact that either a man or a woman chose a partner for the figure. The ceremony of invitation was simple. The one who desired to invite another, grasped the individual's arm and said briefly:
"Dance!"
The couples formed two circles around the tom-tom, one within the other, then slowly the two rings moved 'round and 'round, with a kind of short, springing step, droning the never-varying chant. At the end of the dance the one who had chosen his partner presented him with a gift. In some cases a horse or a cow was bestowed and not infrequently blankets and the most cherished bead-work belts and hat-bands. Custom makes the acceptance of these favours compulsory. Even the alien visitors were asked to take part and the Indians laughed like pleased children to welcome them to the dance. One very old squaw, Mrs. "Nine Pipes," took her blanket from her body and her 'kerchief from her head to give to her white partner, and a brave, having chosen a pale-faced lady for the figure, and being depleted in fortune by his generosity at a former festival, borrowed fifty cents from a richer companion to bestow upon her. It was all done in the best of faith and friendliness, with child-like good will and pleasure in the doing.
When the next number was called, those who had been honoured with invitations and gifts returned the compliment. After this was done, the Master of the Dance, Michel Kaiser, stepped into the center of the circle, saying in the deep gutturals of the Selish tongue, with all the pomp of one who makes a proclamation, something which may be broadly rendered into these English words:
"This brave, Jerome, chose for his partner, Mary, and gave to her a belt of beads, and Mary chose for her partner, Jerome, and gave to him a silken scarf."
Around the circumference of the great ring he moved, crying aloud the names of the braves and maids who had joined together in the dance, and holding up to view the presents they had exchanged.
The next in order was a dance of the chase by the four young men who had performed the war dance. In this the hunter and the beast he pursued were impersonated and the pantomime carried out every detail of the fleeing prey and the crafty huntsmen who relentlessly drove him to earth.
The fourth measure was the scalp dance given by the squaws, a rite anciently practiced by the female members of families whose lords had returned victorious from battle, bearing as trophies the scalps of enemies they had slain. It was considered an indignity and a matter of just reproach to her husband or brother, if a squaw were unable to take part in this dance. The scalps captured in war were first displayed outside the lodges of the warriors whose spoil they were, and after a time, when they began to mortify or "break down," as the Indians say, the triumphant squaws gathered them together, threw them into the dust and stamped on them, heaping upon them every insult and in the weird ceremony of that ghoulish dance, consigning them to eternal darkness, for no brave without his scalp could enter the Happy Hunting Ground. The chant changed in this figure. The voices of the women rose in a piercing falsetto, broken by a rapid utterance of the single syllable "la, la" repeated an incredible length of time. The effect was singularly savage and strange, emphasizing the barbarous joy of the vengeful women. As the war dance was the call to battle, this was the aftermath.
In pleasing contrast to this cruel rite was the marriage dance, celebrated by both belles and braves. The young squaws, in their gayest attire, ornamented with the best samples of their bead work and painted bright vermillion about the lips and cheeks, formed a chain around the tom-tom, singing shrilly. Then a brave with a party of his friends stepped within the circle, bearing in his hand a stick, generally a small branch of pine or other native tree. He approached the object of his love and laid the branch on her shoulder. If she rejected his suit she pushed the branch aside and he, with his followers, retired in humiliation and chagrin. It often happened that more than one youth desired the hand of the same maiden, and the place of the rejected lover was taken immediately by a rival who made his prayer. If the maid looked with favor upon him she inclined her head, laying her cheek upon the branch. This was at once the betrothal and the marriage. At the close of the festivities the lover bore her to his lodge and they were considered man and wife.
*****
The sun set mellow rose behind the hills which swam in seas of deepening blue. Twilight unfolded shadows that climbed from the valleys to the peaks and touched them with deadening gray chill, until the warm glow died in the bosom of the night. Still the tom-tom beat, the chant rose and fell, the dancers wheeled on madly, singing as they danced. The darkness thickened. The stars wrote midnight in the sky. Papooses had fallen asleep and women sat mute and tired with watching. By the flare of a camp fire, running in uneven lights over the hurrying figures, one might see four braves leaping and swaying in the war dance. The night wore on. A heavy silence was upon the hills which echoed back the war cry, the tom-tom's throb and the chant. One, then another, then a third dropped out. Still the quivering, sweat-burnished bronze body of Michel writhed and twisted, bent and sprang. The lines of his face had hardened, the vermillion ran down his cheeks in rivulets, as of blood, and the corners of his mouth were drawn like the curves of a bow. The camp fire glowed low. The gray of the dawn came up out of the East with a little shuddering wind and the faint stars burned out. The tom-tom pulsed slower, the chant was broken. Suddenly a wild cry thrilled through the pallid morn. The figure of Michel darted upward like a rocket in a final brilliant gush of life, then fell senseless upon the ground.
The embers grayed to ashes. The last spark was dead. The dance was done. The mists of morning rolled up from the valleys and unfurled their pale shrouds along the peaks, and the Indians, mere shadow-shapes, like phantoms in a dream, stole silently away and vanished with the night.