There was an atmosphere of content and brotherly feeling; the evening was young, when Rolf broke silence:
“Were you ever married, Quonab?”
“Ugh,” was the Indian's affirmative.
“Where?”
“Myanos.”
Rolf did not venture more questions, but left the influence of the hour to work. It was a moment of delicate poise, and Rolf knew a touch would open the door or double bar it. He wondered how he might give that touch as he wished it. Skookum still slept. Both men watched the mouse, as, with quick movements it crept about. Presently it approached a long birch stick that stood up against the wall. High hanging was the song-drum. Rolf wished Quonab would take it and let it open his heart, but he dared not offer it; that might have the exact wrong effect. Now the mouse was behind the birch stick. Then Rolf noticed that the stick if it were to fall would strike a drying line, one end of which was on the song-drum peg. So he made a dash at the mouse and displaced the stick; the jerk it gave the line sent the song-drum with hollow bumping to the ground. The boy stooped to replace it; as he did, Quonab grunted and Rolf turned to see his hand stretched for the drum. Had Rolf officiously offered it, it would have been refused; now the Indian took it, tapped and warmed it at the fire, and sang a song of the Wabanaki. It was softly done, and very low, but Rolf was close, for almost the first time in any long rendition, and he got an entirely new notion of the red music. The singer's face brightened as he tummed and sang with peculiar grace notes and throat warbles of “Kaluscap's war with the magi,” and the spirit of his people, rising to the sweet magic of melody, came shining in his eyes. He sang the lovers' song, “The Bark Canoe.” (See F. R. Burton's “American Primitive Music.)
“While the stars shine and falls the dew, I seek my love in bark canoe.”
And then the cradle song,
“The Naked Bear Shall Never Catch Thee.”
When he stopped, he stared at the fire; and after a long pause Rolf ventured, “My mother would have loved your songs.”