The Lenape Stone; or, The Indian and the Mammoth

by Henry C. Mercer

All is now quiet, and from his medicine bag, made of the skin of the raccoon, polecat, or bat, beautifully decorated, and lined with moss and fine grass, he produces a scroll of birch bark, a tablet of wood, or a stone, engraved with mystic characters. Holding the tablet in his hands, as his eye falls upon the carved devices a low sound, rising into a song or chant, now only interrupted by the crackling of the fire, issues from under the hideous bear's-mask which hides his head. Each picture suggests to his mind some event of the far past, carefully treasured in the traditional lore of his tribe.[G] His song, rising and falling in strange inflections, and preserving a sort of rhythm, now tells of the creation of the world, a deluge, the origin of his people, and their primitive struggles with the forces of nature; now images of primeval giants and demi-gods rise before the minds of the assembled tribe, his hearers, of Manabozho the great hare, of Tarentya-wagon holder of the heavens, of Hiawatha, and Nanabush, and of "Stonish Giants," and "Flying Heads"; now he tells of the passage of great waters and mountains, of treeless plains, and forests, now of long wars with human enemies, and of the final coming of the whites. The squatting figures listen in motionless silence, as the song proceeds through its many verses, each the theme of a particular event. At last it ceases, and the pictured scroll or tablet, formula of its spell, restored to its place in the medicine pouch, remains hidden from the eyes of the tribe until its reappearance upon some similar occasion.

Such is the song-chronicle of the Indian's history; and such songs are known to have been carefully preserved and sung by many if not all of the Eastern tribes.

Such was the national song-legend of the Creeks and Choctaws, narrating in considerable detail their traditional origin and early migration from the West. It was read to the English by the Creek chief, Chekillè, at Savannah, in 1775, "and was written in red and black characters on the skin of a young buffalo." This pictured skin, with an English translation, was sent to London, and there, in a frame in the Georgia office, at Westminister, was kept for many years as a curiosity; it was finally lost, but the translation has been recently brought to light by Dr. D. G. Brinton, of Philadelphia.

Such, too, was the national song of the Cherokees, sung by them at their annual green-corn dance. Portions of it which tell of an early migration from the headwaters of the Monongahela, and of the great mound at Grave Creek which the Cherokees claim to have built, are given by Haywood in his "History of Tennessee." They were related to the author from memory by an old Indian trader who had heard the song. Mr. Chamberlain, at present missionary among the Cherokees, states that Guess or Sequoyah, a half-breed Cherokee, since dead, had invented the Cherokee alphabet of eighty-two letters, for the express purpose of perpetuating this chronicle of his nation, and had recorded it in the new characters, but these interesting manuscripts, which after his death were unfortunately mislaid, have thus far escaped discovery.

The Blackfeet, too, have a singular historical song sung on stated occasions; and the Shawnees, now situated in the northeast corner of the Indian territory, have a national legend, described in one of the late Indian reports as a "weird song sung in a rising melancholy strain"; it is sung at one of their great annual feasts, but as yet the double-barrelled shotgun or the "handsomest blanket in Philadelphia," offered by Dr. Brinton for a translation, have not served to break the reserve of the Indians familiar with the particular dialect in which it is sung, and who say that its revelation would bring misfortune upon the tribe.

The historical records of the Ojibways, says Ka-ge-ga-gah-bowh, or George Copway, their native historian, were written in Indian hieroglyphics upon "slate-rock, copper, lead, and the bark of birch trees," and kept in three secret underground depositories near the headwaters of Lake Superior, where, being disinterred and examined every fifteen years by a committee of chiefs, the dimmed and decaying pictographs were replaced by facsimiles.

It seems highly probable, in fact, that the solemn songs above, as well as most of the important historical narratives of the Indian tribes, have been repeatedly and variously recorded in eye-catching pictures of men, animals, and natural objects, intended to refresh or jog the memory of the singer or speaker, in his lengthy recitations to the assembled tribe. And such a pictured song-chart, or reference-table we may perhaps consider the carving on the reverse of the Lenape stone (fig. 16), which, should it be, as we have supposed, a production of the Lenni Lenape, would not unnaturally refer to the well-known historical legend of that ancient people.

Fig. 16.

This tradition of the Delawares, more interesting and suggestive probably than any of these long-overlooked records of ancient North America, has once at least, been recorded by Indians in pictographic symbols; fortunately it has been preserved to us in full, and we can compare it with the carving on the reverse of the Lenape stone (fig. 16), which we may suppose suggested to the mind of the Indian singer versed in the art of picture-writing some at least of the events remembered in his tradition.