It has been thought that a simple statement of these circumstances, would best answer the end in view, and might well occupy the place of a more formal or profound introduction. In bringing forward the elements of the system, after much reflection, it is thought, however, that a few remarks on the general character of this art may not be out of place. For, simple as it is, we perceive in it the native succedaneum for letters. It is not only the sole graphic mode they have for communicating ideas, but it is the mode of communicating all classes of ideas commonly entertained by them—such as their ideas of war, of hunting, of religion, and of magic and necromancy. So considered, it reveals a new and unsuspected mode of obtaining light on their opinions of a deity, of the structure or cosmogony of the globe, of astronomy, the various classes of natural objects, their ideas of immortality and a future state, and the prevalent notions of the union of spiritual and material matter. So wide and varied, indeed, is the range opened by the subject, that we may consider the Indian system of picture writing as the thread which ties up the scroll of the Red man's views of life and death, reveals the true theory of his hopes and fears, and denotes the relation he bears, in the secret chambers of his own thoughts, to his Maker. What a stoic and suspicious temper would often hold him back from uttering to another, and what a limited language would sometimes prevent his fully revealing, if he wished, symbols and figures can be made to represent and express. The Indian is not a man prone to describe his god, but he is ready to depict him, by a symbol. He may conceal under the figures of a serpent, a turtle, or a wolf, wisdom, strength, or malignity, or convey under the picture of the sun, the idea of a supreme, all-seeing intelligence. But he is not prepared to discourse upon these things. What he believes on this head, he will not declare to a white man or a stranger. His happiness and success in life, are thought to depend upon the secrecy of that knowledge of the Creator and his system in the Indian view of benign and malignant agents. To reveal this to others, even to his own people, is, he believes, to expose himself to the counteracting influence of other agents known to his subtle scheme of necromancy and superstition, and to hazard success and life itself. This conduces to make the Red man eminently a man of fear, suspicion, and secrecy. But he cannot avoid some of these disclosures in his pictures and figures. These figures represent ideas—whole ideas, and their juxtaposition or relation on a roll of bark, a tree, or a rock, discloses a continuity of ideas. This is the basis of the system.
Picture writing is indeed the literature of the Indians. It cannot be interpreted, however rudely, without letting one know what the Red man thinks and believes. It shadows forth the Indian intellect, it stands in the place of letters for the Unishinaba.[24] It shows the Red man in all periods of our history, both as he was, and as he is; for there is nothing more true than that, save and except the comparatively few instances where they have truly embraced experimental Christianity, there has not
[Transcriber's Note: Text ends abruptly here in the original publication.]
[24] A generic term denoting the common people of the Indian race.
GRAVE CREEK MOUND.
This gigantic tumulus, the largest in the Ohio valley, was opened some four or five years ago, and found to contain some articles of high antiquarian value, in addition to the ordinary discoveries of human bones, &c. A rotunda was built under its centre, walled with brick, and roofed over, and having a long gallery leading into it, at the base of the mound. Around this circular wall, in the centre of this heavy and damp mass of earth, with its atmosphere of peculiar and pungent character, the skeletons and other disinterred articles, are hung up for the gratification of visiters, the whole lighted up with candles, which have the effect to give a strikingly sepulchral air to the whole scene. But what adds most to this effect, is a kind of exuded flaky matter, very white and soft, and rendered brilliant by dependent drops of water, which hangs in rude festoons from the ceiling.
To this rotunda, it is said, a delegation of Indians paid a visit a year or two since. In the "Wheeling Times and Advertiser" of the 30th August 1843, the following communication, respecting this visit, introducing a short dramatic poem, was published.
"An aged Cherokee chief who, on his way to the west, visited the rotunda excavated in this gigantic tumulus, with its skeletons and other relics arranged around the walls, became so indignant at the desecration and display of sepulchral secrets to the white race, that his companions and interpreter found it difficult to restrain him from assassinating the guide. His language assumed the tone of fury, and he brandished his knife, as they forced him out of the passage. Soon after, he was found prostrated, with his senses steeped in the influence of alcohol.