NURSERY AND CRADLE SONGS OF THE FOREST.

The tickenagun, or Indian cradle, is an object of great pride with an Indian mother. She gets the finest kind of broad cloth she possibly can to make an outer swathing band for it, and spares no pains in ornamenting it with beads and ribbons, worked in various figures. In the lodges of those who can afford it, there is no article more showy and pretty than the full bound cradle. The frame of the cradle itself is a curiosity. It consists of three pieces. The vertebral board, which supports the back, the hoop or foot-board, which extends tapering up each side, and the arch or bow, which springs from each side, and protects the face and head. These are tied together with deer's sinews or pegged. The whole structure is very light, and is carved with a knife by the men, out of the linden or maple tree.

Moss constitutes the bed of the infant, and is also put between the child's feet to keep them apart and adjust the shape of them, according to custom. A one-point blanket of the trade, is the general and immediate wrapper of the infant, within the hoop, and the ornamented swathing band is wound around the whole, and gives it no little resemblance to the case of a small mummy. As the bow passes directly above the face and eyes, trinkets are often hung upon this, to amuse it, and the child gets its first ideas of ornament from these. The hands are generally bound down with the body, and only let out occasionally, the head and neck being the only part which is actually free. So bound and laced, hooped and bowed, the little fabric, with its inmate, is capable of being swung on its mother's back, and carried through the thickest forest without injury. Should it even fall no injury can happen. The bow protects the only exposed part of the frame. And when she stops to rest, or enters the lodge, it can be set aside like any other household article, or hung up by the cradle strap on a peg. Nothing, indeed, could be better adapted to the exigencies of the forest life. And in such tiny fabrics, so cramped and bound, and bedecked and trinketed, their famous Pontiacs and King Philips, and other prime warriors, were once carried, notwithstanding the skill they afterwards acquired in wielding the lance and war club.

The Indian child, in truth, takes its first lesson in the art of endurance, in the cradle. When it cries it need not be unbound to nurse it. If the mother be young, she must put it to sleep herself. If she have younger sisters or daughters they share this care with her. If the lodge be roomy and high, as lodges sometimes are, the cradle is suspended to the top poles to be swung. If not, or the weather be fine, it is tied to the limb of a tree, with small cords made from the inner bark of the linden, and a vibratory motion given to it from head to foot by the mother or some attendant. The motion thus communicated, is that of the pendulum or common swing, and may be supposed to be the easiest and most agreeable possible to the child. It is from this motion that the leading idea of the cradle song is taken.

I have often seen the red mother, or perhaps a sister of the child, leisurely swinging a pretty ornamented cradle to and fro in this way, in order to put the child to sleep, or simply to amuse it. The following specimens of these wild-wood chaunts, or wigwam lullabys, are taken from my notes upon this subject, during many years of familiar intercourse with the aboriginals. If they are neither numerous nor attractive, placed side by side with the rich nursery stores of more refined life, it is yet a pleasant fact to have found such things even existing at all amongst a people supposed to possess so few of the amenities of life, and to have so little versatility of character.

Meagre as these specimens seem, they yet involve no small degree of philological diligence, as nothing can be more delicate than the inflexions of these pretty chaunts, and the Indian woman, like her white sister, gives a delicacy of intonation to the roughest words of her language. The term wa-wa often introduced denotes a wave of the air, or the circle described by the motion of an object through it, as we say, swing, swing, a term never applied to a wave of water. The latter is called tegoo, or if it be crowned with foam, beta.

In introducing the subjoined specimens of these simple see saws of the lodge and forest chaunts, the writer felt, that they were almost too frail of structure to be trusted, without a gentle hand, amidst his rougher materials. He is permitted to say, in regard to them, that they have been exhibited to Mrs. Elizabeth Oakes Smith, herself a refined enthusiast of the woods, and that the versions from the original given, are from her chaste and truthful pen.

In the following arch little song, the reader has only to imagine a playful girl trying to put a restless child to sleep, who pokes its little head, with black hair and keen eyes over the side of the cradle, and the girl sings, imitating its own piping tones.

Ah wa nain?(Who is this?)
Ah wa nain?(Who is this?)
Wa yau was sa—(Giving light—meaning the light of the eye)
Ko pwasod.(On the top of my lodge.)

Who is this? who is this? eye-light bringing