To make these collections, of which the portions now submitted are but a part, the leisure hours of many seasons, passed in an official capacity in the solitude of the wilderness far away from society, have been employed, with the study of the languages, and with the very best interpreters. They have been carefully translated, written, and rewritten, to obtain their true spirit and meaning, expunging passages, where it was necessary to avoid tediousness of narration, triviality of circumstance, tautologies, gross incongruities, and vulgarities; but adding no incident and drawing no conclusion, which the verbal narration did not imperatively require or sanction. It was impossible to mistake the import of terms and phrases where the means of their analysis were ample. If the style is sometimes found to be bald, and of jejune simplicity, the original is characteristically so. Few adjectives are employed, because there are few in the original.[1] ] The Indian effects his purposes, almost entirely, by changes of the verb and demonstrative pronoun, or by adjective inflections of the substantive. Good and bad, high and low, black and white, are in all cases employed in a transitive sense, and with strict relation to the objects characterized. The Indian compound terms are so descriptive, so graphic, so local, so characterizing, yet so flexible and transpositive, that the legends derive no little of their characteristic features as well as melody of utterance from these traits. Sometimes these terms cannot be literally translated, and they cannot, in these cases, be left out without damaging the stories.
With regard to the thought-work of the legends, those who have deemed the Indians exclusively a cruel and blood-thirsty race, always seeking revenge, always invoking evil powers, will not be disappointed that giants, enchanters, demons, and dark supernatural agencies, should form so large a part of the dramatis personæ. Surprise has been expressed,[2] ] that the kindlier affections come in for notice at all, and particularly at the occurrence of such refined and terse allegories as the origin of Indian Corn, Winter and Spring, and the poetic conception of the Celestial Sisters, &c. I can only add, that my own surprise was as great when these traits were first revealed. And the trait may be quoted to show how deeply the tribes have wandered away from the type of the human race in which love and affection absorb the heart;[3] ] and how little, indeed, we know of their mental character.
These legends have been out of print several years. They are now reproduced, with additional legendary lore of this description from the portfolios of the author, in a revised, and, it is believed, a more terse, condensed, and acceptable form, both in a literary and business garb.[4] ]
HENRY R. SCHOOLCRAFT.
Washington, D.C., April 28, 1856.
CONTENTS.
- Hiawatha; or, Manabozho[13]
- Paup-puk-keewiss[52]
- Osseo; or, the Son of the Evening Star[71]
- Kwasind; or, the fearfully Strong Man[77]
- The Jeebi; or, Two Ghosts[81]
- Iagoo[85]
- Shawondasee[88]
- Puck Wudj Ininees; or, the Vanishing Little Men[90]
- Pezhiu and Wabose; or, the Lynx and Hare[95]
- Peboan and Seegwun. An Allegory of Winter and Spring[96]
- Mon-daw-min; or, the Origin of Indian Corn[99]
- Nezhik-e-wa-wa-sun; or, the Lone Lightning[105]
- The Ak Uk O Jeesh; or, the Groundhog Family[107]
- Opeechee; or, the Origin of the Robin[109]
- Shingebiss. An Allegory of Self-reliance[113]
- The Star Family; or, the Celestial Sisters[116]
- Ojeeg Annung; or, the Summer-Maker[121]
- Chileeli; or, the Red Lover[129]
- Sheem, the forsaken Boy, or Wolf Brother[136]
- Mishemokwa; or, the War with the Gigantic Bear wearing
the precious prize of the Necklace of Wampum, or the
Origin of the Small Black Bear[142] - The Red Swan[161]
- Tau-wau-chee-hezkaw; or, the White Feather[180]
- Pauguk, and the mythological interpretation of Hiawatha[188]
- Iëna, the Wanderer; or, Magic Bundle[194]
- Mishosha; or, the Magician of Lake Superior[202]
- Peeta Kway, the Foam-Woman[213]
- Pah-hah-undootah, the Red Head[216]
- The White Stone Canoe[223]
- Onaiazo, the Sky-Walker. A Legend of a Visit to the Sun[228]
- Bosh-kwa-dosh; or, the Mastodon[233]
- The Sun-Catcher; or, the Boy who set a Snare for the Sun.
A Myth of the Origin of the Dormouse[239] - Wa-wa-be-zo-win; or,
the Swing on the Pictured Rocks of Lake Superior[243] - Mukakee Mindemoea; or, the Toad-Woman[246]
- Eroneniera; or, an Indian Visit to the Great Spirit[251]
- The Six Hawks; or, Broken Wing[258]
- Weeng, the Spirit of Sleep[262]
- Addik Kum Maig; or, the Origin of the White Fish[265]
- Bokwewa; or, the Humpback Magician[269]
- Aggodagauda and his Daughter; or, the Man with his Leg tied up[274]
- Iosco; or, the Prairie Boys' Visit to the Sun and Moon[278]
- The Enchanted Moccasins[293]
- Leelinau. A Chippewa Tale[299]
- Wild Notes of the Pibbigwun[303]
INTRODUCTION.