Traditions of the North American Indians, Vol. 3

by James Athearn Jones

And, if he chance to sleep,
Still will his okki whisper wo,
For hideous forms will rise:
The spirits of the swamp
Will come from their caverns dark and deep,
Where the slimy currents flow,
With the serpent and wolf to romp,
And to whisper in the sleeper's ear
Of wo and danger near;
And mist will hide the pale, cold moon,
And the stars will seem like the sparkling flies
That twinkle in the prairie glades,
In my brother's month of June—
Murky shades, dim, dark shades,
Shades of the cypress, pine, and yew,
In the swamp of the Lake of the White Canoe.

Wo! wo! wo!
He will hear in the dead of the night—
If the bittern will stay his toot,
And the serpent will cease his hiss,
And the wolf forget his howl,
And the owl forbear his hoot,
And the plaintive muckawiss,
And his neighbour the frog, will be mute—
A plash like the dip of a water-fowl,
In the lake with mist so white;
And two forms will float on his troubled view,
O'er the brake, with a meteor light,
And he'll hear the words of a tender song,
Stealing like a spring-wind along
The Lake of the White Canoe.

That song will be a song of wo,
Its burthen will be a gloomy tale;
It will cause the rain to flow;
It will tell of youthful love,
Fond but blighted love;
It will tell of father's cruelty;
It will cause the rain to flow;
It will tell of two lovely flowers
That grew in the wilderness;
And the mildew that touch'd the leaf;
And the canker that struck the bud;
And the lightning that wither'd the stem;
And 't will speak of the Spirit-dove,
That summon'd them away,
Deeming them all too good and true,
For aught save to paddle a White Canoe

With these wild stanzas, preliminary to a tradition current among the tribes of that region, Walk in the Water, a Roanoke chief of great celebrity, commenced his tale. Undoubtedly most of the Indians present were as well acquainted with the story as the narrator, but that circumstance seemed to abate nothing of the interest with which it was listened to; it certainly did not diminish the attention of the audience. In this respect, these wild foresters deserve to become a pattern for careful imitation. They never interrupt a speaker. However incongruous or ill put together his tale, or insulting the matter or manner of his speech, or revolting his opinions to their preconceived notions and prejudices, he is heard patiently until he has said all that he has to say. And, after he has seated himself, sufficient time is given him to recollect whether he has left unsaid any thing in his opinion of importance to the correct interpretation of his views.

It will be seen from the specimens interspersed through these volumes, that the poetry of the Indians is in general of the warlike, or of the tender and pathetic kind. Their only poetry is found in their songs. They are sung in a kind of measure, always harmonious to an Indian ear, and frequently to ours. The music is well adapted to the words. It would be idle to attempt to give an idea of it by means of our musical notes, as has been done by other writers; I should probably meet with the fate of those who have tried in the same manner to describe the melodies of the ancient Greeks. They sing it in short lines or sentences, not always the whole at once, but most generally in detached parts, as time permits, and as the occasion or their feelings prompt them. Their accent is very pathetic and melancholy; a by-stander unacquainted with their language would suppose that they were details of some great affliction: both sexes sing in chorus, first the men and then the women. At times the women join in the general song, or repeat the strain which the men have just finished. It seems like two parties singing in questions and answers, and is, upon the whole, very agreeable and enlivening. After thus singing for about a quarter of an hour, they conclude each song with a loud yell, not unlike the cat-bird, which closes its pretty song with mewing like a cat. The voices of the women are clear and full, and their intonations generally correct.

The Dismal Swamp, which gave rise to this genuine Indian tradition, is one of the gloomiest spots on the face of the earth. It is situated in the state of Virginia, and covers a very large space. On the south side of this wild and gloomy region the marshy border is thickly overgrown with immense reeds, and, as far as the eye can take in, waves slowly and heavily one dark green sea. Then, on all the other skirts of the forest itself, the lofty trees are covered to their summits by the yellow jessamine, and other quick-growing creepers, breathing odour, and alive with the chirping of insects and the melody of birds. In the open and less marshy skirts of the vast forest, gigantic tulip-trees shoot up their massy and regular-built trunks, straight and pillar-like, until they put forth their broad arms covered with the magnificent foliage of their glossy deep green leaves, interspersed with superb white and yellow tulip-shaped flowers. Under their shade are sheltered, like shrubs, trees which elsewhere would be the pride of the forest, or the park—the stately gum-tree, and the magnolia, with its broad shining leaves and beautiful white flowers; whilst at their feet you force your way through tangles of the honeysuckle, or thickets of the moisture-loving bay, rich with its large rose-coloured clusters. But, the moment you penetrate beyond the sun's cheering influence into the deeper recesses of the swamp itself, how solemn is the change! There, the cypress and the juniper, rising without a branch to interrupt the regularity of their tall trunks for a hundred feet, stand thick and close together, like so many tall columns reared to support the roof of a vast temple. All is silent as the grave. Not an insect buzzes or chirps about you; no cry or song of bird or beast is heard. You seem to have penetrated beyond the bounds not only of human society and existence but of animal life, and to be passing through the still and dark valley of the shadow of death.

As the traveller pushes his doubtful way along, he will come upon some broad, lake-like sheet of water, still, silent, and sluggish, calmly reflecting the quiet solemnity of the forest. I say still and silent, but these little lakes are visited at certain seasons of the year by myriads of wild fowl, the clapping of whose wings, as they rise from the water, may be heard to a great distance. The water of all those lakes is of the same colour as the roots and bark of the juniper and cedar-trees, from which it receives its hue. And, when the sun flashes on the amber-coloured lake, and the cypress forest throws its gloomy shade over its face, the traveller becomes thrilled with awe and astonishment. He fancies that he has never seen any spot so fitted to be the residence of spirits of a malignant influence, and expects to see evil eyes cast upon him from every copse. The bird and bat, as they flit through the shades of night, magnified by the misty exhalations, seem the envious demons of the spot; and, foolish man! he more regards the dangers which are unreal than those which are real—is more afraid of the spirits which cannot harm, than of the ravenous beasts and poisonous serpents with which he is environed, and whose fangs are death in its most hideous shape.

Having introduced this not altogether gratuitous description of a spot celebrated in America for its picturesque situation and horrors, I resume the rhythmical tale of the chief of the Roanokes.

It was many seasons ago,
How long I cannot tell my brother,
That this sad thing befell;
The tale was old in the time of my father,
To whom it was told by my mother's mother.
My brother hears—'tis well—
Nor may he doubt my speech;
The red man's mind receives a tale
As snow the print of a mocassin;
But, when he hath it once,
It abides like a footstep chisell'd in rock,
The hard and flinty rock.
The pale man writes his tales
Upon a loose and fluttering leaf,
Then gives it to the winds that sweep
Over the ocean of the mind;
The red man his on the evergreen
Of his trusty memory(1).
When he from the far-off land would know
The tales of his father's day,
He unrolls the spirit-skin[3],
And utters what it bids:
The Indian pours from his memory
His song, as a brook its babbling flood
From a lofty rock into a dell,
In the pleasant summer-moon.—
My brother hears.—

He hears my words—'tis well—
And let him write them down
Upon the spirit-skin,
That, when he has cross'd the lake,
The Great Salt Lake,
The lake, where the gentle spring winds dwell,
And the mighty fishes sport,
And has called his babes to his knee,
And his beauteous dove to his arms,
And has smok'd in the calumet
With the friends he left behind,
And his father, and mother, and kin,
Are gather'd around his fire,
To learn what red men say,
He may the skin unroll, and bid
His Okki this tradition read[4]—
The parting words of the Roanoke,
And his tale of a lover and maiden true,
Who paddle the Lake in a White Canoe.