Chapter III: Part 3

The child's "honor name" is properly conferred by the clan medicine-man at a public ceremony, some time after the child is able to walk. Such an Indian christening is announced by the herald, a feast made, and gifts presented to the poor of the tribe, in honor of the occasion. These needy old people in their turn go away singing the praises of the child by his new name.

Such a name usually indicates the distinguishing character or famous deeds of the boy's ancestors, and its bearer is expected to live up to, defend, and pass it on, unstained. Through this ancient custom, he is early recognized by his tribe, impressed with a sense of his personal responsibility, and inspired with the ambition to be worthy of his ancestry. By giving away their property to those in want, his parents intend to teach him love and good-will toward his fellow-men. But if, when he grows up, the boy fails to sustain his honor name, he is no longer called by it.

If he does not fail, but on the other hand performs some special deed of valor, or wins some distinguished honor on his own account, he may later be given a special "deed name," and the conferring of such was at one time strictly guarded among the Sioux. Our unwritten book of "Who's Who" is composed of just such heroes.

The deed name is generally given by the war chief, and such naming is not accompanied by gifts. A deed requiring great physical courage is often celebrated by giving the name of some fear-inspiring animal, such as Bear or Buffalo, or one of the nobler bird names--those of Eagle, Hawk, and Owl. The character of the exploit, calling for special strength, swiftness, agility, or endurance, helps to determine the name chosen, or adds a qualifying word descriptive of some poetic or picturesque quality in the action. Examples are "Charging Eagle" and "Conquering Bear."

Not only bird and animal names, but those of the elements, are commonly used to express temperament. The rash, impetuous man may be called "Storm," or "Whirlwind." Loftiness and beauty of character is indicated by a name including the word "sky," or "cloud," such as "Red Cloud," "Touch-the-Cloud," "Blue Sky," or "Hole-in-the-Day," all names of well-known chiefs. Sometimes the idea of bravery or swiftness conveyed by the name of animal or bird is combined with another suggestive of dignity, sacredness, mystery, or magic; as, for example, "Thunder Bear," or "Spirit Buffalo."

The highest type of brave deed name is represented by "Thunder," or "Lightning," in one of its many variations. "Crazy Bull" and "Crazy Horse" stand for utter fearlessness and unconsciousness of danger, rather than madness. Resourcefulness, generosity, and productiveness are expressed in the name of "Earth" with some of its poetic attributes. "Fire" represents daring and war-like qualities. Colors are used in a purely symbolic sense, thus redeeming from any touch of absurdity such names as "Red Wolf" and "Black Eagle."

Many Indian names have been roughly handled in translation by illiterate persons, such as were most of the early interpreters. The raven was a dignified bird which disappeared with the buffalo, but its name is generally mistranslated as crow. The Sioux call the crow the "scolding grandmother," and use its name only as a satirical jest. The famous chief known as "Young-man-afraid-of-his-Horses," was really called "Man-whose-Horse-is-feared" (by the enemy).

An instance of the highly poetic and figurative name is that of "Wee-yó-tank-ah-loó-tah." Literally translated, it means "He who in his usual home-going pauses upon an eminence glowing with scarlet light." The reference is to the Sun, who, at the close of his day's journey across the prairies of the sky, apparently rests for a moment upon his gorgeous seat at the verge of the horizon. He who bears that name needs no introduction; its beauty is eloquence enough.

Here are some honor names for Boy Scouts.

Wam-blee´-skah. White Eagle.
Ta-tonk´-ah-sap´-ah. Black Buffalo.
Mah-to´-skah. White Bear.
Chay-ton´-ho-tah. Gray Falcon.
Chay-ton´-wah-koo´-wah. Charging Falcon.
Kan-gee´-loo-tah. Red Raven.
Kan-gee´-wah-kan. Sacred Raven.
Mah-kah´-skah. White Earth.
Mah-pee´-yah-to. Blue Sky.
Mah-pee´-yah-loo´-tah. Red Sky (or Cloud).
Wah-kan´-glee-o´-ta. Many Lightnings.
Tah-tay´-an-pah. Wind, or Storm.
O-han´-zee. Shadow (Comforting).
Pay´-tah. Fire.
Tah-wah´-soo-o´-ta. His Hailstorm (Forcible, or Impetuous).
We-hin´-ah-pay. Rising Sun.
We´-e-yah-yah. Setting Sun.
Ah-kee´-chee-tah. Soldier.
O-hit´-e-kah. Brave.
Wan´-ah-ton. Charger.
O´-tak-tay. Kills or Strikes Many.
Tee-tonk´-ah. Big Lodge.
Chank-oo´-wash-tay. Good Road.
Nah-pay´-shnee. He does not flee (Courageous).
E´-nap-ay. Comes Out (Appears Bravely).
Wah-chin´-tonk-ah. Patient.
Wah-chink´-sap-ah. Wise, Clear-headed.
Tah-ko´-dah. Friend to them all.
O-dah´-ko-tah. Friendly.
Tah-o´-han-o´-tah. His Many Good Deeds.
Tah-wah´-hink-pay-o´-tah. His Many Arrows (Resourceful).
Ko-han´-nah. Swift.
O´-gal-lee-shah. Red Shirt.
Ho´-wah-kan. Mysterious Voice.
Wah-nah´-gee-skah. White Spirit.
Wah-nee´-kee-yah. Savior.
Wah-hah´-chank-ah. Shield.

XVII--INDIAN GIRLS' NAMES AND SYMBOLIC DECORATIONS

All Indian art is symbolic, and the decorative native designs may be so applied in bead-work, basketry, weaving, embroidery, or jewelry as to express the ideals and personality of the maker. This is true of all the tribes, but the individual symbols vary with their customs and habitat.

In all genuine Sioux handiwork, the central design is the isosceles triangle (Fig. 11), representing the conical teepee or tent--the home. This is used in many different ways. Two tents with the bases united, forming a diamond (Fig. 12), indicate the four points of the compass, or the whole world. Two tents with the peaks together (Fig. 13) are symbolic of life here and hereafter. The dark tent cut in half with a band of white, yellow, or light blue in the center (Fig. 14) signifies happiness in the home. The tent enclosed in a circle (Fig. 15) means eternal union.

Figure 16 is commonly used to represent footprints or man's trail through the world. The zig-zag line (Fig. 17) is lightning or destruction; the wavy line (Fig. 18) mountains or prayer.

In the symbolism of colors, pale blue or white is generally used for background, and represents sky or heaven; red, life; dark blue or black, shadow or trouble; green, summer or plenty; and yellow, sun-light or happiness. Dark blue, dovetailed with pale blue or yellow, represents the light and shade of life's common experience.

Animal figures are much used in conventionalized designs. The figure of the bear means courage; the buffalo, plenty; the eagle (wings spread), honor; the owl, observation; the wolf, skill; the turtle, wisdom and longevity; the serpent, healing; the hawk, swiftness; the beaver, industry; the deer, love. The figure of a man on horseback represents a warrior.

No Indian girl may wear the skin or any representation of the bear, wolf, or cat, nor wear the feathers of the eagle, since these are masculine emblems. The doe, ermine, otter, and mink are feminine emblems.

It is usually possible to distinguish feminine from masculine personal names by the meaning. The names of the fiercer wild animals, such as bear, wolf, and eagle, are given to boys; girls are called after the fawn, mink, beaver, etc. Either may be called after sky, wind, or water, but the name of Fire is masculine. The syllable "wee" is a feminine termination.

"Na" is a diminutive, used much like "ie" in English.

The following are Sioux feminine names appropriate to "Camp Fire girls," with their literal and symbolic meanings.

Wee-no´-nah. Eldest Daughter. Loafgiver, charitable.
Wee-hah´-kay-dah. Youngest Daughter. Little One.
War-chah´-wash-tay. Pretty Flower. Beautiful.
O-jin´-jint-kah. Rose. Queen of Flowers.
Zit-kah´-lah-skah. White Bird. Pure.
Do´-wan-ho´-wee. Singing Voice.
Wa-chee´-wee. Dancing Girl.
Han-tay´-wee. Cedar Maid. Faithful.
Wa-zee´-me-nah-wee. Odors of the Pine. Wholesome, refreshing.
Mah-kah´-wee. Earth Maiden. Generous, motherly.
Mah-pee´-yah. Sky. Heavenly.
E-ha´-wee. Laughing Maid.
Wee-ko'. Pretty Girl.
Ptay-san´-wee. White Buffalo. Queen of the Herd.
Mah-gah´-skah-wee. Swan Maiden. Graceful.
Wah-su´-lah. Little Hailstorm. Stormy, impulsive.
Snah´-nah. Jingles (like little bells). Musical.
Ta-lu´-tah. Scarlet. Brilliant.
Ta-tee´-yo-pah. Her Door. Happy Hostess.
Wee-tash´-nah. Virgin. Untouched.
Tak-cha´-wee. Doe. Loving.
Chah´-pah-wee. Beaver. Industrious.
An-pay´-too. Day. Radiant.
Wik-mun´-kee-wee. Rainbow. Return of Blessing.

And some Ojibway girls' names.

Man-e-do-bin´-es. Spirit Bird, or Bird Spirit.
O-min-o-tah´-go. Pleasant Voice.
Ke-we-din´-ok. Woman of the Wind.
A-ya´-she. Little One.
A-be´-da-bun. Peep of Day,
Ke-zhe-ko´-ne. Fire Briskly Burning.
O-dah-ing´-um. Ripple on the Water.
Me-o-quan´-ee. Clothed in Red.
Nah-tah´-ak-on. Expert Canoeist.
She-she´-bens. Little Duck.
A-be´-qua. She Stays at Home.

XVIII--THE LANGUAGE OF FEATHERS AND CEREMONIAL DRESS

In the first place, the wearing of feathers is not peculiar to the Indians, except in the value attached to them as symbols of character and true worth. Any one may wear any sort of feather as ornament merely, or in imitation of the old-time warrior, but with him it was a serious affair. He adopted only the feathers of certain birds, and these must be worn in accordance with well-understood law and custom.

The following birds are held in especially high honor: namely, the eagle, raven, and falcon, commonly called hawk. But it must be borne in mind that as far as the Indian is concerned, there is only one hawk that holds an honorable position: that is the American falcon. He is daring to recklessness in his methods of warfare and hunting, and though not large, is swift and graceful. The raven is held next to the eagle in dignity and wisdom; and the owl comes next on the roll of honored birds. Some of the water-fowl, such as the loon, cormorant, and pelican, play a minor part in our myths and folklore, but in the warriors' codes and emblems only the dashing and courageous birds of prey are permitted to appear--the American eagle standing first.

The feathers of this bird are highly prized, since they stand for brave deeds and form a warrior's record. They are variously worn among different tribes. Perhaps the best and completest system was developed by the Sioux nation; a system which was gradually adopted by their neighbors on the plains, and which I shall follow closely.

No Sioux may wear an eagle's tail-feather unless he has counted a coup, or stroke, upon an enemy, dead or alive. If in a battle, the deed is witnessed by his fellow-warriors; but if he was alone when he made the count, he must have unmistakable proof, or the feather is not awarded. There are four _coup_ counts on each enemy, and these are secured in succession. Even upon a living enemy, if he is overpowered and held captive, these four counts could properly be shared by the warriors. But it is obvious that in most cases they are very difficult to secure. A man may strike an enemy in a hand-to-hand battle, or, as you would say, in a "mix-up," and he gets away without being killed or even seriously hurt. In this case, only one _coup_ is counted. Again, many foes are killed upon whose bodies no _coup_ at all is counted, because it is impossible to obtain, and upon others, one or two may be taken with much difficulty and superb daring in the face of the enemy's fire. Herein lies the relative value of individual feathers, and the degree of valor shown or difficulty encountered determines the subsidiary trimmings, tassels, and ornaments.

Primarily, every eagle feather worn by a warrior represents a _coup_ given in battle. This is important to remember. No other feather stands for the same thing, though different degrees of courage and endurance may be expressed by other feathers.

For instance, a group of raven or of Canadian goose feathers trimmed on the sides, indicates that the wearer has been wounded in battle more than once. A single goose feather dyed red and trimmed, means that the wearer was severely wounded in battle. Sometimes a man wears an eagle feather dyed or trimmed, meaning that he was wounded at the time he counted the _coup_. An eagle feather notched and the cut dyed red, means that the wearer counted the _coup_ and took the scalp also, but was wounded while so doing.

He may have the feather cut off at the tip, showing that he killed his foe and counted the _coup_ on that same enemy. If he fought a desperate battle, with the odds against him, in which he came off victor, he may tip his eagle's feather with buffalo hair; and if he counted _coup_ in a charge on horseback in the face of imminent danger, he may tip it with hair from a horse's tail.

Among some tribes, the wearing of a split feather denotes that the wearer has been wounded, and when the feather is clipped off at the tip, that he has taken a scalp. When a warrior wears one eagle feather upright and the rest drooping, it indicates that he was surrounded in company with a party of warriors of whom he was the sole survivor.

As I have said, the Indian might wear as many eagle feathers as he had counted _coups_. When he had won a number of these in difficult circumstances, and had been held at bay and surrounded by the enemy, but succeeded in getting away, he was entitled to a regular war-bonnet. Only an exceptional record of many battles in which he had shown great coolness, skill, and daring, entitled him to the long, trailing war-bonnet of many plumes.

There are other ornaments and portions of a warrior's dress that bear a special significance. If he has been in the vanguard of battle more than once and led counter-charges, he may wear the whole skin of a raven on his back in the dances. If he has pursued his enemy into the hostile camp and killed him there, he may wear an otter skin slit up the middle so that his head comes through, and the head of the animal hangs upon his chest. A garter made of skunk's skin with the head and tail on, shows that he has successfully taken a scalp under the enemy's fire. He wears a grizzly bear's claws when he has been surrounded, but charged singly, bear-like, and repulsed the enemy. The paws of a grizzly bear, claws and all, denote that he has knocked off or pulled off the foe in a mounted encounter.

The deer-tail head-gear dyed in shades of red, with a thin square of bone, resembling ivory, in the center, to which one or more eagle feathers are attached, is equivalent to the eagle feather war-bonnet. The quill end of each feather is placed in the hollow of a goose's wing-bone embossed with the beautiful iridescent neck-skin of a drake, and the whole forms an imposing ornament.

The wearing of the skins of certain animals and birds represents the totem, or, as it were, the coat-of-arms of the Indian. These symbols take a wide range, almost every familiar bird and animal, even fish and reptiles, being used as a sort of charm or talisman, some for healing, and others for protection from harm. But these things are not mere dead feathers or skins to the Indians; they symbolize an appeal to the brotherly spirit of the animal representing their individual lodge or clan, and are honored in recognition of the wonderful intuitive power of the dumb creatures. The Indian believes that instinct comes more directly from the "Great Mystery" than reason even; why else does an animal or child show wisdom without thought?

The addition of an ermine skin to the war-bonnet is an honor that few warriors earned in the old days. It is a degree of the highest type. The man who is recognized as a past master of courage, having achieved all the decorations of a patriot and a true warrior, dauntless in war, yet gentle at home, a friend and a brother--he alone may wear ermine upon his war-bonnet, or trim his ceremonial shirt with the beautiful white fur.

The addition of buffalo-hair trimming to a warrior's bonnet or shirt or leggings is an indication that he has taken many scalps. If he is a chief, he may even have a buffalo tail dangle from one of his teepee poles. No one may do so without the authority of the tribe. Neither can the councilors confer these degrees without actual proof of service. No favoritism is possible under our system, and the highest degrees are conferred only upon men who have been tried again and again by every conceivable ordeal. Heroism is common, because the universal spirit of gallantry and chivalry requires it.

At a public dance, an Indian may recount some particular brave deed. This he acts out for the benefit of the younger element. He could not add anything to it, because the event is already well known. When the old customs were intact, it was the old warriors who claimed this privilege, and they, too, were allowed to paint their bodies in imitation of their severe wounds.

I remember very well in a great tribal dance that there were many of these old men who enacted their deeds with great spirit, and one had painted the upper half of his face black, with zig-zag lines representing lightning, the whole symbolic of a terrific battle. The lower part of his face, even with the mouth and including it was painted red, with streaks running down upon the chin. Every Indian would know that he had been wounded in the mouth. Another had painted in the middle of his broad chest a red hole, and from it there ran some red streaks, with a fine Crow arrow depicted in realistic fashion.

These customs have their barbarous side, but a really touching feature is that a warrior always shares his honors with his war-horse. Such a horse may wear an eagle plume in his forelock as proudly as his master, his tail or mane may be trimmed and dyed according to his rider's war record, or he may be made to mourn for him by having it cut quite short.

Sometimes an acknowledged warrior decorates his long pipe-stem or the handle of his war-club. But no person can wear the honorable insignia of another; in fact, he can wear none that have not been awarded to him in due course by the council of his tribe.

The Boy Scouts may, if they choose, adapt this system to the honors counted in their organization, grading the various exploits in accordance with the real manhood needed to accomplish them.

XIX--INDIAN CEREMONIES FOR BOY SCOUTS

Indian ceremonies are always in demand, and I shall give you several which have been specially adapted to your use from the ancient rites of the Sioux nation.

THE AY´-CHAY-TEE, OR SCOUT'S BONFIRE

This is supposed to bring success in war and hunting, and may be kindled by a band of Scouts on the eve of a long hike, or any important undertaking, or as a ceremony of initiation of new members.

The one appointed to act as Leader or Medicine-man lays in a convenient place a pile of dry wood for the ceremonial fire, to which the Scouts are summoned by a herald. He goes the rounds with a camp horn, bidding all come to the Ay´-chay-tee when the sun is at a certain height in the heavens, preferably near sunset. The Medicine-man should be attired in full Indian costume, and prepared to act the part of a man full of years and wisdom. As fire is the symbol of enthusiasm, energy, and devotion, and is with the Indians a strictly masculine emblem, it is fit that the young men gather about it before going upon a journey or "war-path."

When all have assembled in the usual circle, dressed either in Indian costume or Scout's uniform, the Leader, standing in the center of the ring beside the prepared wood, kindles a "new fire" by means of the bow and drill, flint and steel, or "rubbing sticks."

He then takes up the long-handled calumet or peace-pipe, which has previously been filled with dried sumach leaves, red willow bark, or other aromatic herb, kindles it with a coal from the "sacred fire," and reverently holding it before him in both hands, with the stem pointing upward and forward, exclaims:

"To the Great Spirit (or Great Mystery) who is over all!"

The Scouts answer in unison: "Ho!"

Then, turning the stem of the pipe downward, the Leader says:

"To our Grandmother, the Earth!"

The Scouts answer: "Ho!"

He thus holds the pipe successively toward the four points of the compass, exclaiming as he does so: "To the East Wind! the West Wind! the North Wind! the South Wind!" and each time all answer: "Ho!"

The Leader next holds the stem of the pipe toward the first Scout, who, stepping forward and touching it solemnly, repeats in an audible voice the "Scout's Oath:"

"I promise to obey my Leader, to seek honor above all things, and that neither pain nor danger shall keep me from doing my duty!"

After the pipe has thus gone round the circle, it is laid beside the fire, and all the Scouts chant, or recite in unison, the Strong Heart Song:

"We are the Scouts of ---- (name of band or brigade);
We are the strong-hearted;
We go forward, fearing nothing, to fulfill our vow!"

All now dance around the fire, going through the actions of a Scout on the enemy's trail. A drum beaten in quick time is the proper accompaniment to this dance, or it may be performed to the chant and hand-clapping of the Leader. (For other songs and musical airs, see Alice Fletcher's "Indian Story and Song.") Finally the Scouts leave the ring one by one, each, as he disappears in the shadows, giving the yelp of the wolf--the Indian Scout's call.

When a Scout returns to camp with news, he is met by the councilors seated in a circle about the fire, and before giving his report, takes the oath of the pipe in the past tense, thus:

"I have obeyed my Leader, have sought honor above all things, and neither pain nor danger has kept me from doing my duty!"

If, however, the matter is urgent, and there is little time for ceremony, he may, on entering the circle, kick down and scatter a small pile of wood which has been placed in readiness, this act constituting his oath that he has faithfully performed his task.

THE BEAR DANCE

This is one of a class of ceremonies common among Indians, in which the actors masquerade as animals. Bears, wolves, buffalo, elk, and others are represented with elaborate costuming and imagery. The Bear is the emblem of courage.

In this dance one of the players is chosen to represent the Bear, and should be made up if possible with the skin and head of that animal as a disguise, otherwise with a painted mask. A small arbor of green boughs forms the den, from which he issues from time to time in short rushes, growling as savagely as possible, and is teased with switches in the hands of the other players. If any one can touch the Bear without being himself touched, he scores one point, but if touched, he loses five points. If he trips and falls while running, he is out of the game. Whenever the pace becomes too swift for him, the Bear may retreat to his den, where he is safe. This game should last a given number of minutes, say twenty, at the end of which the scores are reckoned by two tellers previously detailed, and the winner announced. The drum and Indian songs may accompany this entertainment, which should be followed by a feast of Indian dishes, such as corn, venison, maple sugar, etc., served in Indian style, all the guests being seated cross-legged in a circle.

THE PEACE CEREMONY

This is a very old rite of the Sioux, intended to typify the conquest of the Thunder-Bird, which is supposed to bring the lightning, and is the emblem of destruction.

It is appropriately given in early summer, the period of frequent thunderstorms.

Cut the figure of the Thunder-Bird from a piece of birch-bark or thin wood, and suspend from the top of a pole fifteen feet high, which is raised in the center of a ring sixty feet in diameter, formed of small bent saplings or willow wands. The ring must have two entrances. At the foot of the pole, place a bowl of clear water to represent the rain which accompanies the lightning. On either side stand two small boys, dressed in red or wearing red about their clothing, and carrying war-clubs in their hands. These boys represent War.

Now all the Scouts enter the ring in single file, dressed in Scouts' uniform or Indian costume and armed with bow and arrows. The drum beats a slow tattoo as they march about the pole, looking upward toward the figure of the Thunder-Bird and chanting these lines:

"Hear us, O Thunder!
Hear us, and tremble!
We are the soldiers,
Soldiers of peace!"

At the close of the song, each in turn shoots an arrow at the image, and when it falls, the Scout who brought it down must drink all the water in the bowl. The war-clubs are then taken away from the two little boys representing War, who go out by the western entrance to the ring. At the same time there enter by the eastern entrance two more boys (or preferably girls, if it is a mixed assemblage), clad in blue and carrying calumets, to typify Peace. These lead the second march around the pole, while all chant the second stanza of the song:

"The Thunder is fallen;
Lost are his arrows;
Peace is the victor--
Our mother is Peace!"

A heavy stick with a large knot or knob on the end will do for a war-club, and if no genuine peace-pipe is obtainable, one may be improvised from a piece of wood.

To any or all of these ceremonies spectators may be invited (and among the Indians the whole village is generally present), but it is essential that they maintain perfect order and absolute silence during the solemnities.

XX--THE MAIDENS' FEAST: A CEREMONY FOR GIRLS

A beautiful festival, celebrated yearly in the olden time among the Sioux and other Plains Indians, was called the "Maidens' Feast," and was designed to stimulate a proper pride and dedication to duty among the young girls of the tribe. I shall describe for you an adaptation of this ancient ceremony, that may be appropriately used by Camp Fire Girls and others on their summer outings.

This feast is always given at midsummer, in the fullness of bloom and splendor, as befits a gathering of the flower of the village or community. Invitations may be issued by the Guardian of the Camp Fire, or Leader of the band of girls, in the form of thin leaves of birch-bark or small bunches of sweet-grass. Another way of giving the invitation, if all the girls are in camp, is to engage the services of some man with a bugle or camp-horn to act as herald. He should dress in Indian costume and make the rounds early in the morning, blowing the horn and declaiming in a loud voice somewhat as follows:

"Hear ye, hear ye, all the people! The maidens of the ... Camp Fire are summoned to repair at noon to-day to the Sacred Stone in the middle of the encampment, there to hold the annual feast! Hear ye, hear ye!"

The maidens all come in ceremonial attire, and full Indian costume is indispensable to the proper effect. The hair is arranged in forward-turning plaits, and surmounted by a modest wreath or fillet of wild flowers. They advance silently, in single file, and form a ring about the "Sacred Stone," a rudely heart-shaped or pyramidal boulder, which has been touched lightly with red paint. Beside the Stone, two new arrows are thrust into the earth. The rock symbolizes permanence, or the unchangeable forces of nature; the arrows, nature's punishment for disobedience.

Now the leader of the maidens steps out of the ring, and laying her right hand upon the summit of the Stone, pronounces in clear tones the "Maidens' Vow:"

"Upon this Stone I take the maiden's twofold vow; the vow of purity--my duty to myself; the pledge of service--my duty to others!"

She then steps back and seats herself sidewise on the ground in the ring. Each in turn takes the vow in the same manner until the "maidens' circle" is complete. Then all rise and chant, or recite in unison, the "Maidens' Song:"

"We are the maidens of ---- (name of band);
Our faces are turned toward the morning;
In our hearts is the summer of promise;
In our hands" (make cup of both hands) "we hold the new generation!
United we go to meet the future,
Armed with truth to ourselves, and with love for all!"

At the close of the song, all take hands and dance four times about the Stone, each time reversing the movement.

Lastly, they seat themselves again in the same order, and the "feast" is served by handing it about the circle, each maiden taking her portion in her own basin, or bowl, and eating it with her own spoon, having brought these with her according to the Indian custom. Appropriate dishes for the feast would be rice with maple sugar (wild rice if obtainable), green corn or succotash, berries and nuts, maize cakes or pop-corn dainties, or any strictly native product. After the food is served, it is permitted for the first time to talk and laugh, all gravity and decorum having been preserved by participants and spectators during the entire ceremony.

The parents and friends of the young women should be invited, if convenient, to witness the "Maidens' Feast," and a characteristic Indian feature would be added if some of them should desire to signalize the occasion by gifts to some needy person or cause. Such gifts should be announced at the close of the festival.

XXI--THE GESTURE--LANGUAGE OF THE INDIAN

The American Indian is extremely pictorial in his habits of thought and in his modes of expression. Even his every-day speech is full of symbols drawn from the natural world. Yet more poetic and descriptive in character is that form of communication properly called "gesture speech," but commonly known as "Indian sign-language."

This language is most fully developed among the tribes of the Great Plains, many of whom speak entirely different tongues, for use in their frequent meetings, either accidental or for the purpose of concluding a treaty of peace. It is also used by deaf mutes among Indians. It has been learned and elaborately written out by several authorities, chief of whom is Captain W. R. Clark of the United States Army. Being understood by few, it will serve excellently as a secret code, so much desired by young people, and is especially appropriate to the ceremonials of Boy Scouts and Camp Fire Girls.

We Indian boys were taught from babyhood to be silent, to listen to the things that nature is saying all about us. But since it is hard for a healthy boy to keep his discoveries and observations entirely to himself, he must devise some outlet. Our silent communication, our "wireless," was the gesture-language.

It should be remembered that among Indians the whole body speaks, and that all oratory, and even conversation, is accompanied by graceful and significant gestures. The accomplished user will make the signs herein described rapidly and smoothly, investing the whole with genuine charm, as a novel kind of pantomime. For it will be seen that these are no arbitrary signs, but actual air-pictures, and not manual only, since they include a variety of movements and considerable facial expression.

The construction or grammar of the sign-language is simple. Adjectives follow nouns, conjunctions and prepositions are omitted, and verbs are used in the present tense only. The following signs, well-learned, will enable one to carry on a short conversation, and many more may be devised along these lines by an ingenious boy or girl.

_Attention, or Question_. Hold right hand, palm outward, fingers and thumb separated, well out in front of body at height of shoulder. This is used to begin a conversation.

_I understand_. Throw right forearm out in front of body with fingers closed, except index finger, which is curved and drawn back. This indicates that you grasp and draw something toward you, and is used occasionally while another is talking. If you do not understand, use the Question sign.

_I_. Touch breast with index finger of right hand.

_Glad_. (Sunshine in the heart.) Place compressed right hand, fingers slightly curved, over region of heart; bring left hand, palm downward, in sweeping curve to left of body, at the same time turning it palm upward, as if turning up or unfolding something. The expression of the face should correspond.

_Sad_. Place the closed fist against the heart. Appropriate facial expression.

_Surprised_. Cover mouth with palm of right hand, open eyes widely, and move head slightly backward.

_Angry_. (Mind twisted.) Place closed right fist against forehead and twist from right to left.

_Ashamed_. (Blanket over face.) Bring both hands, palms inward, fingers touching, in front of and near the face.

_Good_. (Level with heart.) Hold extended right hand, back up, close to region of heart; move briskly forward and to right.

_Bad_. (Throw away.) Hold one or both hands, closed, in front of body, backs upward; open with a snap, at the same time moving them outward and downward.

_Brave, Strong_. Hold firmly closed left hand in front of body, left arm pointing to right and front; bring closed right hand above and a little in front of left, and strike downwards, imitating the blow of a hammer. (This gesture, vigorously made, intensifies any previous statement or description.)

_Alone_. Hold up index finger.

_On Horseback_. Place first and second finger of right hand astride left index finger. Motion of galloping may be made, or a Fall from the horse represented.

_Tent, or Wigwam_. Bring both hands together at the finger tips, forming a cone.

_House_. Interlock fingers of both hands, holding them at right angles.

_Camp_. Sign for _Tent_, then form circle with arms and hands in front of body.

_City, or Village_. Sign for _House_, then _Camp_ sign.

_Sleep_. Incline head to right and rest cheek on right palm. For going into camp, or to indicate the length of a journey, make sign for _Sleep_ and hold up as many fingers as nights were spent on the way.

_Time_ is told by indicating the position of the sun; the _Seasons_ as follows:

_Spring_. (Little grass.) Hold hands, palms upward, well down in front, fingers and thumbs well separated and slightly curved; separate hands slightly. Then hold right hand in front of body, back to right, closing fingers so that only tip of index finger projects. (This last sign for _Little_.)

_Summer_. Sign for _Grass_, holding hands at height of waist.

_Autumn_. (Falling leaves.) Hold right hand above head, fingers closed, except index finger and thumb, which form nearly a circle; bring hand slowly downward with wavering motion.

_Winter_. Hold closed hands in front of body and several inches apart; give shivering motion to hands.

To indicate _Age_, give sign for _Winter_ and hold up fingers; all counting is done in the same way, in multiples of ten; as, for one hundred, open and close fingers of both hands ten times.

_Color_ is usually indicated by pointing to some object of the color spoken of.

_Brother_. Touch first and second finger to lips.

_Sister_. Sign for _Brother_, and that for _Woman_.

_Woman_. (Long hair.) Bring both palms down sides of head, shoulders, and bosom, with sweeping gesture.

_Love_. Cross both arms over bosom.

_Give Me_. Hold right hand well out in front of body, palm upward, close, and bring in toward body.

_Beautiful_. Hold palms up like mirror in front of face; make sign for _Good_.

_Ugly_. Same as above, with sign for _Bad_.

_Peace_. Clasp both hands in front of body.

_Quarrel_. Hold index fingers, pointing upward, opposite and a few inches apart; move sharply toward each other, alternating motion.

_Liar_. (Forked tongue.) Bring separated first and second fingers of right hand close to lips.

_Scout_. (This is also the sign for Wolf.) Hold first and second fingers of right hand, extended and pointing upward, near right shoulder, to indicate pointed ears.

_Trail_. Hold extended hands, palms up, side by side in front of body; move right to rear and left to front a few inches; alternate motion.

_It is finished_. Bring closed hands in front of body, thumbs up, second joints touching; then separate. This sign ends a speech or conversation.

XXII--INDIAN PICTURE-WRITING

The Indian is something of an impressionist in the matter of technique. Though possessed of great manual dexterity, he does not care, as a rule, to reproduce an object exactly, but rather to suggest his fundamental conception of it. Each drawing stands for an idea, and its symbolic character gives it a certain mystery and dignity in our eyes.

It is usual to represent an animal in action, in order to indicate more clearly its real or imaginary attributes. Thus a horse is shown running, a buffalo or bear fighting, or in a humorous attitude.

Pictorial hieroglyphics are merely crude pictures drawn and painted upon leather or birch-bark, or cut into the trunk of a convenient tree, or perhaps upon a hard clay bank, and sometimes even scratched with a hard stone upon the face of a cliff. In the first place, they represent history and biography, and serve to supplement and authenticate our oral traditions. Others are communications intended for some one who is likely to pass that way, and give important information. The person or persons whom it is desired to reach need not be addressed, but the sender of the message signs his name first, as in a letter of ceremony.

Suppose Charging Eagle is on the war-path and wishes to communicate with his friends. He cuts upon the bark of a conspicuous tree beside the trail the figure of an eagle swooping downward, bearing in its beak a war-club. The news he gives is that his young men brought home a herd of horses taken from the enemy. He draws first a teepee; facing it are several free horses, and immediately behind them two or three riders with war-bonnets on their heads, leading another horse. Last of all are some horses' footprints. The free horses represent force, and the led horse expresses captivity. The fact that the men wear their war-bonnets, indicates a state of war.

The event is dated by drawing the symbol of the month in which it occurred, followed by the outline of the moon in its first, second, third, or fourth quarter, dark or full, as the case may be. The waxing moon opens toward the right, the waning moon toward the left. To be still more exact, the chief may draw the sun with its rays, followed by an open hand with as many fingers extended as days have passed since the event.

The thirteen moons of the year are named differently by different Indian tribes. I will give the names and symbols commonly used by the Sioux, beginning with nature's new year, the early spring.

1. Ish-tah´-wee-chah´-ya-zan-wee. Moon of Sore Eyes.
2. Mah-gah´-o-kah´-dah-wee. Moon of Ducks' Eggs.
3. Wah-to´-pah-wee. Canoeing Moon.
4. Wee´-pah-zoo-kah-wee. June-Berry Moon.
5. Wah-shoon´-pah-wee. Moon of Moulting Feathers.
6. Chan-pah-sap´-ah-wee. Moon of Black Cherries.
7. Psin-ah´-tee-wee. Wild-Rice Gathering Moon.
8. Wah-soo´-ton-wee'. Moon of Green Corn.
9. Wok´-sah-pee-wee'. Moon of Corn Harvest.
10. Tah-kee´-yoo-hah´-wee'. Moon of Mating Deer.
11. Tah-hay´-chap-shoon´-wee. Moon of Dropping Deer horns.
12. Wee-tay´-ghee. Moon of Severe Cold.
13. We-chah´-tah-wee. Raccoon's Moon.

In the old days, there were many different bands of the Sioux, who wandered, during the year, over a wide extent of country. Thus news was spread both by signal communication and by pictographs, when it was impossible to communicate by word of mouth. This particular message of Charging Eagle's was not only news, but also a warning to travelers to be on their guard, for the enemy might seek to retaliate, and some innocent persons be surprised and made to pay dearly for another's exploit.

In picture-writing, the head of man or animal is emphasized, with its distinguishing peculiarity of head-gear, or ears, or horns, while the body is barely outlined. The warrior is represented by a rude figure of a man wearing a war-bonnet, or carrying a coup-staff. Warriors returning successful are shown approaching a group of teepees, carrying scalps on poles. If, on the contrary, the writer's camp has been raided, the figures are seen departing from the teepees. A trail, or journey, is indicated by double wavy lines. If the travelers parted, the trail is branched.

Lightning is represented by zig-zag lines with a suggestion of flames at the points, or by a large bird with zig-zag flashes issuing from his beak. Wind is indicated by tossed clouds; but for the four winds, or four points of the compass, draw a mere cross, or a pair of crossed arrows. For rain, make dots and dashes; for snow, falling stars; for night, stars above a black line, sometimes adding a crescent moon.

Every Indian has his pictographic signature, and this idea may appropriately be copied by Boy Scouts, who will also enjoy communicating by Indian signs and keeping the record book or "winter count" in the same manner.

The name "Sitting Bull," for example, is drawn as a buffalo bull sitting upon its haunches, with front feet in the air and tossing head. Spotted Tail is a charger with luxuriant flowing tail, streaked and spotted with white. Hawk Eagle signs his name by drawing a hawk wearing an eagle feather war-bonnet. Big Tent draws a large teepee, with a buffalo tail dangling from the projecting poles, to show dignity and importance. The autograph of Chief Bullhead is the figure of a man with the head of a bull buffalo, perhaps surmounted by a war-bonnet.

The "ghost," or spirit, is represented by a pair of eyes looking from the sky, or by the outline of a bird with great eyes. Prayer, or the "Great Mystery," is symbolized by the figure of a man in the Indian's prayer attitude--standing erect, with head uplifted and the tips of his fingers meeting in a sharp angle in front of his chest, gazing at the figure of the sun.

XXIII--WOOD-CRAFT AND WEATHER WISDOM

Since the life of the Indian is one of travel and exploration, not for the benefit of science, but for his own convenience and pleasure, he is accustomed to find himself in pathless regions--now in the deep woods, now upon the vast, shimmering prairie, or again among the tangled water-ways of a mighty lake studded with hundreds, even thousands, of wooded islands.

How does he find his way so successfully in the pathless jungle without the aid of a compass? you ask. Well, it is no secret. In the first place, his vision is correct; and he is not merely conscious of what he sees, but also sub-consciously he observes the presence of any and all things within the range of his senses.

If you would learn his system, you must note the relative position of all objects, and especially the location of your camp in relation to river, lake, or mountain. The Indian is a close student of the topography of the country, and every landmark--hill, grove, or unusual tree--is noted and remembered. It is customary with the hunters and warriors to tell their stories of adventure most minutely, omitting no geographical and topographical details, so that the boy who has listened to such stories from babyhood can readily identify places he has never before seen.

This kind of knowledge is simple, and, like the every-day meal, it is properly digested and assimilated, and becomes a part of one's self. It is this instant, intelligent recognition of every object within his vision in his daily roving, which fixes the primitive woodsman's reckoning of time, distance, and direction.

Time is measured simply by the height of the sun. Shadow is the wild man's dial; his own shadow is best. Hunger is a good guide when the sun is behind the clouds. Again, the distance traveled is an indicator, when one travels over known distances. In other words, he keeps his soul at one with the world about him, while the over-civilized man is trained to depend upon artificial means. He winds his watch, pins his thought to a chronometer, and disconnects himself from the world-current; then starts off on the well-beaten road. If he is compelled to cut across, he calls for a guide; in other words, he borrows or buys the mind of another. Neither can he trust his memory, but must needs have a notebook!

The wild man has no chronometer, no yardstick, no unit of weight, no field-glass. He is himself a natural being in touch with nature. Some things he does, he scarcely knows why; certainly he could not explain them. His calculations are swift as a flash of lightning; best of all, they come out right! This may seem incredible to one who is born an old man; but there are still some boys who hark back to their great-great-grandfathers; they were not born and nursed within six walls!

The colors of tree, grass, and rock tell the points of the compass to the initiated. On the north side, the bark is of a darker color, smoother, and more solid looking; while on the southern exposure it is of a lighter hue, because of more sunshine, and rougher, because it has not been polished off by the heavy beating of snow and rain in the cold season. An Indian will pass his hand over the trunk of a tree in the dark and tell you which way is north; some will tell you the kind of tree, also.

The branches of the tree tell the same story; on the south side they grow thicker and longer, while the leaves lie more horizontal on the sunny side, and more vertical on the north. Again, the dry leaves on the ground corroborate them; on the north side of the trees the leaves are well-packed and overlay each other almost like shingles. The color and thickness of the moss on rock or tree also tells the secret.

But I must leave some things for you to discover; and I advise you to select a rock or tree that is well exposed to the elements for a first attempt. Of course, in well-protected localities, these distinctions are not so marked, but even there are discernible to a trained eye.

If you ever lose your way in the woods, do not allow yourself to become unnerved. Never "give up." Fear drowns more people than water, and is a more dangerous enemy than the wilderness. A normal man, with some knowledge of out-of-doors, can without much effort keep in touch with his starting-point, and, however tortuously he may rove, he will pick the shortest way back. Know exactly where you are before starting, in relation to the natural landmarks, and at every halt locate yourself as nearly as possible. Measure your shadow (it varies according to the season), and scatter dry earth, leaves, or grass, to learn the direction of the wind. The watershed is another important point to bear in mind. On a clear night, look for the well-known stars, such as the "Great Dipper," which lies to the north in summer, the handle pointing west. The "Milky Way" lies north and south. Once you locate the camp, you may be guided by these or by the wind in night travel.

The Indian, as an out-of-door man, early learns the necessity of a weather bureau of his own. He develops it after the fashion of another system of precaution; that is, he takes note of the danger-signals of the animals, those unconscious criers of the wilderness, both upon water and land. These have definite signals for an approaching change in the weather. For instance, the wolf tribes give the "storm call" on the evening before. This call is different in tone from any other and clearly identified by us. Horses kick and stamp, and the buffalo herds low nervously. Certain water-fowl display a strange agitation which they do not show under any other circumstances. Antelopes seek shallow lakes before a thunder-shower and stand in the water--the Indians say because lightning does not strike in the water. Even dogs howl and make preparations to hide their young. Ducks have their signal call; but the chief weather prophet of the lakes is the loon, as the gray wolf or coyote is of the prairie.

Certain leaves and grass-blades contract or expand at the approach of storm, and even their color is affected, while the wind in the leaves has a different sound. The waves on the beach whisper of the change, and we also observe the "ring" around the sun, and the opacity and disk of the moon. The lone hunter may be left with only the open prairie and the dome of heaven; but he still has his grass-blades, his morning and evening skies. Sometimes the little prairie birds give him the signal; or, if not, he may fall back upon his old wounds, that begin to ache and swell with the change of atmosphere.

XXIV--THE ART OF STORY-TELLING

Perhaps no other people enjoy good stories better, and are more apt at telling them, than are the Indians. This art, most highly prized in a race without books, serves as a necessary outlet to their imaginations, and wonderfully enlivens their social and family life. The time for telling Indian stories is in the evening--best of all, around a glowing wood fire, on the long nights of winter. Here, every accent, every gesture, has its meaning, no faintest shade of which is lost upon the circle of attentive listeners.

True stories of warfare and the chase are related many times over by actors and eye-witnesses, that no detail may be forgotten. Handed down from generation to generation, these tales gradually take on the proportions of heroic myth and legend. They blossom into poetry and chivalry, and are alive with mystery and magic. The pictures are vivid, and drawn with few but masterly strokes. Often animals as well as men are the villains and heroes, and in this way a grotesque humor is artfully yet naturally developed.

In the old days, it was customary among us for each clan to have its official story-teller, whose skill in making the most of his material had built up a reputation which might extend even to neighboring villages. He was not only an entertainer in demand at all social gatherings, but an honored schoolmaster to the village children. The great secret of his success was his ability to portray a character or a situation truthfully, yet with just a touch of humorous or dramatic exaggeration. The scene is clearly visualized; the action moves quickly, with successive events leading up to the climax, which must be handled with much dignity and seriousness, or pathos and gravity may be turned upside down in the unexpectedness of the catastrophe.

Here is a short example of Indian story-telling:

Far out in the middle of the "Bad Lands" upon the Little Missouri, there stands a pillar-like butte some four or five hundred paces in height. Here and there upon its sheer walls cling a few stunted pines and cedars, some hanging by one foot, others by their great toe only. Not one of the many gulches that furrow its sides affords a safe path, or even a tolerable ladder to the top. There is generally a pair of eagles who breed there, and an occasional Rocky Mountain sheep may be seen springing along its terraces. We Indians have long regarded this butte as a sacred temple, the very spot for solitary prayer and fasting; but tradition states that only two men have ever set foot upon its summit for this purpose.

Feared-by-the-Bear was a warrior of unquestioned bravery. One day he announced that he would fast upon Cloud Butte. Thereupon other well-known braves decided to fast there also. Their leader managed the ascent with much labor and difficulty. When, just at sunset, he reached the summit, he was happy; the world seemed revealed to him in all its beauty and majesty. "Where can such another shrine be found?" he thought.

He took his position upon a narrow projection of rock extending over the abyss, where it is said no human being has stood before or since. The full moon had risen, and the brave stood above that silvered gulf of air with uplifted filled pipe and extended arm, praying without words, as is our custom.

Suddenly his ears rang with the cry: "Haya háy! A grizzly! A grizzly!" He was compelled to suspend his devotions for an instant, and to throw a glance in the direction of the call. He perceived that his example had been followed, and that what seemed an avenging spirit was pursuing his fellow worshipper.

"Dodge behind a tree! Run your best; he is almost upon you!" he shouted. But the nearest tree hung upon the verge of the precipice. If the man missed his footing, he must go down to death.

There was no time to consider. Around the tree he flew and disappeared like a passing shadow. At his heels the desperate grizzly, who had prolonged his unwilling fast upon the butte for days, not daring to attempt the descent, lunged heavily against the swaying cedar to save himself from falling headlong. He was half a second too late!

Feared-by-the-Bear had not yet been discovered. He clutched his long pipe and still pointed it toward the starry sky in silent supplication. Indeed, he had now more immediate cause for prayer. "Waugh!" uttered the hungry bear, and approached him with wide-open mouth.