Chapter D: Emblematic Trees in Iroquoian Mythology.83

BY ARTHUR C. PARKER.

A student of Iroquoian folk-lore, ceremony or history will note the many striking instances in which sacred or symbolic trees are mentioned. One finds allusions to such trees not only in the myths and traditions which have long been known to literature and in the speeches of Iroquois chiefs when met in council with the French and English colonists, but also in the more recently discovered wampum codes and in the rituals of the folk-cults.

There are many references to the “tree of peace” in the colonial documents on Indian relations. Colden in his Five Nations, for example, quotes the reply of the Mohawk chief to Lord Effingham in July, 1684. The Mohawk agree to the peace propositions and their spokesman says: “We now plant a Tree who’s tops will reach the Sun, and its Branches spread far abroad, so that it shall be seen afar off; & we shall shelter ourselves under it, and live in Peace, without molestation.” (Gives two Beavers).[84]

In a footnote Colden says that the Five Nations always express peace under the metaphor of a tree. Indeed in the speech, a part of which is quoted above, the Peace tree is mentioned several times.

In Garangula’s reply to De la Barre, as recorded by Lahontan are other references to the “tree.” In his “harangue” Garangula said:

“We fell upon the Illinese and the Oumamis, because they cut down the Trees of Peace—.” “The Tsonontouans, Gayogouans, Onnotagues, Onnoyoutes, and Agnies declare that they interred the Axe at Cataracuoy, in the Presence of your Predecessor, in the very Center of the Fort; and planted the Tree of Peace in the same place; ’twas then stipulated that the Fort should be us’d as a Place of Retreat for Merchants, and not as a Refuge for Soldiers.... You ought to take Care that so great a number of Militial Men as we now see ... do not stifle and choak the Tree of Peace.... it must needs be of pernicious Consequences to stop its Growth and hinder it to shade both your Country and ours with its Leaves.”[85]

Fig. 1.—The pictograph of the sky-dome in the Walum Olum. _a_ is
interpreted “At all times above the earth.” _b_, “He made them [sun
and moon] all to move evenly.”
]

The above examples are only a few of many that might be quoted to show how commonly the Iroquois mentioned the peace tree. There are also references to the tree which was uprooted “to afford a cavity in which to bury all weapons of war,” the tree being replanted as a memorial.

In the Iroquoian myth, whether Cherokee, Huron, Wyandot, Seneca or Mohawk, the “tree of the upper world” is mentioned, though the character of the tree differs according to the tribe and sometimes according to the myth-teller.

Before the formation of the lower or earth-world the Wyandot tell of the upper or sky world and of the “Big Chief” whose daughter became strangely ill.[86] The chief instructs his daughter to “dig up the wild apple tree; what will cure her she can pluck from among its roots.” David Boyle[87] wondered why the apple tree was called “wild,” but that the narrator meant wild-apple and not wild apple is shown by the fact that the Seneca in some versions called the tree the crab-apple. The native apple tree with its small fruit was intended by the Indian myth teller who knew also of the cultivated apple and took the simplest way to differentiate the two.

With the Seneca this tree is described more fully. In manuscript left by Mrs. Asher Wright, the aged missionary to the Seneca, I find the cosmologic myth as related to her by Esquire Johnson, a Seneca, in 1870. Mrs. Wright and her husband understood the Seneca language perfectly and published a mission magazine as early as 1838 in that tongue. Her translation of Johnson’s myth should therefore be considered authentic. She wrote: “—there was a vast expanse of water—. Above it was the great blue arch of air but no signs of anything solid—. In the clear sky was an unseen floating island sufficiently firm to allow trees to grow upon it, and there were men-beings there. There was one great chief there who gave the law to all the Ongweh or beings on the island. In the center of the island there grew a tree so tall that no one of the beings who lived there could see its top. On its branches flowers and fruit hung all the year round. The beings who lived on the island used to come to the tree and eat the fruit and smell the sweet perfume of the flowers. On one occasion the chief desired that the tree be pulled up. The Great Chief was called to look at the great pit which was to be seen where the tree had stood.” The story continues with the usual description of how the sky-mother was pushed into the hole in the sky and fell upon the wings of the waterfowl who placed her on the turtle’s back. After this mention of the celestial tree in the same manuscript is the story of the central world-tree. After the birth of the twins, Light One and Toad-like (or dark) one, the Light One, also known as Good Minded, noticing that there was no light, created the “tree of light.” This was a great tree having at its topmost branch a great ball of light. At this time the sun had not been created. It is significant as will appear later that the Good Minded made his tree of light one that brought forth flowers from every branch. After he had gone on experimenting and improving the earth “he made a new light and hung it on the neck of a being and he called the new light Gaa-gwaa (gä’´gwā) and instructed its bearer to run his course daily in the heavens.” Shortly after he is said to have “dug up the tree of light and looking into the pool of water in which the stump (trunk) had grown he saw the reflection of his own face and thereupon conceived the idea of creating Ongwe and made them both a man and a woman.”

The central world-tree is found also in Delaware mythology, though as far as I discover it is not called the tree of light. The _Journal_[88] of Dankers and Slyter records the story of creation as heard from the Lenape of New Jersey in 1679. All things came from a tortoise, the Indians told them. “It had brought forth the world and in the middle of its back had sprung a tree upon whose branches men had grown.”[89] This relation between men and the tree is interesting in comparison with the Iroquois myth as it is also as the central world-tree. Both Lenape and the Iroquois ideas are symbolic and those who delight in flights of imagination might draw much from both.

Fig. 2.—A false face leader rubbing his rattle on a stump. Drawn from
a photograph.
]

The Seneca world-tree is described elsewhere in my notes as a tree whose branches pierce the sky and whose roots run down into the underground waters of the under-world. This tree is mentioned in various ceremonial rites of the Iroquois. With the False Face Company, Hadĭgo^n’´săsho^n’´o^n, for example, the Great Face, chief of all the False Faces, is said to be the invisible giant that guards the world-tree (gaindowo´nĕ‘). He rubs his turtle shell rattle upon it to obtain its power and this he imparts to all the visible false faces worn by the Company. In visible token of this belief the members of the Company rub their turtle rattles on pine tree trunks, believing that they become filled with both the earth and the sky-power thereby. In this use of the turtle shell rattle there is perhaps a recognition of the connection between the turtle and the world-tree that grows upon the primal turtle’s back.

In the prologue of the Wampum Code of the Five Nations Confederacy we again find references to a symbolic “great tree.” In the code of Dekānăwī´dă and with the Five Nations’ confederate lords (rodiyā´nĕr) “I plant the Tree of the Great Peace. I plant it in your territory, Adōdar´ho‘ and the Onondaga nation, in the territory of you who are Firekeepers.

“I name the tree the Tree of the Great Long Leaves. Under the shade of this Tree of Peace we spread the soft feathery down of the globe thistle, there beneath the spreading branches of the Tree of Peace.”

In the second “law” of the code the four roots of the “tree” are described and the law-giver says, “If any individual or any nation outside the Five Nations shall obey the laws of the Great Peace and make known their disposition to the Lords of the Confederacy, they may trace the Roots to the Tree and if their minds are clean and obedient—they shall be welcome to take shelter beneath the Tree of the Long Leaves.

“We place in the top of the Tree of the Long Leaves an Eagle who is able to see afar;—he will warn the people.”

In another place is the following: “I Dekānăwī´dă, and the union lords now uproot the tallest pine tree and into the cavity thereby made we cast all weapons of war. Into the depths of the earth, down into the deep under-earth currents of water flowing to unknown regions we cast all the weapons of strife. We bury them from sight and we plant again the tree. Thus shall the Great Peace, Kayĕ’´narhe‘kowa, be established.”

These laws and figures of speech are very evidently those which the Iroquois speakers had in mind when addressing “peace councils” with the whites.

Symbolic trees appear not only in Iroquois history, mythology and folk beliefs but also in their decorative art. The numerous decorative forms of trees embroidered in moose hair and porcupine quills by the eastern Algonquins and by the Huron and the Iroquois appear to be attempts to represent the world-tree and the celestial tree, in some cases with its “all manner of fruits and flowers.” Many, if not most, of the modern descendants of the old-time Indian, who copy these old designs have forgotten their meanings and some have even invented new explanations. A few of the more conservative, however, remember even yet the true meaning of their designs and from such much of interest has been learned.

Fig. 3.—Portion of legging strip. The inward curving design at the top
sometimes symbolizes sleep or death. (Specimens collected for the
New York State Museum by M. R. Harrington.)
]

In examining examples of Iroquois decorative art one is immediately impressed with the repeated use of a pattern consisting of a semi-circle resting upon two parallel horizontal lines having at the top two divergent curved lines each springing from the same point and curving outward, like the end of a split dandelion stalk, (See fig. 4b.) This design or symbol, with the Iroquois represents the celestial tree growing from the top of the sky, or more properly, from the bottom of the “above-sky world” (gä´oñyă’gĕ‘´). The two parallel lines represent the earth. This symbol is found with the same meaning among the Delaware. In the Walum Olum[90] parallel semi-circles represent the sky-dome, though single semi-circles appear. Two parallel horizontal lines, likewise, represent the earth. (See fig. I, a.)

Fig. 4.—Various forms of the sky-dome symbol as employed in Iroquois
moose hair and quill embroidery.
]

With the Iroquois the sky-dome and earth symbols are employed as pattern designs for decorating clothing. Nearly always these symbols are associated with the celestial-tree symbol, though sometimes this is employed alone. These patterns appear embroidered in moose hair, porcupine quills and beads as borders for leggings, skirts, breech-clouts and moccasins. (See fig. 5.) Occasionally the pattern is found on head-bands and hair ornaments. In some cases, especially in examples of silver work and beaded articles it seems evident that the decorator has not the meaning of his pattern in mind. This is true of some of the more modern attempts to use it.

These outward curving designs, beside being symbols of the celestial tree have a secondary meaning, that of life, living and light. Curving inward upon themselves they sometimes represent sleep and death. Fig. 3 shows this design on a leggin strip. In fig. 4 h we have it used in conjunction with a sleeping sun. The Onondaga call the double curve design oĕ^n’´shă’, tendril.

In this connection it may be well to note that the “horns” wampum when placed upon a dead civil chief’s body is curved inward, the two ends touching and forming the outline of a circle or heart. When the condoling ceremonial chief finishes his address and is about to lift the strands of wampum from the corpse to hand it to the successor he turns the wampum-string so that the ends point outward and away from each other. These particular symbols while being those of death and life respectively are regarded as horn and not tree symbols. The wampum so employed “the horns,” onă’gasho‘´ă, and alludes to the symbolic title of the civil chief (roya´ner).

The celestial-tree symbol appears also as a trefoil. The third tendril or branch unfolds from the center of the tree. (See fig. 4 c.) A fourth branch is often used and then appears as a double tree. (See fig. 4 d.) In 4, e the night-sun is represented over the world-tree and in meaning this sign is found to be the same as 4, h. In fig. 4, f the day-sun is represented as shining at zenith above the world-tree. In 4, g the sun-above-the-sky is awake and roosting in the celestial-tree. All of these designs are found on borders of Iroquois garments some of which are shown in plate I.

Another important modification of the sky-dome and celestial-tree combination is that which represents the sky-dome with the celestial-tree upon it and the earth-tree within the dome below and resting upon a long intersection of an oval (possibly the turtle) and sending its long leaves or branches upward to the sky-arch.

Sometimes the design is used as the motif of a rosette or other balanced design. Morgan figured several and the Report of the Director of the State Museum of New York for 1907 shows a picture of Red Jacket’s pipe pouch ornamented with such a pattern. There the ends of the tendrils are split and represented as conventional flowers. In other instances the motif is built upward upon itself as shown in figure 6. The first “tree” in this figure is copied from Lafitau[91] and the others from Mohawk moccasin toes.

With the Iroquois the celestial-tree symbol is generally represented by this anies-like figure. The _earth-tree_, on the other hand, is less highly conventionalized. With the Iroquois as with many other tribes in the forest area in North America, the Ojibwa for example, the ordinary tree sign is commonly used,—that depicting the upward slanting branches of the balsam fir. Figure 7 shows the Ojibwa pictograph which is interpreted as “the big tree in the middle of the earth.” The terminal buds on the conventionalized trees of the Huron moose hair embroidery type resemble in form this balsam fir symbol. The Huron indeed call the bud “balsam fir.”[92] The method of slanting the hair to form the design creates the resemblance and causes the confusion, in all probability. Used alone the “bud” would be a tree if placed in proper position but as ordinarily used by the Huron at the extremity of an embroidered branch, it seems paradoxical to find a tree on the small end of one of its branches. This is discussed more fully hereinafter.

Figure 4, e, and f show the Iroquois “middle-of-theworld-tree” as used in conjunction with the sky-dome and sun symbols.

Fig. 5.—Borders embroidered in moose hair on deer-skin garments.
(Seneca specimens in the New York State Museum.) _a_ is the “two
curve” pattern common in Iroquoian decoration. _b_ represents a
series of “sky-domes” resting upon the earth, the two parallel
horizontal lines. _c_ represents a series of the “trees” of Iroquois
symbolism. The unit of the design is indicated by _m_-_n_. _d_ shows
a series of suns and celestial trees resting on the sky-dome.
]

Another, and more elaborate, form of the “tree” as it appears in Iroquoian decorative art is a flowering plant or tree having conventionalized leaves (generally, “long leaves”), branches, buds, tendrils and flowers. See plate 2. In this plate (9) is shown the flowering tree as embroidered in porcupine quills on an Iroquois pouch collected by Lewis H. Morgan, and now in the New York State Museum. It will be perceived that here the diverging curved lines play a conspicuous part in the make-up of the tree. Like all Iroquois symbolic trees of the purely conventional type the tree is exactly balanced on each side of the central line that represents the trunk or stalk.

With the Huron these trees are, likewise, used as an adornment for bags and other things where a comparatively large surface is afforded. Dr. Speck illustrates one of these trees in the article on moose hair embroidery previously cited, and gives the Huron interpretation for the various parts of the tree. With the Huron, it is most interesting to note, the topmost flower is called not a flower but a star, thus suggesting some dim recollection of the “tree of light.”

The Confederated Iroquois made similar trees, though they interpret some of the parts differently. With them the significance of the tree is recognized. Mr. Hewitt describes the tree in his Onondaga creation myth.[93] His informants in relating the myth said: “And there beside the lodge stands the tree that is called Tooth (Ono’´djă’). Moreover, the blossoms this standing tree bears cause the world to be light, making it light for men-beings dwelling there.” This agrees with the Seneca version previously cited in this article.

Embroidered pouch made by the Seneca before 1850. Note tree and floral
designs. Specimen in New York State Museum.
Scale x½.
]

The “Tree of Peace” symbolically planted by Dekānăwī´dă, as has been noted was called the “Tree of the Great Long Leaves.” It will be observed that the “tree of light” in nearly every case where leaves are shown at all has long sword-like leaves. This is true among the Huron in their older patterns, as among the Iroquois. The Huron, however, now call these long leaves “dead branches” and the unopened flowers “balsam fir.”[94] The Huron, as with most of the Iroquois, have likely forgotten or confused the true names of the elements of their designs. These designs, with the Huron at least, seem to have undergone some change due to the necessity for trade purposes of working their patterns in outline and quickly. It is most important to observe, however, that oftentimes when the object of using a symbol is primarily for decorative purposes, the Indian artist or needle-worker gives parts of the design “pattern names,” often at entire variance with the real meaning of the part but based upon real or fancied resemblance. With the Huron with whom the decorative element is now of primary importance this seems to have been the case. Indeed, Dr. Speck does not say that the parts of the designs which he illustrates are symbols though he does give the names which the Huron told him. The Huron are very likely making “trees of light” and do not know it, in this respect being similar to their Iroquois brethren. The designs are worked, as some of my Indian informants say, “because they are Indian” and likewise because they have become accustomed to them and because there seems nothing more appropriate to invent.

Fig. 6.—Various forms of the celestial tree. Here the unit is
superposed to form the tree.
]

This instance suggests how with change of environment myths, symbols and ceremonial rites may lose their meaning and yet preserve their outward form.

The two-curve motif in Indian art is widely distributed throughout America. In many instances it seems to have meanings similar to that given it by the Iroquois, though there are other instances where it has not. It is sometimes used with a few simple additions to represent the face of the thunderbird or even the human face, at least the eyes and nose. In a more elaborate form it is found in the Fejérvary Codex as a tree symbol though a variation of the form in the Vienna codex makes the cross-section of a vase.

Fig. 7.—“The big tree in the middle of the earth.” From the Ojibwa
_Midéwiwin_.
]

It is not strange that the simple outline should be found almost universally. It is one of those simple conceptions in art that would occur to any people independently. Many things in nature suggest it. It is not its outline, however, so much as its use as a definite symbol and its combination with others that gives it interest to the writer.

The world-tree with its long leaves and luminous flowers is worthy of more detailed consideration. It seems to have been a deeply imbedded concept with the certain branches of the Algonquin stock and of the Iroquois, affecting not only their mythology and ceremonial language but also their decorative art. Whether the idea has a deeper and more primitive meaning than here suggested the author does not pretend to know.

E. THE SOCIETY THAT GUARDS THE MYSTIC POTENCE.

Among the Seneca Indians for many years the most important ceremonial society has been and now is the organization called Neh Ho-noh-chi-noh-gah (Ne‘ Ho-no^n’tci‘no^n’´gä‘), commonly called the “Secret Medicine Society,” and as often the “Little Water Company.”

This society (hoĕnnidio^n’got) is instituted primarily to preserve the mystic potence or orenda (meaning magical power) supposed to be inherent in the medicine called the niga‘ni‘gă´ă‘ (meaning small dose), and to preserve the methods of administering it.

Of the several native societies that have survived among the Seneca, none remains more exclusive, more secret or so rigorously adheres to its ancient forms. No organization among the Seneca is so well knit together and not one is so united in its purpose. Its members and officers are among the most conservative and best respected men of their communities, and they preserve the rites of the order with great fidelity. Harmony prevails for discord of any kind would be at variance with the very fundamental teachings of the order. No organization among the Senecas today is so mysterious, nor does any other possess the means of enforcing so rigorously its laws. The Honohtcinohgah is without doubt a society of great antiquity; few Iroquois societies, perhaps, are more so. One authority has contended that it is a tribal branch of an organization found everywhere, among Indians throughout the continent and produced arguments to support the theory, but an examination of its traditions and ritual would lead to the opinion that it is purely Iroquoian.

In order to understand the organization it is first necessary to understand the legend of its origin when many otherwise obscure allusions will be made apparent. This is given in 69, under Traditions, page 386.

NEH NIGAHNIGAHAH.

The charm medicine is known as the niga‘ni‘gă´a‘ and each member possesses a certain amount of it. The secret of compounding the niga‘ni‘gă´a‘ rested with only one man in a tribe, who, according to the teachings of the society, would be apprised of approaching death and given time to transmit the knowledge to a successor whom he should choose. According to the traditions of the Honohtcinohgah the secret holder always foreknew the hour of his death and frequently referred to it in lodge meetings.

The “small dose” medicine is composed of the brains of various mammals, birds, fish and other animals and the pollen and roots of various plants, trees and vegetables. These ingredients are compounded and pulverized with certain other substances as squash seeds, corn roots, etc., and constitute the base of the niganigaah.

That this medicine actually possesses chemical properties that react on human tissue was proven by Dr. J. H. Salisbury, an eminent physician and a former State chemist, who according to Mrs. H. M. Converse analyzed and experimented with a small quantity that he had secured from a member of the society.

The medicine itself is of a yellowish hue and when opened in the dark sometimes appears luminous, probably from the organic phosphorus that it contains. The utmost caution is employed by the members of the Honohtcinohgäh to preserve the medicine from exposure to the air in unsafe places and from contaminating influences. It is held in a small skin bag[95] and wrapped in many coverings of cloth and skin and finally enclosed in a bark, wood or tin case to keep it free from moisture, disease and dirt.

Among the Seneca of modern times John Patterson was the last of the holders of the secret and the secret of the precise method of compounding the medicine died with him, he in some way having failed to instruct a successor. The members thus doubly guard their medicine and are loath to use it except in cases of extreme necessity for when it is exhausted not only will they be unable to secure more but by a legend when the medicine is gone the Senecas will forever lose their identity as Indians.

METHOD OF ADMINISTERING THE CHARMED MEDICINE.

A person who wishes to have the medicine given him for the cure of a wound, broken bone or specific disease, must purge himself and for three days must abstain from the use of salt or grease. His food must be the flesh of white birds or animals and only the white portions. The system of the patient is then ready to receive the medicine. The medicine man comes to his lodge and an assistant searches the house for anything that might destroy the “life” of the medicine such as household animals, vermin, decayed meat, blood, soiled garments, etc. These things removed from the house, the patient is screened off and the guard patrols the premises warning away all infected or obnoxious persons. An attendant who has previously been dispatched to a clear running stream enters with a bowl of water that has been dipped from the crest of the ripples as they “sang their way down the water-road.” Not to antagonize the forces in the water, it was dipped the way the current ran, down stream, and not upward against it.

Everything now being in readiness the medicine man takes a basket of tobacco and as he repeats the ancient formula he casts pinches of the tobacco into the flames that the sacred smoke may lift his words to the Great Spirit. The water is then poured out in a cup and the medicine packet opened. With a miniature ladle that holds as much of the powder as can be held on the tip of the blade of a small penknife, the medicine man dips three times from the medicine and drops the powder on the surface of the water in three spots, the points of a triangle. If the medicine floats the omen is good, if it clouds the water the results are considered doubtful and if it sinks death may be predicted with a degree of certainty and the medicine is thrown away. In the case of severe cuts or contusions and broken bones the medicated water is sprinkled upon the affected part and an amount is taken internally. A medicine song is then chanted by the “doctor” who accompanies himself with a gourd rattle. After the ceremony of healing, the people of the house partake of a feast of fruit, and the medicine man departs with his fee, a pinch of sacred tobacco. The following description of the lodge ceremony from the lips of a Seneca will not be out of place. The story is related exactly as it came from the tongue of the interpreter.

Jesse Hill speaking: “Mother scraped off basswood bark, soaked it in water and wrapped it around my leg. Next day we sent for the medicine man. He came at sun set and sent to the creek for fresh water to be dipped where the current was swift, with a pail not against the current. Poured some in a tea cup and pulled out the medicine bag. Opened it with a charmed shovel not much larger than a pin. Dipped three times. Cup of water. Floated. Go up or down. Understood it was good medicine. Took some in his mouth and sprayed it on my leg. Told mother to put a curtain around my bed so no one could see me. If anyone saw any part of my body, medicine would do no good. Soon came dark. All the animals were put out. Took tin pail and made fire. Put in center of room and all sat around in silence. Medicine man made prayer. Scattered tobacco mother had prepared over fire. Took rattle made of gourd and chanted medicine song loud and louder. Half hour pain had gone. Boiled different fruits together till soft. Put kettle where all could help out with little dipper. Left two doses of medicine. Eat nothing but white things. White of egg of chicken had white feathers and eat chicken if white. Five or six days spoke things. All certain took pain away.”

THE MEDICINE LODGE RITUAL.

The Honohtcinohgah “sits,” that is, holds lodge meetings, four times each year; in mid-winter, when the moon Nĭsha proclaims the new year, when the deer sheds its hair, when the strawberries are ripe and when corn is in the milk. At these ceremonies each member brings his or her medicine to be sung for and if unable to be present sends it by messenger.

Only members know the exact place and time of meeting. At the entrance of the medicine lodge, a private house of a member chosen for the ceremony, a guard is stationed who scrutinized each person who attempts to pass within. Across the door within is placed a heavy bench “manned” by several stalwart youths who, should a person not entitled to see the interior of the lodge appear, would throw their weight against the bench and force the door shut leaving the unfortunate intruder to the mercy of the outside guards and incoming members.

Each member entering the lodge has with him his medicine, a quantity of tobacco, a pipe and perhaps a rattle although most of the lodge rattles are in the keeping of Honondiont or officers. As the members enter the room they deposit their contribution of tobacco in a husk basket placed for the purpose on a table at one side and then put their medicine packets beside the basket of the sacred herb.

The ceremony proper commences about 11 P. M. in the summer and in winter an hour earlier and lasts until nearly daybreak. The feast makers enter the lodge several hours previous to the ceremony and cook the food for the feast and prepare the strawberry wine.

The seats in the lodge are arranged around the sides of the room leaving the center of the room open.

When all is in readiness a Honondiont takes a basket of sacred tobacco, oyĕñkwa oñweh, and, as he chants the opening ceremony he casts the sacred herb into the smouldering coals. The lights are all burning and the members are in their seats, the only exception being the feast makers whose duties require their attention at the fireplace.

From the manuscript notes of Mrs. Harriet Maxwell Converse, I find the following translation of the “Line Around the Fire Ceremony.”

THE LINE AROUND THE FIRE CEREMONY.

The Singer, (to the members): “This is the line around the fire
ceremony. Now I have asked blessings and made prayer.”

The Singer sprinkles sacred tobacco on the fire.

(The Singer speaks to the invisible powers):

“Now I give you incense,
You, the Great Darkness!
You, our great grand parents, here to night,—
We offer you incense!
We assemble at certain times in the year
That this may be done.

(We trust that all believe in this medicine,

For all are invited to partake of this medicine.)

(Now one has resigned. We ask you to let him off in a friendly
manner. Give him good luck and take care that his friends remain in
faithful!)

Now we offer you this incense!
Some have had ill luck
Endeavoring to give a human being.
We hope you will take hold
And help your grandchildren,
Nor be discouraged in us!

Now we act as we offer you incense!
You love it the most of all offerings!
With it you will hear us better
And not tire of our talking,
But love us with all power
Beyond all treasures
Or spreading you words through the air!

All men traveling under the great heavens,
You have invited, your grandchildren and all nations!

Oh you that make the noise,
You the great Thunderer!
Your grandchildren wish to thank you!
All your grandchildren have asked me
To offer this incense upon the mountain to you!

_ARRANGEMENT
OF THE
LITTLE WATER LODGE_
This diagram shows the arrangement of the lodge room of the Little
Water Company, sometimes also called the Medicine Society, the
Guards of the Mystic Potence and the Night Song Company.
]

(Speaking to the Great Spirit, Sho-gwa-yah-dih-sah-oh):

Oh you the Manager of All Things!
We ask you to help us,
To help us make this medicine strong!
You are the Creator,
The Most High,
The Best Friend of men!
We ask you to help us!
We implore your favor!

I have spoken.[96]

After the tobacco throwing ceremony the keeper of the rattles gives each person in the circle a large gourd rattle and then the lights are extinguished leaving the assembly in total darkness. The watcher of the medicine uncovers the bundles exposing contents to the air and as he does so a faint glow like a luminous cloud, according to the elect, hovers over the table and disappears. The leader or holder of the song gives a signal with his rattle calling the assembly to order and then begins to beat his rattle. The people shake their rattles in regular beats until all are in unison when the holder of the song commences the song, which is taken up by the company. “And such a song it is! It is a composition of nature’s sounds and thrills the very fiber of those who hear it. It transports one from the lodge back into the dark mysterious stone-age forest and in its wierd wild cadences it tells of the origin of the society, of the hunter in the far south country and how when he was killed by the enemy the animals to whom he had always been a friend restored him to life. It tells of his pilgrimage over plain and mountain, over river and lake, ever following the call of the night bird and the beckoning of the winged light. It is an opera of nature’s people that is unsurpassed.”

The first song requires one hour for singing. Lights are then turned up and the feast maker passes the kettle of sweetened strawberry juice and afterward the calumet from which all draw a puff of the sacred incense. Then comes an interval of rest in which the members smoke sacred tobacco and discuss lodge matters. The medicine is covered before the lights are turned up.

With a chug of his resonant gourd rattle the leader calls the people together for the second song which is wilder and more savage in character. The whippoorwill’s call is heard at intervals and again the call of the crows who tell of a feast to come. The whippoorwill song is one that is most beautiful but it is played on the flute only at rare intervals and then it is so short that it excites an almost painful yearning to hear it again but there is art in this savage opera and its performers never tire of it because it is wonderful even to them. During the singing every person in the circle must sing and shake his rattle; to pause is considered an evil thing. It is no small physical effort to shake a long necked gourd a hundred and fifty times a minute for sixty minutes without cessation. This I soon discovered when as a novitiate of the society I was placed between a medicine woman and man and given an extra heavy rattle. Every now and then a hand from one or the other side would stretch forth from the inky blackness and touch my arm to see if I were faithful and sometimes a moist ear would press against my face to discover if I were singing and listening a moment to my attempts, would draw back. The song in parts is pitched very high and it is a marvel that male voices can reach it. At times the chief singers seem to employ ventriloquism for they throw their voices about the room in a manner that is startling to the novice. At the close of the song lights are turned up and the berry water and calumet are passed again and a longer period of rest is allowed. There are two other sections of the song-ritual with rest intervals that bring the close of the song close to daybreak. The feast makers pass the berry water and pipe again and then imitating the cries of the crow, the ho-non-di-ont pass the bear or boar’s head on a platter and members tear off a mouthful each with their teeth imitating the caw of a crow as they do so. After the head is eaten each member brings forth his pail and places it before the fireplace for the feast maker to fill with the alloted portion of o-no‘´-kwa or hulled corn soup. When the pails are filled one by one the company disperses into the gray light or dawn and the medicine ceremony is over. At the close of the last song each one takes his packet of medicine and secretes it about his person.

The medicine song according to the ritual of the society is necessary to preserve the virtue of the medicine. It is an appreciation of the founder of the order and a thanksgiving to the host of living things that have given their life-power that the medicine might be. The spirits of these creatures hover about the medicine which they will not desert as long as the holder remains faithful to the conditions that they saw fit to impose when it was given to the founder. The psychic influence of the animals and plants is the important part of the medicine and when the medicine is opened in the dark they are present in a shadowy form that is said to sometimes become faintly luminous and visible. Members are said frequently to see these spirit forms, and sometimes not individual members only but the entire company simultaneously,—but I am now trenching on a subject of which I am asked not to speak. There are marvels and mysteries connected with the ceremonies of the Honotcinohgah, suffice to say, that white men will never know, nor would believe if told. The Indian has some sacred mysteries that will die with him.

Some one has suggested that Indian songs are not stable but vary from time to time, but this idea is at once dispelled when we see a company of fifty young men and old chanting the same song without a discord from night till morning. The song is uniformly the same and probably has varied but slightly since it originated. It is still intact with none of its parts missing, although the words are archaic and some not understood.

The medicine men teach that if a charm packet is not sung for at least once in a year the spirits will become restless and finally angry and bring all manner of ill luck upon its possessor. The spirits of the animals and plants that gave their lives for the medicine will not tolerate neglect and will relentlessly punish the negligent holder and many instances are cited to prove that neglect brings misfortune. The medicine will bring about accidents that will cause sprains, severe bruises and broken bones and finally death. I know of several persons, myself, who becoming Christians, have neglected their medicine. Whether the belief is true or not, some have certainly met with repeated accidents. In every Seneca settlement the story is the same and individuals are pointed out who having neglected their medicine have become injured or maimed for life. Should some member of a family die leaving his medicine its orenda will compel the person who should take the dead one’s place to respect its desires. I will relate one instance. When John Patterson the last holder of the secret died he left his medicine in the loft of his house. His son, a well educated man of wide business experience, one of the shrewdest men of the Seneca and a person seemingly free of superstition, thought that he would allow the medicine of his father to remain idle. He wished to have nothing to do with the old fashioned heathenish customs of his father. Indeed he did not take interest enough in the medicine to look for it. Several medicine sittings passed by and the man began to suffer strange accidents. One evening as he sat with his family on the veranda of his home (a modern dwelling such as is found in any modern town), the members say that he heard the medicine song floating in the air above him. He was startled and each of the family was frightened. The singing continued until at length it grew faint and ceased. Upon several occasions the family and visitors heard the song issuing from the air. Mr. Patterson sent for the leader of the lower medicine lodge, William Nephew, who asked where the medicine was hidden. No one knew but after a search it was discovered. Mr. Nephew ordered that a feast should be made and the rites performed. Then was the modern educated Indian forced to join the lodge and take his father’s seat. This story, of which I have given but the bare outline, is commonly known among the Senecas, Mr. M. R. Harrington, of the American Indian Museum, being perfectly familiar with the facts of the case which he took pains to learn while staying at the Patterson home. Howsoever this may be explained it is nevertheless considered one of the mysteries of the medicine and the instance is not a solitary one.

Few white people have ever been allowed in a medicine lodge and when they have been they have not seen to witness the ceremony in full. I know of only four who ever become members, holding the medicine: Joseph Keppler, the publisher, and Mrs. Harriet Maxwell Converse, George K. Staples, and George L. Tucker, with all of whom I have sat in the medicine lodge.

BIBLIOGRAPHY

Works Consulted in Editing This Compilation.

Barbeau, C. M. _Wyandot Tales_, Jour. Amer. Folk Lore, Vol. 28,
(1915), p. 83–95.

_Huron and Wyandot Mythology_, Dept. Mines,
Canada, No. 80.

Beauchamp, W. M. _Iroquois Trails_, Fayetteville, N. Y., 1897.

_Iroquois Folk-Lore_, Onondaga Co. Hist. Soc.,
Syracuse, 1922.

Boaz, F. _Mythology and Folk Lore of the N. A. Indians_,
Jour. Am. Folk-Lore, Vol. 27, 375.

Hewitt, J. N. B. _Iroquois Cosmology_, 21 An. Rept. Bur. American
Ethnology.

Hewitt and Curtin _Seneca Myths, Fiction and Folk-Tales_, 32 An.
Rept. Bur. Amer. Ethnology.

Leland, C. G. _Algonquin Legends._

Lowie, R. L. _Test Theme in N. A. Folk-Lore_, Jour. Am.
Folk-Lore, Vol. 21, 97–148.

Mooney, James _Myths of the Cherokee_, 19 An. Rept. Bur. Amer.
Ethnology.

Radin, Paul _Literary Aspects of N. A. Mythology_, Bulletin
16, Canadian Department of Mines.

_Religion of the N. A. Indians_, Jour. Amer.
Folk-Lore, Vol. 27, 335.

Reichard, Gladys A. _Literary Types and Dissemination of Myths_,
Jour. Amer. Folk-Lore, Vol. 34, 269–307.

Skinner, Alanson _Central Algonkian Folk-Lore_, Jour. Am.
Folk-Lore, Vol. 27, 97–100.

_Menomini Folk Lore_, Anthrop. Papers, Amer. Mus.
Nat. Hist., Vol. XIII, 1915.

Waterman, T. T. _Explanatory Elements in the Folk Tales of the N.
A. Indians_, Jour. Am. Folk-Lore, 38, 1.

INDEX

NOTE: Themes, characters, episodes and common material are indexed in italics. Other subjects are in the usual Roman.

_Adoption by animals_, 137.

_Air canoe_, 97, 100, 318.

_Air jumping_, 28.

Albany, traditions of, 406, 407.

America, discovery of, 383.

_Ancient One_, 5, 59, 60.

Ancient relics, 54.

_Animal foster-parents_, 25, 137, 148.

_Animal paw target_, 28, 160.

_Animal skin, borrowing of_, 30, 132, 201.

Animals, origin of, 67;
evil, 68, 414.

_Animals talk to men_, 29, 137, 147, 224, 389.

_Animated finger_, 31, 337.

Arrow making, 98.

Ashes, washing in, 197.

_Astral body_, 29.

_Ataentsic_ (see Ancient One), 6, 59, 60.

Autumnal colors, origin of, 82.

_Awaiting women_, 118, 135.

Barbeau, C. M., cited, 86 f.n., 459;
myth by, 417.

_Bark dagger_, 31, 191.

_Bark dolls_, 31
(see also dolls).

Bark lodge, 43, interior, 44;
picture, 47.

_Basket from sky_, 86.

_Beads, magical_, 155.

Bear, 387.

_Bear claw mittens_, 126.

_Bear, monster_, 17
(see also Niahgwahe).

_Bears talk_, 148, 149 ff.

_Bearded monster_, 228.

Beauchamp, William M., 459.

_Beaver_, 309;
evil beaver, 162, 189.

_Beaver, white_, 17.

Beds, 52.

_Bewitched_, 370
(see also witchcraft, witches, wizards).

_Bewitched parents_, 26.

Bibliography, 459.

_Big Breast_, 19.

_Bird colors, origin of_, 313.

Blow gun, 18, 355.

_Blue lizard_, 17, 163
(see lizard, blue).

_Blue otter_, 17.

Bluesky, William, 107, f.n.

_Boaster makes good_, 24, 350, 355, 361.

Boas, F., 459.

_Boiling oil_, 29, 267, 275, 291, 297, 348.

Bone awl, 98.

_Borrowed eyes_, 31, 105.

_Borrowed skin_, 31, 237.

_Boy hero_, 97, 111, 116, 122, 128, 137, 142, 147, 154, 159, 173, 200,
241, 253, 269, 280, 342, 359, 426.

_Box contains girls_, 28, 234, 250.

_Brother and sister_, 293, 344.

_Brothers_, 261, 278;
as tormentor, 205, 206.

_Buffalo, chief_, 138;
stampedes herd, 138.

Buffalo, early, 37.

Buffalo Historical Society, cited, 42 f.n.

_Buffalo one rib_, 33, 139.

Buffalo songs, 141.

_Bungling boy_, 142.

_Bungling guest_, 26, 209 ff.

Bundles, of magical objects, 163, 222, 368, 369, 372, 376.

Burmaster, Everett R., notes by, 369.

_Burning corpse_, 282, 300.

Camouflage, 356.

_Cannibal_, 133, 156, 203, 269, 271, 284, 335, 345.

Canoe, 134, 256, 269, 305, 342, 427.

Capture, 356.

Cattaraugus reservation, ix.

_Cave of giant_, 397–398.

Cedar waxwings, 331.

_Celestial tree_, 6, 12, 33, 59, 60, 411, 417, 433.

Charm holders’ society, 393.

Charms, witch, 366, 376.

_Cheek tying_, 118, 119, 124.

Cherokee, 358, 422.

_Chestnuts, origin of_, 132.

Chewink, 326.

Chickadee, 325.

Clay pots, 54.

Cleansing, 391.

_Cloudland eagle_, described, 16, 387.

Child killer, 282.

_Chipmunk’s stripes_, 314.

Clothing of Seneca, 41, 48.

Clouds, scouts of Thunderer, 226.

Coffin, 298.

Colden, C., quoted, 431.

Columbus, C., 384.

Comet, origin of, 80, f.n.

_Concealed hearts_, 28, 202, 274.

_Conception by entrance_, 105.

_Conflict between Good and Evil_, 69–70.

_Contest with sorcerers_, 23, 168, 245–252, 265, 351.

Converse, H. M., 446, 456.

_Corn maiden_, 206.

Cornplanter, Edward, picture, plate 2;
cited, 85, f.n., 107, f.n., 146, f.n., 153, f.n., 199, f.n., 305,
f.n., 383, 386, f.n.

_Corn rains_, 28, 205.

_Cornstalk, magic_, 392.

Corn storage, 53.

_Cosmic trees_, 10, 415, 431.

_Cosmogony_, 59, 411.

Costumes of characters, described, 155, 174–175, 184, 218, 278.

Council, 182, 281, 422, 429.

Crabs (crawfish), 319, 321.

_Creation of man_, 69–70, 71, 416, 434.

_Creator_, 86.

Cripples, origin of, 107, 158, 204,
(see skeletons restored).

_Crow_, 325, 388.

_Dancing maidens_, celestial, 86;
conjured, 215.

_Daughters, lost_, 228;
beautiful, 154.

_Death, origin of_, 93.

Deer, 202.

_Dekanawida_, 403.

Descent, 423.

_Dew eagle_, 387,
(see cloudland eagle).

_Divided Body_, 133.

_Divided lodge_, 200, 235, 284.
(See forbidden chamber.)

Doctor, Laura M., 372, f.n.

_Dog_, guard, 133, 136;
turns to stone, 136;
guardian, 202;
carries refugee, 295;
saves master, 303;
witch’s transformation, 378.

_Dolls, magic_, 130, 272, 273, 345;
witch, 374, 423.

_Door-flap action_, 30, 259.

_Door-post tying_, 121, 261.

_Double deceives sister_, 25, 290.

_Dream animals_, rescues hero, 24;
in form of deer, 166;
spider, snake, 173;
appears, 179.

_Dream demand_, 27, 187, 245, 259.

_Dream fast_, 241.

_Dream god_ (Aikon), 10.

_Dream helpers_, 29, 173.

_Dreams_, 4, 423.

Drum, 138, 201.

_Dry hand_, 19, 368.

_Dual existence_, 168.

_Ducks, leg tying_, 214.

_Duel_, 168, 231;
_of dream tests_, 245, 259;
rejected, 335.

_Dwarf, a monster_, 228.

_Earth diver_, 33, 62, 412, 419.

_Earth-god_, 8.

_Earth Holder_, 5.

_Education of young_, 142.

_Elk, magic_, 188;
_carries hero away_, 236.

_Enchanted clearing_, 31, 165.

_Enchanted family_, 109, 159, 169, 173, 200, 242, 268, 297, 348.

_Enchanted girls_, 31, 169, 275.

_Enchanted lodge_, 109, 165.

_Enchanted spring_, 31.

_Entrapped_, 178, 267, 270, 287, 348.

_Evil banished_, 34, 71.

_Evil Mind_ (Tawiskaro), 9, 64, 69, 71.

_Eye plaster_, 312, 321.

_False Faces_, 8, 342, 347, 399;
society of, 400–401, 435.

_Famine_, 185, 205, 337.

Fat, origin of, 67.

_Father search_, 34, 65, 413, 414.

_Filthy hero_, 97, 123, 426.

_Fire beast_, 6, 61, 79.

_Fire drill_, 271.

_Fire-place burial_, 28, 293.

_Fish line, magical_, 30, 125, 263.

Five Nations, 358, 395;
confederation, 405, 436.

_Flayed skin_, 32, 130, 201.

_Flesh-eating water_, 33.

_Flint chips_, throwing, 28, 236.

_Flint lodge_, 28, 261.

_Flute, magic_, 66, 253.

_Flying heads_, 13, 40.

Folk-lore, xv;
types of texts, xix;
fabricated, xxi;
obtaining versions, xxii;
Seneca unchanged, 55.

_Food plants, origin of_, 64.

_Food wasting taboo_, 206.

_Forbidden chamber_, 29, 201,
(see divided lodge).

_Forbidden direction_, 108, 154, 201, 254, 269, 321.

_Four, magical number_, 162 ff., 170 f.n.

_Friend of animals_, 386.

_Frog, evil_, 162, 322.

_Frost god_, 14;
overcome, 91.

_Funeral, pyre_, 282;
customs, 425.

Games, 38–40.

George, David, an informant, 153.

_Ghostly legs_, 18.

_Ghosts_, 4, 279.

_Giant_, 285, 336.

_Giantess, human_, 112.

Gifts, 233.

_Glutton destroyer_, 19.

Gods and folk-beasts, 5, 16.

_Good Mind_, 7, 8, 12, 64, 73, 92, 395.

_Grandfather and grandson_, 142, 159.

_Grandmother and grandson_, 200.

_Grasshopper’s leg_, 340.

_Great Bear constellation_, 81.

_Great Ruler_, 340, 395.

_Great Spirit_, 75.

_Grinding bodies_, 232.

_Hail_, 15.

Haiowentha (Haiwatha), 404.

_Hair tied to earth_, 30, 255, 259.

Handsome Lake, 45, 366, 383.

_Harpy_, 267.

Harrington, Mark Raymond, ix, 456.

_Hawenio_, 8.

_Head hitting_, 244, 259.

_Head Opener_, 10.

_Hearts detached_, 28, 202, 274.

_Heart pinching_, 319.

_Heart squeezing_, 28, 203.

_Hero enchanted_, 179, 192.

_Hero pulls out arrow_, 27, 195.

Hewitt, J. N. B., xx, 6, 442.

Hickory nut oil, 295.

_Hidden lodge child_, 24, 167, 249.

Hill, Hon. Henry W., xi.

_Hoarded water_, 23, 34.

_Holder of Heavens_, 395.

_Hole in the ground_, 147, 159, 256, 266.

_Hollow log regeneration_, 29, 100, 120, 124, 237.

_Hollow tree_, 176, 177, 215.

_Horned serpent_, 16, 218;
picture facing 218;
scales of, 222;
rescues woman, 225.

_Hornet warriors_, 155 ff.

_House of women_, 102, 156, 250.

_Hunter_, 182, 186, 254, 262, 350, 386.

_Hunters, classes of_, 152.

_Hunting practice_, 241.

_Hydra_, 230.

Idioms, 142.

Idol, 423.

_Immaculate conception_, 34, 63.

_Imposter_, 180;
_fails_, 24, 182, 192.

_Immediate maturity_, 63, 64,
(see _precocious twins_).

_Inexhaustible kettle_, 30, 129.

_Ioueskha_, 7, 8.

Informants, ix, x, 199.

_Invisible friend_, 114.

_Iroquois_, 386, 387, 401.

_Island, lonely_, 223, 256, 270.

Jack Berry’s town, 42, 45.

_Jealous father_, 228.

_Jealous sister_, 99.

_Jealous sister-in-law_, 26, 223.

Jemmy, Tommy, 365.

Jimerson, George D. (Tahadondeh), 122, f.n., 337 f.n., 342, f.n., 380,
f.n., 396, f.n.

Johnson, Esquire, relation by, 411, 421.

Kennedy, Fred, ix, 370.

Keppler, Joseph, 456.

_Kicking over tree_, 29, 204, 276.

Kittle, Delos Big, ix, 403, 407, f.n.

Ladders, 51.

Lacrosse playing, 104.

_Laughter overcomes magic_, 162, ff.

_Lazy man_, 208.

_Legends, origin of_, 97.

_Leg sharpening_, 31, 213.

Leland, Charles G., 459.

_Levitation_, 83, 199, f.n., 256.

_Lice hunting_, 30, 255.

Listener, (see Hatondas), 116, 122, 154.

_Lizard, blue_, 17, 163.

_Lodge entraps unwary_, 156.

_Lonely bird_, 29, 325, 326.

_Lonely lodge_, 184, 200, 241, 253, 262, 284, 290, 298, 344, 349.

Long House, 421.

_Lost children_, 228.

_Love glance_, 185.

_Love powder_, 373.

_Lover wins mate_, 26.

Lowie, Robert L., 459.

_Lustration_, 391.

_Magic arrow_, 29, 100, 185, 191, 195, 263, 345.

_Magic canoe_, 30, 97, 100.

_Magic birds_, 31, 186.

_Magic cap_, 175, 184, 352.

_Magic feathers_, 31, 352.

_Magic hair_, 336.

_Magic moccasins_, (see running moccasins), 176.

_Magic nut_, 129.

_Magic path_, 135, 155, 162.

_Magic pipe_, 175, 186.

_Magic pouch_, 30, 116, 119, 128, 175, 181.

_Magical power_, 3,
(see also Orenda).

_Magic remedy_, 114, 257.

_Magic root_, 175.

_Magic spring_, 31, 133, 162, 177.

_Magic suit_, 30, 167, 174, 178, 181, 220.

_Maiden comes for husband_, 205, 284.

_Maiden restored_, 169.

_Man making_, 34, 69, 71, 416.

_Marksman_, 161, 241, 253.

_Marriage bread_, 60, 123, 181, 205.

_Marry me_, 205, 284.

Mask, making of, 401.

_Master of Life_, 75, 76.

_Mats, floor_, 165.

_Medicine_, 175, 181, 388, 445, 447, ff.

Methods of recording, xvii.

Miller, Aurelia Jones, 153, f.n., 158, f.n., 340, f.n., 394, f.n.

Miller, Guy, 108, f.n.

_Mischief Maker_, 18, 208, 278.

Mole, skin borrowed, 132, f.n., 201.

_Moly_ (a magical plant), 258.

_Monster marries girl_, 26.

_Monster race_, 24, 140, 351.

_Monsters_, 5, 130, 177.

_Moon_, 12, 416.

Mooney, James, 459.

Morgan, Lewis Henry, 441.

_Morning Star_, 12.

_Mother-in-law_, 235.

_Mound_, 139, 206, 230, 242, 274.

Mourning, 424.

_Mutilating nephew_, 117, 242.

_Nail parings_, 332.

_Name-genius_, 170, f.n., 300.

_Name guessing_, 241.

_Nature conscious_, 4.

_Nephew_, (see uncle).

Neutral, 45.

New Year’s ceremonial, 424.

_Niahgwahe_, 126, 295, 344, 345, 351, 358.

_North wind_, 88.

_Obstacles intervene_, 129.

_Obstacles produced_, 26, 264, 266, 296.

_Oil, pool of_, 67.

_Ongwe Ias_, (see cannibal).

_Ordeals_, 241, 252.

_Orenda_ (magical power), 3, 10, 159, 184, 241, 445.

_Otter, blue_, 17.

_Overcoming monsters_, 23, 162 ff.

_Owls_, evil, 164; 177;
good, 387.

_Owls from witches’ heads_, 28, 157, 164, 177, 283.

_Pacifying monsters_, 28.

_Paddle, magical_, 256.

Paint, ceremonial, 167.

_Painting face_, 278–279.

_Panther, evil_, 165.

_Partridge_, 328.

_Patting gives power_, 204, 252, 255, 263.

Peabody Museum of American Ethnology and Archaeology, ix.

_Peace Tree_, 431, 436, 442.

_Pestle and mortar_, 112.

Pigeons, 424.

_Pigeon feathers_, 265, 297, 347.

_Pine tree, origin_, 85.

Pipe, 175, 186.

_Pleiades_, origin, 86.

Poison cups, 231.

_Porcupine monster_, 428.

Pouch, 99, 165, 175, 332.

_Powered finger_, 31.

_Power, magically acquired_, 23, 263.

_Power testing_, 71, 241–252.

Precipice, 266.

_Precocious twins_, 23, 101, 104, 126, 135, 268.

_Predestined mates_, 16, 122, 168.

_Primal beings_, 34, 412.

_Propitiation_, 424.

_Provoker_, 229.

_Puberty ceremony_, 173.

Purging, 391.

_Pursued by enemies_, 113, 125, 190, 280, 295, 299.

_Pursuer delayed_, 113, 130, 264, 296, 299, 345.

_Pygmies_, (Djogeon), 18, 32, 332.

Quapaw, 422.

_Quilt of eyes_, 31, 102, 106.

_Rabbit, runs in circle_, 316;
_a gambler_, 317.

_Raccoon and Crabs_, 319.

_Raccoon outwits Wolf_, 312.

_Race with monster_, 140, 351.

Radin, Paul, 459.

Red Jacket, 365.

_Reducible dog_, 32, 124, 294.

_Reducible sister_, 28, 234, 249, 345.

_Reduction by magic_, 255, 263.

_Refugees_, 285.

_Refuge in hollow log_, 281.

_Regeneration_, 31, 75, 87, 429.

Reichard, Gladys, 459.

_Rescued girls_, 232–233, 249.

_Restoration from enchantment_, 107, 115, 169, 201, 251–252, 258, 261,
276–277, 288, 348.

_Retaliation_, 242–243, 259, 261.

Ritual, 449 ff.

_Rival twins_, 34, 69, 70.

_Root, magic_, 175, 258.

_Running moccasins_, 29, 176, 264, 345.

_Saliva gives power_, 30, 81, 114;
heals, 213, 257, 334–335, 338.

_Salt, used as charm_, 236.

_Scalding fluid missile_, 109, 113.

_Scalping_, 280, 342, 357, 387.

_Scolding wife_, 208 ff.

_Search for relatives_, 135, 159, 201.

_Seeds from heaven_, 61.

Seneca folk-tales, basic beliefs, 3;
legendary origin, 97.

Seneca Indians, story-telling customs, xxiii;
basic beliefs, 3,
condition of, 45–46,
story-telling customs, 50;
beliefs, 365.

_Serpent progeny_, 222.

_Seven-headed monster_, 230, 232.

Severance, Frank H., dedication to, v;
mentioned, xi.

_Sharp bone_ (witch weapon), 370, 377.

_Shell wampum_, 404.

_Shooting practice_, 160.

_Singing women_, 102.

_Sinking basket_, 230.

_Sister, enchanted_, 249, 275.

_Sisters are witches_, 131, 259.

Six Nations, 340.

_Skeletons restored_, 27, 29, 107, 158, 204, 252, 258, 276.

Skinner, Alanson, 24, 459.

_Skin man_ (see flayed skin).

_Skull, talking_, 32, 242, 270.

_Skunniwundi_, 334, 337.

_Sky basket_, 86.

_Sky Holder_, 8.

_Sky Journey_, 27, 74, 87.

_Sky woman_, 9, 33, 60, 63.

_Sky World_, 33, 59, 74, 411.

_Slippery hillside_, 156, 267, 287.

_Smeared hair_, 156.

_Snake grows fast_, 33.

_Snowshoes_, 199.

Snowsnake game, 38;
drawing of, 39.

Society, 400, 445.

Sogogo (Bushy Head), 228.

_Song of magic_, 130, 186, 236, 245, 247, 254, 271, 390, 455.

_Son-in-law put to tests_, 23.

_Son testing_, 34, 65, 414.

_Sorcerer’s line_, 263.

_Sorcerer’s island_, 26, 270.

_Soul path_, 69.

_Souls of creatures_, 4.

_Soup spoiling_, 110, 229–230.

_South Wind_, 90.

_Speaking first_, 75, 229.

_Speaking trees_, 399.

Speck, Frank G., 449, f.n., 442, f.n.

_Spider_, 173, 346.

_Spring god_, 15, 89, 90.

_Spirit in tree_, 341.

_Squirrel_, 322.

Staples, George Kelley, xi, 456.

_Stars, origin of_, 69.

State Museum of New York, x, 440.

_Step-father_, 25, 147.

_Stolen eyes_, 31, 102.

_Stone coats_, 335, 337;
country of, 394.

_Stone giants_, 18, 334, 337, 340;
battle of, 341, 394, 395, 425.

_Stone throwers_, 331.

_Storage platforms_, 44.

Story teller, xxv, 49–50.

Story-telling customs, xxiii, 50.

_Stream crossing_, 334, 338.

_Stored property_, 200, 220, 303.

_Storm wind_, 13, 15, 32.

Story bag, 50, 99.

_Strawberry_ patch (magic), 201.

_Sudden friend_, 33, 134, 208, 257, 342.

_Sun god_, 10, 76.

_Sustenance, spirits of_, 15.

_Sweat lodge_, 31, 106, 173, 196, 221, 233, 276.

_Sweeping_, 230, 231.

_Swift Runner_, 350.

_Sympathetic magic_, 374, 375.

_Taboo violated_, 28, 109, 254, 269.

_Talking flute_, 29.

_Talking moccasins_, 31.

_Talking skull_, 32, 242, 270.

_Tawiskaro_ (Evil Mind), 9;
names of, 10.

_Tempter_, 176, 177, 269, 294, 344.

Text, interlinear, xix.

_Thaw_, 15.

_Thrown away boy_, 24.

Thunder spirit, picture of, 7, 8, 218;
wars on horned serpent, 222, 225;
wars with giants, 341, 426;
house of, 428.

_Thunder wars upon horned serpent_, 26, 219, 225–227, 428.

_Tide spirit_, 16.

_Toad rescues hero_, 266.

_Tobacco incense_, 73,
demanded, 98, 186, 226, 242, 271, 332, 347;
offered, 386, 401, 424, 448.

Toboggan, 250.

Tonawanda, 366, 370.

Totem, 208.

Totemic carving, 42.

Trail lodge, 278.

_Tripping on door-sill_, 243.

_Transformation_, 3, 23, 105, 244, 266, 295, 347, 352, 366, 378.

Tucker, George L., xi, 456.

_Turkey_ (a character), 173, 200.

_Turtle outwits beaver_, 309.

_Turtle, primal_, 33, 62, 414, 418.

_Turtle shell rattles_, 435.

_Turtle’s war party_, 26, 305.

_Tusks_, 356, 361.

_Twins_, 63, 101, 126, 135, 268, 349, 412.

_Two Feathers_, 184.

_Uncle and nephew_, 25, 173, 184, 241, 253, 284.

_Underbed sanctuary_, 28, 174, 202, 248, 249.

_Underground lodge_, 169, 178.

_Underground playing_, 27, 104.

_Underwater cave_, 221.

_Unseen spirits_, 3.

_Unstoppable song_, 216.

_Unwelcome guest_, 235.

_Usurper_ (see imposter), 228.

_Vampire corpse_, 27, 278, 298, 381.

_Vulnerable spot_, 127, 139, 348, 355, 361.

Walker, B. N. O., cited, 420, f.n.

_Walking into ground_, 29, 104.

Walum Olam, 438.

_Wampum_, 116, 131, 202, 404, 424.

Wampum belt, 358.

_Wampum deer_, 188.

_Wampum eagle_, 32, 194, 198.

_Wampum spitting_, 175, 181, 187.

_Wampum tears_, 30, 114.

_War club, magical_, 167.

_War god_, 12.

_War party_, 278, 342, 355.

Washington, George, 45.

Waterman, T. T., 459.

_Water swallowing_, 28, 125.

Wenroe, 45.

_Whirlwind_, 6.

_White beaver_, 17.

_White otter_, magical, 266.

_White pebble_, 32, 125, 189, 265.

_Wife hunt_, 174.

_Wife rescues husband_, 237.

_Will-o’-wisp_, 16.

_Window peeker_, 378.

_Winged light_, 392.

_Witch doctor_, 366, 373, 381.

_Witches_, 131, 157, 158, 259, 344, 365;
overcoming, 370;
killed, 370, 372;
transformation, 378, 380.

_Witch mother-in-law_, 189, 198, 259, 294.

_Wizardry_, 159, 201, 246, 365.

_Wizards_, 5, 168, 183, 201, 245, 253, 259, 260, 282, 300, 365.

_Wolf_, 305, 312, 325, 387.

Woodchuck, 322.

_Woodchuck Leggings_, 184.

_World-Tree_, 33, 416, 431, 434.

Wright, Laura M., records interview, 421.

Wyandots, 417;
myth of creation, 417.

_Youngest sister chosen_, 86, 181, 268.

_Zephyr_, 13.

-----

Footnote 1:

This is important in order to preserve every folk-motive and element
by which the tale may be compared in detail with those of other tribes
and stocks.

Footnote 2:

Consult Hewitt in Handbook of the American Indians, under his article
Teharonhiawagon. We have re-edited some of our notes in accord with
his findings.

Footnote 3:

S‘hagoewat´‘ha, also meaning He-punishes-them.

Footnote 4:

Oddly enough, the original Hebrew concept of Yahweh, (Jehovah) was of
a God of elements, particularly the storms. He manifested himself in
the thunder’s roar and by the lightning’s flash, and blew like a great
wind from the Ark of the Covenant, terrifying the Philistines.

Footnote 5:

Skinner in _J. A. F. L._ 27–29, cites this as a central Algonkin
theme.

Footnote 6:

Skinner in _Anthrop._ P. of A. M. N. H. XIII, 528, cites this as a
Menomini theme.

Footnote 7:

See 6, _supra_, for continuation of motif.

Footnote 8:

There is an interesting anecdote concerning Major Jack Berry in the
first Annual Report of the Buffalo Historical Society, page 175. Jack
Berry Town was on the present site of Gardenville. He was born in
Little Beard Town in the Genesee country and had his home on Squawkie
Hill until he removed to the Buffalo tract. He was an ardent admirer
of Red Jacket.

Footnote 9:

In another version this chief was killed and his body hidden in the
trunk of the celestial tree. Another chief, a rival, desired to marry
the daughter of the deceased one and indeed took her in the manner
here related. In this version it was the bride who desired to have the
tree uprooted in order that she might hunt for her father’s body. The
concealing of the body of the celestial father in the body of a tree
reminds one of the legend of Osiris.

Footnote 10:

We use this name for convenience only.

Footnote 11:

This was because the Creator had first spoken. To have resisted death
by the hand of a mysterious power one must salute it with its own
greeting.

Footnote 12:

Related by Edward Cornplanter, Jan., 1905, at Newtown, Cattaraugus
reservation.

Footnote 13:

A comet or shooting star is considered a sign of the death panther.

Footnote 14:

In this manner he hoped to absorb the power or strength of his
brothers.

Footnote 15:

Related by Edward Cornplanter.

Footnote 16:

Cf. Barbeau, Origin of Seven Stars, Huron Mythology, p. 59.

Footnote 17:

The Pleiades.

Footnote 18:

Cf. Barbeau, C. M., Huron and Wyandot Mythology, p. 56.

Footnote 19:

Related by Aurelia Miller, Jan., 1905.

Footnote 20:

Related by Edward Cornplanter (Great Night) and recorded as translated
by William Bluesky, Ganosho.

Footnote 21:

Related by Guy Miller, a Tuscarora, Jan., 1905.

Footnote 22:

This legend is related almost verbatim as it came from the lips of
Gohweh Seneca, an old Tonawanda Seneca.

Footnote 23:

Related by George D. Jimerson. This version is apparently a mixture of
two distinct legends.

Footnote 24:

Fires were kindled in large wooden dugouts. A mat or pan of clay
prevented the embers from injuring the canoe.

Footnote 25:

Oratory—hai´wanotă’.

Footnote 26:

Rhetoric—haya´dushäiendī.

Footnote 27:

This may be a modern interpolation.

Footnote 28:

A legend, written verbatim as told in Indian-English by Aurelia Jones
Miller, Gah-yoh´wes, whose grandfather, Chief Warrior, told it to her
when she was a child.

Footnote 29:

The Seneca seldom use any other word to describe a sorcerer, when
relating legends in English.

Footnote 30:

Related by Edward Cornplanter.

Footnote 31:

Or, a burning brand from the fireplace.

Footnote 32:

His charm bundles, because he believed them to have lost potency.

Footnote 33:

Related by George D. Jimerson (Tahadondeh), 1903.

Footnote 34:

Related by Edward Cornplanter, 1905.

Footnote 35:

He’´no^n is the Thunder Spirit.

Footnote 36:

Related by Mrs. Aurelia Jones Miller, Seneca, March, 1905. Mrs. Miller
said that she had heard this story among the Six Nations of Canada and
that she thought it might be of Mohawk origin.

Footnote 37:

Meaning flint, properly Hot‘´hagwen’´da’.

Footnote 38:

“Dry bones” is a Seneca idiom meaning “lean from lack of food.”

Footnote 39:

Related by Edward Cornplanter, and later by George D. Jimerson.

Footnote 40:

Related by Edward Cornplanter, 1905.

Footnote 41:

Related by Chief Cornplanter, 1904.

Footnote 42:

Because he realized that he was scatophagous.

Footnote 43:

From Mrs. Aurelia Miller.

Footnote 44:

Cornplanter says, “Some girls sing this song and boys know what they
mean.”

Footnote 45:

Related by Chief Cornplanter, 1905.

Footnote 46:

Partridge in Seneca is Deyenego sda´sden’, meaning, Her two wings are
large.

Footnote 47:

Meaning Beyond-the-Rapids.

Footnote 48:

This episode is identical with that recorded by Barbeau in a Huron
myth.

Footnote 49:

Related May, 1906, by George Jameson, Tahadondeh, Cattaraugus Seneca.

Footnote 50:

Related January, 1905, by Aurelia Jones Miller, Cattaraugus Seneca.

Footnote 51:

Related by George (Dondeh) Jimerson. This legend shows the use of a
large false face as a war bundle charm.

Footnote 52:

Related by George D. Jimerson (Tahadondeh), June, 1903, at the
Silverheels’ homestead, Cattaraugus Reservation.

Footnote 53:

From notes supplied by Everett R. Burmaster.

Footnote 54:

Related by Fred Kennedy, 1903.

Footnote 55:

Related by Laura M. Doctor, of the Tonawanda reservation.

Footnote 56:

Related by William Parker, Cattaraugus reservation, 1904.

Footnote 57:

Related by Fred Kennedy.

Footnote 58:

Related by Aurelia Jones Miller, 1905.

Footnote 59:

Related by Chief E. Cornplanter.

Footnote 60:

Related by Aurelia Jones Miller, Seneca, 1905.

Footnote 61:

This portion of the legend was related by George D. Jimerson.

Footnote 62:

Related by Edward Cornplanter.

Footnote 63:

Related by Delos B. Kittle, Jan., 1905, at Newtown, Cattaraugus
reservation.

Footnote 64:

Related by Delos Big Kittle.

Footnote 65:

From the original notes of Laura M. Wright, the missionary to the
Seneca, 1835–1887. The manuscript bears the date 1876.

Footnote 66:

Copied _verbatim et literatim_ from the manuscript notes of Mrs. Asher
Wright, who interviewed Johnson in 1870.

Footnote 67:

The Seneca.

Footnote 68:

The Onondaga.

Footnote 69:

The Mohawk.

Footnote 70:

The Oneida.

Footnote 71:

The Cayuga.

Footnote 72:

Johnson’s estimate is wrong, the number of sachems being as follows:
the Mohawks, 9; the Oneidas, 9; the Onondagas, 14; the Cayugas, 10;
the Senecas, 8; making the Council of 50. Note that while he says that
the Senecas have only four he gives the names of seven. There were
eight and he names all but Ga-ne-o-di-yo, Handsome Lake. He may have
withheld this name on account of prejudice against him, for
Ga-ne-o-di-yo at this time was in disrepute on account of his
assumption of the role of prophet of “The New Religion.”

Footnote 73:

The Helper.

Footnote 74:

Falling Day.

Footnote 75:

Great Forehead.

Footnote 76:

Level Heavens.

Footnote 77:

Hair Burned Off.

Footnote 78:

Open Door. (This sachemship was once held by Gen. Ely S. Parker.)

Footnote 79:

The Confederate or League of the Five Nations Capitol or Long House.

Footnote 80:

The national Long House of the Seneca.

Footnote 81:

This was probably in 1798.

Footnote 82:

Wampum.

Footnote 83:

First published in _American Anthropologist_, Oct.-Dec., 1912.

Footnote 84:

Colden, History of the Five Nations, reprint, p. 58, New York, 1866.

Footnote 85:

Lahontan, Voyages, Vol I, p 42. London, 1735.

Footnote 86:

Connelly, W. E., Wyandot Folk Lore, Topeka, 1899.

Footnote 87:

Archaeological Report of Ontario, 1905. Boyle, David; The Iroquois, p.
147.

Footnote 88:

Journal of a Voyage to New York in 1679–80, by Jasper Dankers and
Peter Slyter. Translated in Vol I, Trans. L. I. Hist. Soc. 1867.

Footnote 89:

With the New England Indians the idea was held that men were found by
Glooskape in a hole made by an arrow which he had shot into an ash
tree.

Footnote 90:

Brinton: Lenape and their Legends, p. 170. Phila., 1885.

Footnote 91:

Lafitau, Moeurs des Savvages Ameriquains, Tome II, plate 3, page 43,
Paris, 1724.

Footnote 92:

See Speck, F.G., Huron Moose Hair Embroidery, Amer. Anthropologist,
N.S., Vol. 13, no. 1, p 1.

Footnote 93:

Hewitt, Iroquois Cosmology, Part I, p. 151; 21 An. Rept. Bur. Am.
Eth., Washington, 1903.

Footnote 94:

Speck, op. cit.

Footnote 95:

The wrapping must not be from the skin of any “medicine animal.”

Footnote 96:

Recorded literally as translated by Wm. Jones.

------------------------------------------------------------------------

TRANSCRIBER’S NOTES

1. Silently corrected typographical errors and variations in spelling. 2. Anachronistic, non-standard, and uncertain spellings retained as printed. 3. Enclosed italics font in _underscores_.

End of Project Gutenberg's Seneca myths and folk tales, by Arthur C. Parker