Dahcotah Part 28

The meat is then taken out, and put into a wooden dish, and the water left boiling on the fire. The dancers eat the meat while hot, and again they arrange themselves to dance. And now, the mighty power of the Giant is shown, for Markeda advances to the kettle, and taking some water out of it he throws it upon his bare back, singing all the while, "The water is cold."

"Old John" advances and does the same, followed by the next in turn, until the water is exhausted from the kettle, and then the warriors exclaim, "How great is the power of Haokah! we have thrown boiling water upon ourselves and we have not been scalded."

The dance is over--the sacrifice is made. Markeda seeks his young wife and fears not. He had fancied that her cheeks were pale of late, but now they are flushed brilliantly, his heart is at rest.

The warriors disperse, all but the medicine man, and the chief's store of buffalo meat diminishes rapidly under the magic touch of the epicure.

Yes! an epicure thou wert old John! for I mind me well when thou camest at dinner time, and how thou saidst thou couldst eat the food of the Indian when thou wert hungry, but the food of the white man was better far. And thou! a Dahcotah warrior, a famous hunter, and a medicine man.

Shame! that thou shouldst have loved venison dressed with wine more than when the tender meat was cooked according to the taste of the women of thy nation. I have forgotten thy Indian name, renegade as thou wert! but thou answerest as well to "old John!"

Thou art now forgotten clay, though strong and vigorous when in wisdom the Sioux were punished for a fault they did not commit. Their money was not paid them--their provisions were withheld. Many were laid low, and thou hast found before now that G.o.d is the Great Spirit, and the Giant Haokah is not.

And it may be that thou wouldst fain have those thou hast left on earth know of His power, who is above all spirits, and of His goodness who would have all come unto Him.

CHAPTER IV.

Wenona had not hoped in vain, for her lover was with her, and Wanska seemed to be forgotten. The warrior's flute would draw her out from her uncle's lodge while the moon rose o'er the cold waters. Wrapped in her blanket, she would hasten to meet him, and listen to his a.s.surances of affection, wondering the while that she had ever feared he loved another.

She had been some months at the village of Markeda, and she went to meet her lover with a heavy heart. Her mother had noticed that her looks were sad and heavy, and Wenona knew that it would not be long ere she should be a happy wife, or a mark for the bitter scorn of her companions.

The Deer-killer had promised, day after day, that he would make her his wife, but he ever found a ready excuse; and now he was going on a long hunt, and she and her parents were to return to their village. His quiver was full of arrows, and his leggins were tightly girded upon him.

Wenona's full heart was nigh bursting as she heard that the party were to leave to-morrow. Should he desert her, her parents would kill her for disgracing them; and her rival, Wanska, how would she triumph over her fall?

"You say that you love me," said she to the Deer-killer, "and yet you treat me cruelly. Why should you leave me without saying that I am your wife? Who would watch for your coming as I would? and you will disgrace me when I have loved you so truly. Stay--tell them you have made me your wife, and then will I wait for you at the door of my teepee."

The warrior could not stay from the chase, but he promised her that he would soon return to their village, and then she should be his wife.

Wenona wept when he left her; shadows had fallen upon her heart, and yet she hoped on. Turning her weary steps homeward, she arrived there when the maidens of the village were preparing to celebrate the Virgin's Feast.

There was no time to deliberate--should she absent herself, she would be suspected, and yet a little while ere the Deer-killer would return, and her anxious heart would be at rest.

The feast was prepared, and the crier called for all virgins to enter the sacred ring.

Wenona went forward with a beating heart; she was not a wife, and soon must be a mother. Wanska, the Merry Heart, was there, and many others who wondered at the pale looks of Wenona--she who had been on a journey, and who ought to have returned with color bright as the dying sun, whose light illumined earth, sky and water.

As they entered the ring a party of warriors approached the circle.

Wenona does not look towards them, and yet the throbbings of her heart were not to be endured. Her trembling limbs refused to sustain her, as the Deer-killer, stalking towards the ring, calls aloud--"Take her from the sacred feast; should she eat with the maidens?--she, under whose bosom lies a warrior's child? She is unworthy."

And as the unhappy girl, with features of stone and glaring eyes, gazed upon him bewildered, he rudely led her from the ring.

Wenona bowed her head and went--even as night came on when the sun went down. Nor did the heart of the Deer-killer reproach him, for how dare she offend the Great Spirit! Were not the customs of his race holy and sacred?

Little to Wenona were her father's reproaches, or her mother's curse; that she was no more beloved was all she remembered.

Again was the Deer-killer by the side of Wanska, and she paid the penalty. Her husband brought other wives to his wigwam, though Wanska was ever the favorite one.

With her own hand would she put the others out of the wigwam, laughing when they threatened to tell their lord when he returned, for Wanska managed to tell her own story first; and, termagant as she was, she always had her own way.

Wenona has ceased to weep, and far away in the country of the Sissetons she toils and watches as all Indian women toil and watch. Her young son follows her as she seeks the suffering Dahcotah, and charms the disease to leave his feeble frame.

She tells to the child and the aged woman her dreams; she warns the warrior what he shall meet with when he goes to battle; and ever, as the young girls a.s.semble to pa.s.s away the idle hours, she stops and whispers to them.

In vain do they ask of her husband: she only points to her son and says, "My hair, which is now like snow, was once black and braided like his, and my eyes as bright. They have wept until tears come no more. Listen not to the warrior who says he loves." And she pa.s.ses from their sight as the morning mists.

U-MI-NE-WAH-CHIPPE;

OR,

TO DANCE AROUND.

I have noticed the many singular notions of the Sioux concerning thunder, and especially the fact that they believe it to be a large bird. They represent it thus. [Ill.u.s.tration:] This figure is often seen worked with porcupine quills on their ornaments. Ke-on means to fly.

Thunder is called Wah-ke-on or All-flier. U-mi-ne-wah-chippe is a dance given by some one who fears thunder and thus endeavors to propitiate the G.o.d and save his own life.

A ring is made, of about sixty feet in circ.u.mference, by sticking saplings in the ground, and bending their tops down, fastening them together. In the centre of this ring a pole is placed. The pole is about fifteen feet in height and painted red. From this swings a piece of birch bark, cut so as to represent thunder. At the foot of the pole stand two boys and two girls.

The two boys represent war: they are painted red, and hold war-clubs in their hands. The girls have their faces painted with blue clay: they represent peace.

On one side of the circle a kind of booth is erected, and about twenty feet from it a wigwam. There are four entrances to this circle.

When all the arrangements for the dance are concluded, the man who gives the dance emerges from his wigwam dressed up as hideously as possible, crawling on all fours towards the booth. He must sing four tunes before reaching it.

In the meantime the medicine men, who are seated in the wigwam, beat time on the drum, and the young men and squaws keep time to the music by first hopping on one foot, and then on the other--moving around inside the ring as fast as they can. This is continued for about five minutes, until the music stops. After resting a few moments, the second tune commences, and lasts the same length of time, then the third, and the fourth; the Indian meanwhile making his way towards the booth. At the end of each tune, a whoop is raised by the men dancers.

After the Indian has reached his booth inside the ring, he must sing four more tunes as before. At the end of the fourth tune the squaws all run out of the ring as fast as possible, and must leave by the same way that they entered, the other three entrances being reserved for the men, who, carrying their war implements, might be accidentally touched by one of the squaws--and the war implements of the Sioux warrior have from time immemorial been held sacred from the touch of woman. For the same reason the men form the inner ring in dancing round the pole, their war implements being placed at the foot of the pole.

When the last tune is ended, the young men shoot at the image of thunder which is hanging to the pole, and when it falls a general rush is made by the warriors to get hold of it. There is placed at the foot of the pole a bowl of water colored with blue clay. While the men are trying to seize the parts of the bark representation of their G.o.d, they at the same time are eagerly endeavoring to drink the water in the bowl, every drop of which must be drank.

The warriors then seize on the two boys and girls--the representations of war and peace--and use them as roughly as possible--taking their pipes and war-clubs from them, and rolling them in the dirt until the paint is entirely rubbed off from their faces. Much as they dislike this part of the dance, they submit to it through fear, believing that after this performance the power of thunder is destroyed.

Now that the water is drank up and the guardians of the Thunder bird are deprived of their war-clubs and pipes, a terrible wailing commences. No description could convey an idea of the noise made by their crying and lamentation. All join in, exerting to the utmost the strength of their lungs.

Before the men shoot at thunder, the squaws must leave the ring. No one sings at this dance but the warrior who gives it; and while the visitors, the dancers, and the medicine men, women and children, all are arrayed in their gayest clothing, the host must be dressed in his meanest.

In the dance Ahahkah Koyah, or to make the Elk a figure of thunder, is also made and fought against. The Sioux have a great deference for the majesty of thunder, and, consequently for their own skill in prevailing or seeming to prevail against it.

A Sioux is always alarmed after dreaming of an elk, and soon prevails upon some of his friends to a.s.sist him in dancing, to prevent any evil consequences resulting from his dream. Those willing to join in must lay aside all clothing, painting their bodies with a reddish gray color, like the elk's. Each Indian must procure two long saplings, leaving the boughs upon them. These are to aid the Indians in running. The saplings must be about twelve feet in length. With them they tear down the bark image of thunder, which is hung with a string to the top of the pole.

All being ready, the elks run off at a gallop, a.s.sisted by their saplings, to within about two hundred yards of the pole, when they stop for a while, and then start again for the pole, to which is attached the figure of thunder.

They continue running round and round this pole, constantly striking the figure of thunder with their saplings, endeavoring to knock it down, which after a while they succeed in accomplishing.

The ceremony is now ended, and the dreamer has nothing to fear from elks until he dreams again.