Short Sketches from Oldest America Part 3

The traditions regarding the mammoth, called the "keleegewuk," are few and short. They are not of an interesting nature, further than to give some idea of the great age of these traditions. They were undoubtedly much longer at first, but by their descent through a vast length of time, they now appear in their present curtailment. There is one that gives a slight insight into the condition of those early days, both as regards the heat of the weather, and the changes that have taken place with the wolf.

A man had gone into the interior on a hunting expedition. The weather proved to be very warm, so he sought the shelter of a cave, intending to await the pa.s.sing of the heat of the day. He had not been in the shelter long before the sound of a heavy animal pa.s.sing rapidly over the earth greeted his ears, and on looking out he saw a mammoth in full flight, the huge creature exhibiting great fear, as it was being chased by a thin, short-haired wolf. The man watched the two until they had pa.s.sed from sight.

The fear exhibited by the mammoth for so small an animal as the wolf puts one in mind of the reports that the modern elephant will occasionally exhibit much alarm when a mouse appears in its exclosure.

XIII

FIRE-MAKING

The art of fire-making was known among these people at a very remote time. The earliest method appears to have been through the agency of iron pyrites, called "cozgeen" or "igneen," and from the latter has been derived "ignek," the Tigara word for fire. Two pieces of "igneen,"

being struck together, would emit a spark; a small-sized heap of tinder being placed on the ground the operator would continue striking the glancing blows until a lucky spark ignited the ma.s.s. The operation, to say the least, must have required a great amount of patience on the part of the operator. It was the only method of fire-making known for a great length of time; then the second method was happily discovered.

It had been found that a small round stick with a piece of flint inserted in the end, revolved by hand, would bore through bone, ivory or even stone. Later on some inventive genius introduced the bow and string, to revolve the instrument more rapidly, while a wooden mouth-piece was used to exert pressure and to steady the instrument. It is still in use for boring, a piece of wire having replaced the flint.

After the introduction of the bow and string and the mouth-piece, it was found that the rapidly revolving tool excited friction enough to produce fire. That was the second method known, but it did not displace the "igneen" which continued in use until rendered obsolete by the well-known flint and steel. This last is of comparatively recent introduction, iron not having been known in Alaska until the past fifty or sixty years. The domestic match, however, has now almost displaced all the other methods, although the flint and steel are still in use with some of the older smokers.

XIV

INSTRUMENTS

Man is more poorly endowed, both as regards speed and natural weapons of defense, than almost any other member of the animal kingdom. Had it not been for his superior intellect from the first, he would undoubtedly have been exterminated long ago. From the earliest time he has been forced to exercise his ingenuity to make amends for the natural inferiority he labored under in striving for his food, yet he has advanced step by step until he has proved his superiority by subduing all the other creatures of his kingdom, standing to-day without a rival, his only capable adversary being his fellow man.

There was, of course, a very early prehistoric time, at which he was forced to procure his food without artificial aid, the Inupash will tell you; then, as his inventive genius began exercising itself, a stone with a thong attached was employed to dispatch the game he sought. The stick sharpened at one end was probably introduced about the same time, it being the forerunner of the spear, which has proved as useful for small game as it has for the great brown bear. When the animal charged, the hunter quickly placed the b.u.t.t of the spear on the ground, and the bear, thus coming in contact with the sharpened end, was pierced and killed. The noose also proved of service for bear and deer. If hunting the former, a steep bank, where the creature was known to walk, was chosen and the noose set. On becoming entangled, the bear in its struggle fell over the bank, where it would hang until dead. The sling probably never proved very efficacious, as its accuracy for birds on the wing is too uncertain. It was useful for casting stones into the ocean to frighten and drive the beluga into the nets set for that purpose. The "kalimetown" was a far more effective instrument. It was made of seven small ivory b.a.l.l.s, each having a string of deer sinew attached, the strings being joined at the end by a feather. On being thrown into a flock of ducks on the wing, any one of the b.a.l.l.s striking a bird would act as a pivot for the others to encircle the victim and bring it to the ground.

Bone or ivory hooks were used in fishing through the ice, the line being made from strips of whalebone or spines from the feather of the gannet. A spear formed from two pieces of bone arranged in the shape of a V proved effective in capturing fish. The net was of service, not only for fish and beluga, but also for ptarmigan and foxes. For the latter, it was set stationary, the hunters remaining hidden in snow shelters constructed for the occasion. On the approach of a fox, the men in hiding jumped up and made a noise, and the frightened creature in its efforts to escape was driven forward into the net. In netting ptarmigan, the only caution necessary is not to frighten the birds, but to keep them walking forward slowly. The meshes of the net are large and of fine sinew; the bird on attempting to pa.s.s through, becomes entangled. On the cliffs, during the summer months, the hand-net on a pole is a favorite device for capturing the murres, which fly back and forth among the rocks in immense numbers, making one continuous war night and day. These methods of hunting are all very old, yet all are still in use among the Inupash with the exception of that of netting foxes, the net having been abandoned for the steel trap.

Bows and arrows are of very ancient origin, too remote to trace out their first introduction. The bow was made from selected pieces of driftwood, reinforced by strips of whalebone, and bound with deer sinew. The arrow had two princ.i.p.al forms of head, one of brown flint, the other of deer horn, much longer than the first and nicked on the sides, to make it hold in the wounded game. On being struck, an animal would try to dislodge the arrow, giving the hunter a chance to send a second one, and so it would continue until a lucky shot proved fatal.

In constructing the flint arrow-heads, two instruments were used, the "natkenn," a small hammer made preferably from the base of the horn of a deer where it enters into the bony portion of the skull, and the "kigleen," a kind of sharpener made from a piece of deer horn, with a small round piece of ivory overlapping and bound to its upper surface.

A piece of flint being chosen, the man making the arrow-head would place a deerskin mitten on his left hand, then, placing the flint on the palm and wrist of the protected hand, would strike the edge of the flint with the "natkenn" so that small slivers would be detached from the under surface. The operation would be continued until the flint had a.s.sumed the proper shape, and then the "kigleen" was employed to drive and make the edge even.

For the horn arrow-heads, deer horns were immersed in hot water, then straightened and shaped with stone knives. Two pieces of feather, properly bound at the lower end of the shaft, gave the arrow a rotary motion as it pa.s.sed through the air, and insured a greater accuracy. It is a principle that has been adopted by manufacturers of modern rifle guns to impart to the projectile a spinning motion in its flight.

The first guns introduced among the Inupash were the old flintlocks, although this was probably not over thirty-five or forty years ago; they must have been the flintlocks left over with some trading company, after the introduction of the percussion caps, that had found their way this long distance across the country.

"Koonooya" is the name of the villager who was the first to own a double-barreled shotgun; previous to that he had killed fourteen white, and two brown bears with his bow and arrow. The older people laugh as they relate how those standing near the man firing would place their hands over their ears to deaden the sound, while the little girls cried, declaring the big noise hurt their ears.

The first knives were of flint, jade and slate; the boring tools of flint; the adze of jade; hammers were made mostly from jade and wedges of bone; while flint was used to saw the jade, and the brown variety was employed for tools. The women's knives were largely of slate, but sometimes of jade, and their needles of ivory or bone.

Pots were crudely manufactured by mixing clay with heavy-spar that had been roasted and powdered fine,--called "k[=e]tik," blood from a seal being added and sometimes the pin-feathers from a bird. Utensils thus made were less liable to fracture than those formed simply from clay.

Occasionally a flat stone was hollowed out to about the depth of a frying-pan, and used for a cooking utensil, it having the advantage of boiling more quickly than the clay vessel over the seal-oil lamp. These lamps were simply flat stones, hollowed out with the flint instruments so as to hold oil. A few copper kettles of Russian make found their way into Tigara from the Diomedes about sixty years back; they were very expensive and could be afforded by but few. The "Ongootkoots"

frequently broke up these kettles and pounded the copper into knives, these being the first metal blades known among the Inupash.

[Ill.u.s.tration: AN ELEVATED GRAVE]

Wood shovels, tipped with bone, and picks made from whale jaws, were employed in cutting sods and excavating the ground for the iglos, and also for digging pits in the deep snow, back in the valleys, into which the deer would fall and could then be easily captured.

The first spear heads were of bone or ivory; later on they were nicked on the sides so as to hold more firmly. Afterward, the heads were made movable with a line attached, having the advantage of holding crosswise when driven well in. About one hundred miles east of the village of Tigara, in the land of the Kivalinyas, a man once darted a beluga, but becoming entangled in the line he was dragged off into the ocean. The beluga was afterward killed at the mouth of the Mackenzie River, it having towed the body considerably more than one thousand miles.

For clothing, deerskins were stretched and sc.r.a.ped with flint instruments, then dressed with powdered heavy-spar, making the skin soft and pliable. Fresh skins from the common seal were rolled up and kept in a warm place until the hair loosened, then stretched and dried, and afterward sc.r.a.ped and worked until soft. These were employed to make the upper portions of the summer waterproof boots and shoes. The skin of the giant seal, treated in the same way, was used for boot soles, the soles being crimped into shape by biting with the teeth. All sewing was done with deer or whale sinew, the former being considered the best. The same methods are yet employed for dressing skins and making clothing as of old.

Lines for the seal spear, hauling lines for the boat or sled, and all lashings, are made from the skin of the giant seal, treated as above, then cut into long strings.

All the stone implements that were formerly in use have been rendered obsolete by the introduction of iron, and it is now difficult to procure any of these old reminders of the past.

XV

MUSIC

The Polarites have but two musical instruments, the "ahtooktoora," or one-string fiddle, and the "calown," or one-headed drum. The latter is by far the more important, being used on all festive occasions both to beat time for the dancers and also to accompany the singers.

Many of the songs of these people relate fragments of tradition, while others deal with a crude mythology. There is yet another cla.s.s, looked upon as prayers; some of these are very old, and are highly treasured by the possessors, being guarded as great secrets. When a father is about to pa.s.s away, he will call his son and impart to him the song as a legacy. No one else is allowed to be present on such an occasion, it being regarded in the same solemn light as a dying parent's blessing.

The son in his turn, when he has grown old, and is about ready to take leave of the world, will impart the song to the next one in line of inheritance. These heirlooms have descended through families from one generation to another for an immense length of time. They are supposed to have a mystic charm and are never sung loud, but are hummed in a low voice. No outsider is allowed to learn the words or hear the tunes. If a seal on the ice is very watchful, the hunter that has received such a legacy will lie still and sing the magic words, at which the animal is supposed to go to sleep and so be readily approached. The same is said about the whale; if it has been struck, and there is danger of its being lost, the initiated will sing the magic words, after which the whale can be captured.

One song of the first named cla.s.s relates the experiences of a young woman. Her parents, who are growing old, are desirous that she should choose a husband from among the young men of the village. She, refusing to do so, selects a skull as her lover. Her mother is indignant, and one day during the daughter's absence accuses her son-in-law of keeping her awake the previous night by too much whispering. Taking a stick she thrusts it into the eye socket, then tosses the skull out-of-doors. The wind rolls it down the beach and far out into the ocean. The daughter, on returning and finding her lover absent, eagerly inquires where he is. On going outside the trail of the skull is discovered and followed to the water. A mouse coming along the trail is killed and, on its being thrown into the ocean, a path is made visible which leads down into the shades. There the lover is found; he has grown a new body and is living with two old women. The young woman is overjoyed at finding her Orpheus, but he, pointing to the wound in the eye, tells her that her mother was the cause of it and refuses to return with her. She mournfully retraces her steps to earth and decides to choose the other road thence leading to Paradise.

Taking the winding path that ascends toward the sky, she finds that the scene grows more enchanting as she proceeds. At last she arrives at the moon, where everything is found to be most beautiful. After viewing the amazing scene, she expresses a desire to cast her eyes upon the earth again, but the keeper refuses to open the door. Finally, however, her earnest pleadings have the desired effect, and he concedes to her request by opening the door a little. While she is looking down, a great shout is heard, as the villagers cry out, "There's the new moon!"

One man, taking a cup, tosses water so high that it enters the door of the moon; at the same time he shouts, "Send me a whale." A second man does the same, but tosses the water only a short distance, for he has met with disappointment in his whaling. All these scenes, with the distinctness of the voices, have the effect of making her homesick to return to the village. She pleads with the doorkeeper to allow her to retrace her steps, but he declares that the path has vanished, and that no one entering the moon can return by the same road. She, becoming disconsolate, is at last informed that if she will braid a rope long enough to reach the earth a descent can be made by that means; so she sets to work and after diligent labor the task is ultimately completed.

As she starts to lower herself, the doorkeeper tells her to keep her eyes closed until her feet touch the ground, and following his instructions she at last reaches the earth once more.

XVI

WOODEN FACES

Many families treasure old family portraits--paintings of ancestors who have rendered themselves famous in one way or another. Such paintings have their unwritten stories, repeated by word of mouth from one generation to another, thereby preserving the family history which is looked back upon with pride by the descendants.

Among the inhabitants of the Arctic regions the same sentiment long ago prevailed. They had no pencils or paints, neither did they know anything of the painter's art, so with their stone knives or other rude tools they carved faces from driftwood, which were hung up in their homes as mementos of former great men and ancestors. With these faces were always a.s.sociated the unwritten stories of the men they represented, descending by word of mouth from one generation to another, thereby preserving the family history. Sometimes the accounts of the deeds these men performed were carved on ivory, thus aiding in the preservation of their stories.

It is doubtful if these masks were very good likenesses of the individuals, but they have served their purpose remarkably well. It is also doubtful if our more civilized artists could have done much better than these untrained sculptors with the same rude tools and materials with which they had to work. Sometimes the untutored artist would create an unsatisfactory face, one rather hideous in its appearance; then he would declare that he had made the face of Toongna. At other times faces would be created without any intention of their representing any particular individual. Such faces were hung up in homes for the same reason that we adorn our walls with oil paintings or photographs, simply to look at them. Other large faces were made and used in the festivities of a feast, but I have never learned that such faces were looked upon with any degree of superst.i.tion, as many have supposed.