"no Indian who was not an accomplished rogue--particularly in the horse-stealing line--an expert hunter, able to provide plenty of meat and grease, was fit to have a wife on any conditions."
One day a suitor appeared for the hand of the chief"s own daughter, a quasi-widow, but the chief repulsed him because he had no horses. As a last resort the suitor appealed to the young woman herself, promising, if she favored him, that he would give her plenty of grease. This grease argument she was unable to resist, so she entreated her father to give his consent. At this he broke out in a towering pa.s.sion, threw cradle and other chattels out of the door and ordered her to follow at once. The girl"s mother now interceded, whereupon "seizing her by the hair, he hurled her violently to the ground and beat her with his clenched fists till I thought he would break every bone in her body."
The next morning, however, he went to the lodge of the newly married couple, made up, and they returned, bag and baggage, to his tent.
Grease appears to play a role in the courtship of northern Indians too. Leland relates (40) that the Algonquins make sausages from the entrails of bears by simply turning them inside out, the fat which clings to the outside of the entrails filling them when they are thus turned. These sausages, dried and smoked, are considered a great delicacy. The girls show their love by casting a string of them round the neck of the favored youth.
PANTOMIMIC LOVE-MAKING
It is noticeable in the foregoing accounts that courtship and even proposal are apt to be by pantomime, without any spoken words. The young Piute who visits his girl while she is in bed with her grandmother "does not speak to her." The Nishinam hunter leaves his presents and they are accepted "without a word being spoken;" and the Apaches, as we saw, "pop the question" with stones or ponies. Why this silent courtship? Obviously because the Indian is not used to playing so humble a role as that of suitor to so inferior a being as a woman.
He feels awkward, and has nothing to say. As Burton has remarked _(C.S._, 144), "in savage and semi-barbarous societies the separation of the s.e.xes is the general rule, because, as they have no ideas in common, each prefers the society of its own." "Between the s.e.xes,"
wrote Morgan (322)
"there was but little sociality, as this term is understood in polished society. Such a thing as formal visiting was entirely unknown. When the unmarried of opposite s.e.xes were casually brought together there was little or no conversation between them. No attempts by the unmarried to please or gratify each other by acts of personal attention were ever made. At the season of councils and religious festivals there was more of actual intercourse and sociality than at any other time; but this was confined to the dance and was in itself limited."
HONEYMOON
It is needless to say that where there is no mental intercourse there can be no choice and union of souls, but only of bodies; that is, there can be no sentimental love. The honeymoon, where there is one,[242] is in this respect no better than the period of courtship.
Parkman gives this realistic sketch from life among the Ogallalla Indians (_O.T._, ch. XI.):
"The happy pair had just entered upon the honeymoon.
They would stretch a buffalo robe upon poles, so as to protect them from the fierce rays of the sun, and, spreading beneath this rough canopy a luxuriant couch of furs, would sit affectionately side by side for half a day, though I could not discover that much conversation pa.s.sed between them. Probably they had nothing to say; for an Indian"s supply of topics is far from being copious."
MUSIC IN INDIAN COURTSHIP
Inasmuch as music is said to begin where words end, we might expect it to play a role in the taciturn courtship of Indians. One of the maidens described by Mrs. Eastman (85) "had many lovers, who wore themselves out playing the flute, to as little purpose as they braided their hair and painted their faces," Gila Indians court and pop the question with their flutes, according to the description by Bancroft (I., 549):
"When a young man sees a girl whom he desires for a wife he first endeavors to gain the good-will of the parents; this accomplished, he proceeds to serenade his lady-love, and will often sit for hours, day after day, near her house playing on his flute. Should the girl not appear, it is a sign that she rejects him; but if, on the other hand, she comes out to meet him, he knows that his suit is accepted, and he takes her to his house. No marriage ceremony is performed."
In Chili, among the Araucanians, every lover carries with him an amatory Jew"s-harp, which is played almost entirely by inhaling.
According to Smith
"they have ways of expressing various emotions by different modes of playing, all of which the Araucanian damsels seem fully to appreciate, although I must confess that I could not.
"The lover usually seats himself at a distance from the object of his pa.s.sion, and gives vent to his feeling in doleful sounds, indicating the maiden of his choice by slyly gesturing, winking, and rolling his eyes toward her. This style of courtship is certainly sentimental and might be recommended to some more civilized lovers who always lose the use of their tongues at the very time it is most needed."
"Sentimental" in one sense of the word, but not in the sense in which it is used in this book. There is nothing in winking, rolling the eyes, and playing the Jew"s-harp, either by inhalation or exhalation, to indicate whether the youth"s feelings toward the girl are refined, sympathetic, and devoted, or whether he merely longs for an amorous intrigue. That these Indian lovers _may_ convey definite _ideas_ to the minds of the girls is quite possible. Even birds have their love-calls, and savages in all parts of the world use "leading motives" _a la_ Wagner, i.e., musical phrases with a definite meaning.[243]
Chippewayan medicine men make use of music-boards adorned with drawings which recall special magic formulae to their minds. On one of these (Schoolcraft, V., 648) there is the figure of a young man in the frenzy of love. His head is adorned with feathers, and he has a drum in hand which he beats while crying to his absent love: "Hear my drum!
Though you be at the uttermost parts of the earth, hear my drum!"
"The flageolet is the musical instrument of young men and is princ.i.p.ally used in love-affairs to attract the attention of the maiden and reveal the presence of the lover," says Miss Alice Fletcher, who has written some entertaining and valuable treatises on Indian music and love-songs.[244] Mirrors, too, are used to attract the attention of girls, as appears from a charming idyl sketched by Miss Fletcher, which I will reproduce here, somewhat condensed.
One day, while dwelling with the Omahas, Miss Fletcher was wandering in quest of spring flowers near a creek when she was arrested by a sudden flash of light among the branches. "Some young man is near," she thought, "signalling with his mirror to a friend or sweetheart."
She had hardly seen a young fellow who did not carry a looking-gla.s.s dangling at his side. The flashing signal was soon followed by the wild cadences of a flute. In a few moments the girls came in sight, with merry faces, chatting gayly. Each one carried a bucket. Down the hill, on the other side of the brook, advanced two young men, their gay blankets hanging from one shoulder. The girls dipped their pails in the stream and turned to leave when one of the young men jumped across the creek and confronted one of the girls, her companion walking away some distance. The lovers stood three feet apart, she with downcast face, he evidently pleading his cause to not unwilling ears. By and by she drew from her belt a package containing a necklace, which she gave to the young man, who took it shyly from her hands. A moment later the girl had joined her friend, and the man recrossed the brook, where he and his friend flung themselves on the gra.s.s and examined the necklace. Then they rose to go. Again the flute was heard gradually dying away in the distance.
INDIAN LOVE-POEMS
As it is not customary for an Indian to call at the lodge where a girl lives, about the only chance an Omaha has to woo is at the creek where the girl fetches water, as in the above idyl. Hence courting is always done in secret, the girls never telling the elders, though they may compare notes with each other.
"Generally an honorable courtship ends in a more or less speedy elopement and marriage, but there are men and women who prefer dalliance, and it is this cla.s.s that furnishes the heroes and heroines of the Wa-oo-wa-an."
These Wa-oo-wa-an, or woman songs, are a sort of ballad relating the experiences of young men and women. "They are sung by young men when in each other"s company, and are seldom overheard by women, almost never by women of high character;" they "belong to that season in a man"s career when "wild oats" are said to be sown." Some of them are vulgar, others humorous.
"They are in no sense love-songs, they have nothing to do with courtship, and are reserved for the exclusive audience of men." "The true love-song, called by the Omahas Bethae wa-an ... is sung generally in the early morning, when the lover is keeping his tryst and watching for the maiden to emerge from the tent and go to the spring. They belong to the secret courtship, and are sometimes called Me-the-g"thun wa-an--courting songs." "The few words in these songs convey the one poetic sentiment: "With the day I come to you;" or "Behold me as the day dawns." Few unprejudiced listeners," the writer adds, "will fail to recognize in the Bethae wa-an, or love-songs, the emotion and the sentiment that prompts a man to woo the woman of his choice."
Miss Fletcher is easily satisfied. For my part I cannot see in a tune, however rapturously sung or fluted, or in the words "with the day I come to you" and the like any sign of real sentiment or the faintest symptom differentiating the two kinds of love. Moreover, as Miss Fletcher herself remarks:
"The Omahas as a tribe have ceased to exist. The young men and women are being educated in English speech, and imbued with English thought; their directive emotion will hereafter take the lines of our artistic forms."
Even if traces of s.e.xual sentiment were to be found among Indians like the Ornahas, who have been subjected for some generations to civilizing influences, they would allow no inference as to the love-affairs of the real, wild Indian.
Miss Fletcher makes the same error as Professor Fillmore, who a.s.sisted her in writing _A Study of Omaha Indian Music_. He took the wild Indian tunes and harnessed them to modern German harmonies--a procedure as unscientific as it would be unhistoric to make Cicero record his speeches in a phonograph. Miss Fletcher takes simple Indian songs and reads into them the feelings of a New York or Boston woman.
The following is an instance. A girl sings to a warrior (I give only Miss Fletcher"s translation, omitting the Indian words): "War; when you returned; die; you caused me; go when you did; G.o.d; I appealed; standing," This literal version our author explains and translates freely, as follows:
"No. 82 is the confession of a woman to the man she loves, that he had conquered her heart before he had achieved a valorous reputation. The song opens upon the scene. The warrior had returned victorious and pa.s.sed through the rites of the Tent of War, so he is ent.i.tled to wear his honors publicly; the woman tells him how, when he started on the war-path, she went up on the hill and standing there cried to Wa-kan-da to grant him success. He who had now won that success had even then vanquished her heart, "had caused her to die" to all else but the thought of him"(!)
Another instance of this emotional embroidery may be found on pages 15-17 of the same treatise. What makes this procedure the more inexplicable is that both these songs are cla.s.sed by Miss Fletcher among the Wa-oo-wa-an or "woman songs," concerning which she has told us that "they are in no sense love-songs," and that usually they are not even the effusions of a woman"s own feelings, but the compositions of frivolous and vain young men put into the mouth of wanton women.
The honorable secret courtships were never talked of or sung about.
Regarding the musical and poetic features of Dakota courtship, S.R. Riggs has this to say (209):
"A boy begins to feel the drawing of the other s.e.x and, like the ancient Roman boys, he exercises his ingenuity in making a "cotanke," or rude pipe, from the bone of a swan"s wing, or from some species of wood, and with that he begins to call to his lady-love, on the night air. Having gained attention by his flute, he may sing this:
Stealthily, secretly, see me, Stealthily, secretly, see me, Stealthily, secretly, see me, Lo! thee I tenderly regard; Stealthily, secretly, see me."
Or he may commend his good qualities as a hunter by singing this song:
Cling fast to me, and you"ll ever have plenty, Cling fast to me, and you"ll ever have plenty, Cling fast to me...."
"A Dacota girl soon learns to adorn her fingers with rings, her ears with tin dangles, her neck with beads. Perhaps an admirer gives her a ring, singing:
Wear this, I say; Wear this, I say; Wear this, I say; This little finger ring, Wear this, I say."
For traces of real amorous sentiment one would naturally look to the poems of the semi-civilized Mexicans and Peruvians of the South rather than to the savage and barbarous Indians of the North. Dr. Brinton (_E. of A_., 297) has found the Mexican songs the most delicate. He quotes two Aztec love-poems, the first being from the lips of an Indian girl:
I know not whether thou hast been absent: I lie down with thee, I rise up with thee, In my dreams thou art with me.
If my ear-drop trembles in my ears, I know it is thou moving within my heart.
The second, from the same language, is thus rendered:
On a certain mountain side, Where they pluck flowers, I saw a pretty maiden, Who plucked from me my heart, Whither thou goest, There go I.
Dr. Brinton also quotes the following poem of the Northern Kioways as "a song of true love in the ordinary sense:"