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diff --git a/17997-h/17997-h.htm b/17997-h/17997-h.htm new file mode 100644 index 0000000..83d3208 --- /dev/null +++ b/17997-h/17997-h.htm @@ -0,0 +1,1780 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> +<html> +<head> +<meta http-equiv="Content-Type" content="text/html; charset=ISO-8859-1" /> +<title>The Project Gutenberg eBook of Contribution to Passamaquoddy Folk-Lore, by J. Walter Fewkes</title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + p { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + } + h1, h2, h3, h4, h5, h6 { + text-align: center; /* all headings centered */ + clear: both; + } + hr { width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + + table {margin-left: auto; margin-right: auto;} + + body{margin-left: 10%; + margin-right: 10%; + } + + .pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 92%; + font-size: smaller; + text-align: right; + } /* page numbers */ + + .blockquot{margin-left: 5%; margin-right: 10%;} + + .center {text-align: center;} + .smcap {font-variant: small-caps;} + .u {text-decoration: underline;} + + .footnotes {border: none;} + .footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + .footnote .label {position: absolute; right: 84%; text-align: right;} + .fnanchor {vertical-align: super; font-size: .8em; text-decoration: none;} + + .poem {margin-left:10%; margin-right:10%; text-align: left;} + .poem br {display: none;} + .poem .stanza {margin: 1em 0em 1em 0em;} + .poem span.i0 {display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em;} + .poem span.i2 {display: block; margin-left: 2em; padding-left: 3em; text-indent: -3em;} + .poem span.i4 {display: block; margin-left: 4em; padding-left: 3em; text-indent: -3em;} + hr.full { width: 100%; } + pre.pg {font-size: 75%;} + // --> + /* XML end ]]>*/ + </style> +</head> +<body> +<h1>The Project Gutenberg eBook, Contribution to Passamaquoddy Folk-Lore, by +J. Walter Fewkes</h1> +<pre class="pg"> +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at <a href = "http://www.gutenberg.org">www.gutenberg.org</a></pre> +<p>Title: Contribution to Passamaquoddy Folk-Lore</p> +<p>Author: J. Walter Fewkes</p> +<p>Release Date: March 15, 2006 [eBook #17997]</p> +<p>Language: English</p> +<p>Character set encoding: ISO-8859-1</p> +<p>***START OF THE PROJECT GUTENBERG EBOOK CONTRIBUTION TO PASSAMAQUODDY FOLK-LORE***</p> +<p> </p> +<h3>E-text prepared by Thierry Alberto, Linda Cantoni,<br /> + and the Project Gutenberg Online Distributed Proofreading Team<br /> + (http://www.pgdp.net/)</h3> +<p> </p> +<hr class="full" /> +<p> </p> + + + +<h3>Hemenway Southwestern Archæological Expedition</h3> + +<p> </p> + + +<h1>CONTRIBUTION</h1> + +<h2>TO</h2> + +<h1>PASSAMAQUODDY FOLK-LORE</h1> + +<p> </p> + + +<h2>By J. WALTER FEWKES</h2> + +<p> </p> + + +<h3><span class="smcap">Reprinted from the Journal of American Folk-Lore,<br /> +October-December</span>, 1890</h3> + + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p> + +<h2>A CONTRIBUTION TO PASSAMAQUODDY FOLK-LORE.</h2> + + +<p><span class="smcap">The</span> study of aboriginal folk-lore cannot reach its highest scientific +value until some method is adopted by means of which an accurate +record of the stories can be obtained and preserved. In observations +on the traditions of the Indian tribes, the tendency of the listener +to add his own thoughts or interpretations is very great. Moreover, no +two Indians tell the same story alike. These are sources of error +which cannot be eliminated, but by giving the exact words of the +speaker it is possible to do away with the errors of the translator.</p> + +<p>I believe that the memory of Indians for the details of a story is +often better than that of white men. There may be a reason for this, +in their custom of memorizing their rituals, stories, and legends. The +Kāklan, a Zuñi ritual, for instance, which is recited by the priest +once in four years, takes several hours to repeat. What white man can +repeat from memory a history of equal length after so long an +interval?</p> + +<p>Phonetic methods of recording Indian languages are not wholly +satisfactory. It is very unlikely that two persons will adopt the same +spelling of a word never heard before. Many inflections, accents, and +gutturals of Indian languages are difficult to reduce to writing. +Conventional signs and additional letters have been employed for this +purpose, the use of which is open to objections. There is need of some +accurate method by which observations can be recorded. The +difficulties besetting the path of the linguist can be in a measure +obviated by the employment of the phonograph, by the aid of which the +languages of our aborigines can be permanently perpetuated. As a means +of preserving the songs and tales of races which are fast becoming +extinct, it is, I believe, destined to play an important part in +future researches.</p> + +<p>In order to make experiments, with a view of employing this<span class="pagenum"><a name="Page_2" id="Page_2">[Pg 2]</a></span> means of +record among the less civilized Indians of New Mexico,<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> I visited, +in the month of April, the Passamaquoddies, the purest blooded race of +Indians now living in New England. The results obtained fully +satisfied my expectations. For whatever success I have had, I must +express my obligation to Mrs. W. Wallace Brown, of Calais, Me., whose +influence over the Indians is equalled by her love for the study of +their traditions.</p> + +<p>The songs and stories were taken from the Indians themselves, on the +wax cylinders of the phonograph. In most cases a single cylinder +sufficed, although in others one story occupied several cylinders. +None of the songs required more than one cylinder.</p> + +<p>I was particularly anxious to secure the songs. The Passamaquoddies +agree in the statement that their stories were formerly sung, and +resembled poems. Many tales still contain songs, and some possess at +this day a rhythmical character. I am not aware that any one has tried +to set the songs to music, and have had nothing to guide me on that +head.</p> + +<p>In sacred observances it is probable that the music of the songs +preserves its character even after other parts have been greatly +modified, while the song retains its peculiarity as long as it +continues to be sung. The paraphernalia of the sacred dance may be +modified, as in the case of many New Mexican pueblos, into church +festivals, but the songs must remain unchanged until superseded. It is +noteworthy in this connection that in many of the songs archaic words +occur.</p> + +<p>The following list indicates the variety of records which were made:—</p> + +<div class="blockquot"><p>1-3. The story of how Glooscap reduced the size of the +animals. These cylinders give the story in substantially the +same way as published by Leland in his "Algonquin Legends."</p> + +<p>4. A collection of Indian words corresponding with those +found on page 82 of the schedule of the United States Bureau +of Ethnology.</p> + +<p>5. English words with Passamaquoddy translations.</p> + +<p>6, 7. An old tale of how Pookjinsquess stole a child.</p> + +<p>8. Song of the "Snake Dance."</p> + +<p>9. "War Song."</p> + +<p>10. Song sung on the night when the governor's election is +celebrated. This song was sung by proxy, and contains +compliments to the feast, thanks to the people for election, +and words of praise to the retiring chief. It is a very old +song, unknown to many of the younger Indians.</p> + +<p>11. Numerals from 1 to 20; the days of the week; also, a +"counting-out" rhyme.<span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span></p> + +<p>12-14. Tale of Leux and the three fires.</p> + +<p>15. Tale of Leux and Hespens.</p> + +<p>17. An ancient war song, said to have been sung in the old +times when the Passamaquoddies were departing for war with +the Mohawks. A second part contains a song said to have been +sung in the "Trade Dance," as described below.</p> + +<p>18. War Song.</p> + +<p>19. Pronunciation of the names of the fabulous personages +mentioned in Passamaquoddy stories.</p> + +<p>20-22. Story of the birth of a medicine-man who turned man +into a cedar tree.</p> + +<p>23. An ordinary conversation between the two Indians, Noel +Josephs and Peter Selmore.</p> + +<p>24-27. Modern Passamaquoddy story, introducing many +incidents of ordinary life.</p> + +<p>29-35. Story of Pogump and the Sable, and of their killing a +great snake. How the former was left on an island by +Pookjinsquess, and how the Morning Star saved him from +Quahbet, the giant beaver.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a></p></div> + +<p>It appears to me that the selections above given convey an idea of +some of the more important linguistic features of the Passamaquoddy +language, but it is needless to reiterate that these results and +observations are merely experimental. In another place I hope to +reproduce the stories in the original, by phonetic methods. I have +here given English versions of some of the stories recorded, as +translated for me by the narrator, or by Mrs. Brown, and added some +explanations which may be of assistance to a person listening when +songs or stories are being rendered on the phonograph.</p> + +<p>The majority of the remnants of the Passamaquoddy tribe are found in +three settlements in the State of Maine,—one at Pleasant Point, near +Eastport; another at Peter Dana's Point, near Princeton; and a third +at a small settlement called The Camps, on the border of the city of +Calais.</p> + +<p>The manners and customs of this people are fast dying out. The old +pointed caps, ornamented with beads, and the silver disks, which they +once wore, are now rarely seen except in collections of curiosities. +The old games, dances, and songs are fast becoming extinct, and the +Passamaquoddy has lost almost everything which characterized his +fathers.</p> + +<p>There still remain among the Passamaquoddies certain nicknames borne +by persons of the tribe. These nicknames are sometimes the names of +animals, and in older times were more numerous than at present. +Possibly these names are the survivals of the gentile or clan name +once universal among them as among other Indian tribes.<span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span></p> + +<p>I spent several days at Calais, while collecting traditions with the +phonograph, and also visited Pleasant Point, where I made the +acquaintance of some of the most prominent Indians, including the +governor. Most of them speak English very well, and are ready to grant +their assistance in preserving their old stories and customs. The +younger members of the tribe are able to read and write, and are +acquainted with the ordinary branches of knowledge as taught in our +common schools. I should judge from my own observations that the +language is rapidly dying out. The white women who have married into +the tribe have generally acquired the language more or less perfectly. +In their intercourse with each other, Indians make use of their own +language.</p> + +<p>In taking these records with the phonograph I had an interesting +experience. The first time I met Noel Josephs, I greeted him after the +Zuñi fashion. I raised my hand to his mouth, and inhaled from it. He +followed in identically the same manner in which a Zuñi Indian would +respond. I asked him what it meant. He said that it was a way of +showing friendship. He remembered that, when he was a boy, a similar +mode of greeting was common among Indians.<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> Mrs. Brown recalled +having seen a similar ceremony after she was received into the tribe. +The meaning of this similarity I leave to others to conjecture. In a +legend mentioned by Mrs. Brown concerning a game of +"All-tes-teg-enuk," played by a youth against an old man, the latter, +who has magic power, has several times regained his youth by inhaling +the breath of his young opponent.<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a></p> + + +<h3>THE SNAKE DANCE.</h3> + +<p>The Passamaquoddies, no doubt, in old times, had many dances, sacred +and secular. Some of these were very different from what they now are, +and in consequence it is not easy to recognize their meaning. Indians +declare that in their youth dances were much more common. Possibly +some of these will never be danced again. That the Micmacs, neighbors +of the Passamaquoddies, had dances in which elaborate masks were worn, +seems to be indicated by pictographs found on the rocks in Nova +Scotia. Mrs. Brown has in her possession a head-band made of silver, +similar to those worn in ancient times on festive occasions, and +probably at dances. It was not necessarily a badge of a chief. In +excavations made at East Machias, an Indian was found with a copper +head-band and the rem<span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span>nant of a woven tiara. These relics are now in +the hands of Dr. Shehan, of Edmunds, Maine. Copper head-bands have +repeatedly been found on the skulls of Mound Indians. When a boy, I +myself was present at the work of excavating an Indian burial place on +the banks of Charles River, near the end of Maple Street, Watertown. +With one of these skeletons a turtle shell was found, which was +possibly an old Indian rattle.</p> + +<p>One of the most interesting of the selections mentioned is the Song of +the Snake Dance, No. 8. Although the ceremonial element has now +disappeared from this song, it may be presumed that it originally had +a religious importance similar to that of the Snake Dances of the +Southwest, since the extent of the worship of the snake among North +American Indians is known. The same dance is also celebrated by the +Micmacs, having been performed by them during the past year. In both +nations, it is generally united with other dances, and seems to be an +appendage to the more formal ones.</p> + +<p>The general impression among the Passamaquoddies is that this dance +never had a sacred character. The name is said to have been derived +from the sinuous course of the chain of dancers, and from its +resemblance to the motion of a snake. While there is nothing to prove +that it is a remnant of an ancient snake worship, still it is natural +to presume that such is really the case. There are several tales +relating to the manner in which men were turned into rattlesnakes, and +how the noise of the rattlesnakes has its lineal descendant in the +rattles of the dancers. The Indians told me of several songs used for +snake dances, but in those which were sung I think I detected the same +music, and am confident that the words as given occur in most of them. +The discord at the end of the first line is also a feature of the +snake dances which I have heard.<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a></p> + +<p>The dance is performed at weddings and other festive occasions. It is +not used alone, but only with others, and, as I am told, is employed +at all times of festival.</p> + + +<h3>SNAKE SONG.</h3> + +<p>The words of the first strain are as follows:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Wăy' ho yārhnie, way ho yārhnie.<br /></span> +</div></div> + +<p>The words of the second strain are as follows:<span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span>—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Hew nay ie hāh, hew nă'y ie hāh, hew nă'y ie hāh,<br /></span> +<span class="i0">Hew nay ie hāh, hew nay ie hāh, hew nay ie hāh.<br /></span> +</div></div> + +<p>When the strain changes from the first to the second, the words <i>ho +yar'h nie</i> become a discord like <i>noyāh</i>.</p> + +<p>The first part of the song is sung alone, by the conjurer, as he moves +about the room in search of the snake. In the second part all in the +chain of dancers join in with him in the song. The description of the +song in Passamaquoddy, including the invitation to take part in the +dance, is given on the first part of the cylinder. Calls to the +assembly to join in the dance are interpolated in the second strain.</p> + +<p style="text-align: center"> </p> + +<p style="text-align: center"> +<img src="images/music01.png" alt="music" width="760" height="201" /></p> + +<p style="text-align: center">[<a href="music/music01.midi">Listen</a>] [<a href="music/music01.ly">View +Lilypond</a>]</p> + +<p style="text-align: center"> </p> + +<p>The leader or singer, whom we may call the master of the ceremony, +begins the dance by moving about the room in a stooping posture, +shaking in his hand a rattle made of horn, beating the ground +violently with one foot. He peers into every corner of the room, +either seeking the snake or inciting the on-lookers to take part, +meanwhile singing the first part of the song recorded on the +phonograph. Then he goes to the middle of the room, and, calling out +one after another of the auditors, seizes his hands. The two +participants dance round the room together. Then another person grasps +the hands of the first, and others join until there is a continuous +line of men and women, alternate members of the chain facing in +opposite directions, and all grasping each other's hands. The chain +then coils back and forth and round the room, and at last forms a +closely pressed spiral, tightly coiled together, with the leader in +the middle. At first the dancers have their bodies bent over in a +stooping attitude, but as the dance goes on and the excitement +increases they rise to an erect posture, especially as near the end +they coil around the leader with the horn rattles, who is concealed +from sight by the dancers. They call on the spectators to follow them, +with loud calls mingled with the music: these cries now become louder +and more boisterous, and the coil rapidly unwinds, moving more and +more quickly, until some one of the dancers, being unable to keep up, +slips and falls. Then the chain is broken, and all, with loud shouts, +often dripping with perspiration, return to their seats.<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a></p> +<p><span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span></p> +<p>In this dance all present take part; it always occurs at the end of +the Passamaquoddy dances, though it may be followed by a dance of the +Micmacs, or other foreign Indians. There was, when last presented, no +special dress adopted for the snake-dance, and the horn rattle is used +also in other dances. It seems probable that everything used in the +old times has disappeared, with the exception perhaps of the +last-named implement, yet the song resembles closely that of the olden +time. The invitations to dance are possibly introduced, and the +boisterous finale may be of modern date. There is recorded also on the +phonograph, with the song, the invitation to the dance in the +Passamaquoddy language. An invitation is extended to all to come to +the dance. It is a proclamation that there will be a good time, much +to eat, "Indian dances," snake dance, and Micmac dances. The shell of +the turtle was used in old times for a rattle, in place of the horn, +and in a story of the origin of the rattlesnake the conqueror is said +to use a rattle of this kind. In the Zuñi dances, and in the Moqui +snake-dance, a turtle rattle is tied to the inside of the left leg. +The rattle, carried in the hand by the Moqui snake dancer, is a gourd, +but the Passamaquoddies seem to find the horn better adapted for their +purpose. The almost universal use of the rattle among the Indians in +their sacred dances is very significant. The meaning of the snake song +is unknown to the Indians who sing it. The words are probably either +archaic or remnants of a sacred language or mystic words of an +esoteric priesthood.</p> + +<p>The Indian dances held in honor of the chief (governor) and other +officers continued for several days. On the first night the newly +elected chief sang a song complimentary to the food, thanking the +tribe, greeting the past governor, etc. Noel Josephs, at the last +celebration, sang this song by proxy, as the newly elected chief could +not sing. When sung by proxy, the song is called by another name than +when sung by the person elected. This song is preserved on one of the +cylinders.</p> + + +<h3>TRADE DANCE.</h3> + +<p>I have been told that there is an old custom among the Micmacs, still +remembered by many now alive, which is probably a remnant of a +ceremony with which was connected an old dance. To this custom is +given the name of the "Trade Dance," for reasons which will appear. +The account of the custom was given by Peter Selmore, who witnessed it +not many years ago. It is said to be more common among the Micmacs +than among the Passamaquoddies.</p> + +<p>The participants, one or more in number, go to the wigwam of another +person, and when near the entrance sing a song. The leader then +enters, and, dancing about, sings at the same time a con<span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span>tinuation of +the song he sang at the door of the hut. He then points out some +object in the room which he wants to buy, and offers a price for it. +The owner is obliged to sell the object pointed out, or to barter +something of equal value. The narrator remembers that the dress of the +participants was similar to that of the Indians of olden times. He +remembers, in the case of women, that they wore the variegated, +pointed cap covered with beads, the loose robe, and leggings. The face +of the participant was painted, or daubed black with paint or powder.</p> + +<p>This song is recorded on cylinder 17.</p> + +<p>The singer told me, and I can well believe it, that the song is very +ancient. I have little doubt that in this ceremony we have a survival +of dances of the olden times, when they assumed a significance now +either wholly lost or greatly modified.</p> + +<p>It is not without probability that the songs sung as ancient songs may +have modern strains in them, but as a general thing I think we can say +that they are authentic. I do not think I draw on my imagination when +I say that one can detect a general character in them which recalls +that of Western Indians. In order to experiment on this, I submitted +the records to a person who had heard the songs of the Plain Indians, +and who did not know whether the song which she heard from the +phonograph was to be Indian or English. She immediately told me +correctly in all cases which was the Indian, although she had never +before heard the Passamaquoddy songs.</p> + +<p>The folk stories of the Passamaquoddies are but little known to the +young boys and girls of the tribe. It is mostly from the old and +middle-aged persons that these stories can be obtained. I was told by +one of these story-tellers that it was customary, when he was a boy, +for the squaws to reward them for collecting wood or other duties with +stories. A circle gathered about the fire after work, and listened for +hours to these ancient stories, fragments no doubt of an ancient +mythology, upon which possibly had been grafted new incidents derived +by the Indians from their intercourse with the various Europeans with +whom they had been brought in contact.</p> + + +<h3>WAR SONGS.</h3> + +<p>I succeeded in getting upon the phonograph several war songs, typical +of a large number known to the Passamaquoddies. The words of many are +improvised, though there is no doubt that the tunes are ancient. The +words of one of these songs are given below.</p> + +<div class="blockquot"><p>I will arise with tomahawk in my hand, and I must have +revenge on that nation which has slain my poor people. I +arise with war club in my hand, and follow the bloody track +of that nation which killed my people. I will sacrifice my<span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span> +own life and the lives of my warriors. I arise with war club +in my hand, and follow the track of my enemy. When I +overtake him I will take his scalp and string it on a long +pole, and I will stick it in the ground, and my warriors +will dance around it for many days; then I will sing my song +for the victory over my enemy.</p></div> + + +<h3>"M' TOULIN."</h3> + +<p>Passamaquoddy Indians are believers in a power by which a song, sung +in one place, can be heard in another many miles away. This power is +thought to be due to <i>m' toulin</i>, or magic, which plays an important +part in their belief. Several instances were told me, and others have +published similar observations. Leland, in his "Algonquin Legends of +New England," pp. 517, 518, gives a weird account of an Indian who was +so affected by <i>m' toulin</i> that he left his home and travelled north +to find a cold place. Although lightly clad and bare-footed, he +complained that it was too hot for him, and hastened away to find a +climate more congenial to his tastes. In this account one is led to +believe that the man was insane, and that to the Indian insanity is +simply the result of <i>m' toulin</i>.</p> + + +<h3>THE ORIGIN OF THE THUNDER-BIRD.</h3> + +<p>In a very interesting paper of A.F. Chamberlain, on "The Thunder-Bird +among the Algonquins," in the "American Anthropologist," January, +1890, reference is made to the belief in this being among the +Passamaquoddy Indians. On my recent visit to Calais I obtained from +Peter Selmore a story of the origin of the Thunder-Bird, which is +different from any mentioned by Leland. This story, I regret to say, I +was unable to get on the phonograph.</p> + +<p>A story of the old times.<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a> Two men desired to find the origin of +thunder. They set out and travelled north, and came to high mountains. +These mountains drew back and forth, and then closed together very +quickly. One of the men said to the other, "I will leap through the +cleft when it opens, and if I am caught you can follow and try to find +the origin of thunder." The first one passed through the cleft before +it closed, and the second one was caught. The one that went through +saw, in a large plain below, a group of wigwams, and a number of +Indians playing ball. After a little while these players said to each +other, "It is time to go." They went to their wigwams and put on +wings, and took their bows and arrows and flew away over the mountains +to the south. The old men said to the Indian, "What do you want? Who +are you?" He told his mission, and they deliberated what to do. +Finally they took him and<span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span> put him in a mortar and pounded him up so +that all his bones were broken. Then they took him out and gave him +wings and a bow and arrows, and sent him away. They told him he must +not go near the trees, for if he did he would go so fast that he could +not stop, but would get caught in the crotch of a tree.</p> + +<p>He could not get to his home because the bird Wochowsen blew so hard +that he could make no progress against it. As the Thunder-Bird is an +Indian, the lightning from him never strikes one of his kind.<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a></p> + +<p>This is the same bird one of whose wings Glooscap once cut when it had +used too much force. There was for a long time, the story goes, no +moving air, so that the sea became full of slime, and all the fish +died. But Glooscap is said to have repaired the wing of Wochowsen, so +that we now have wind alternating with calm.</p> + + +<h3>BLACK CAT AND THE SABLE.</h3> + +<p>The translation of the following tale of Pogump, or Black Cat and the +Sable, was given me by Mrs. W. Wallace Brown.<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a> The original was told +into the phonograph in Passamaquoddy by Peter Selmore, in the presence +of Noel Josephs. A bark picture of Pookjinsquess leaving the island, +representing the gulls, and Black Cat on the back of the Snail, was +made by Josephs. A copy of this <a href="#plate">picture</a> is given at the end of this +paper.</p> + +<p>Mrs. Brown tells me there is a story which accounts for the hump on +the back of Pookjinsquess, as follows: While leaning against a tree, +some one cut off the tree above and below her shoulders, and she +consequently carries the hump on her back.</p> + +<p>Cooloo, the great bird that overspreads all with his wings, was a +chief. His wife was named Pookjinsquess. The Sable and the Black Cat +went in a stone canoe to a place where they make maple sugar. In this +journey they were lost, and separated from each other. Sable in his +wanderings came to a peculiarly shaped wigwam. He went in and found +within a large Snake. The Snake said he was glad the Sable had come, +as he was very hungry. The Snake told him to go into the woods and get +a straight stick, so that when he pierced him he would not tear open +his entrails. Sable then went out and sang in a loud voice a song +which he hoped his<span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span> brother the Black Cat would hear and come to his +aid.<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a> The Black Cat heard him and came to him. Then the Sable told +the Black Cat the trouble he was in, and how the Snake was going to +kill him. The Black Cat told Sable not to be afraid, but that he would +kill the big Snake. He told him that he would lie down behind the +trunk of a hemlock tree which had fallen, and that Sable should search +out a stick that was very crooked, obeying the commands of the big +Snake. When he had found a stick, he should carry it to the Snake, who +would complain that the stick was not straight enough. The Black Cat +instructed Sable to reply that he would straighten it in the fire, +holding it there until the steam came out of the end.<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a> While the +Snake was watching the process of straightening the stick and the exit +of the steam, Black Cat told Sable that he should strike the Snake +over the head. The Sable sought out the most crooked stick he could +find, and then returned to the wigwam where the Snake was. The Snake +said the stick was too crooked. The Sable replied, "I can straighten +it," and held it in the fire.<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a> When it was hot he struck the Snake +on the head and blinded him.<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a> The Snake then followed the Sable, +and, as he passed over the hemlock trunk, Black Cat killed him, and +they cut him in small fragments. Black Cat and Sable called all the +animals and birds to the feast; the caribous, wild horses, and swift +animals and birds were first to arrive at the feast. The Turtle was +the last, and got only the blood. Then the Black Cat and Sable +returned home to Cooloo, whose wife was Pookjinsquess. She thought she +would like to have for her husband Black Cat if she could get rid of +Cooloo. But Black Cat offended Pookjinsquess and made her angry. To +make way with him she invited him to go with her for gulls' eggs. She +took him across the water in a canoe to an island which was very +distant. There they filled baskets with eggs and started home in the +canoe. A large, very beautiful bird flew over them. They both shot +their<span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span> arrows at it. The bird fell, and Black Cat jumped into the +water to get what they had shot. When he got to where the bird fell he +could not find it. Pookjinsquess went off, singing as she went the +following song, which has been written out from the phonographic +record by Mr. Cheney, and left Black Cat on the island.</p> + +<p style="text-align: center"> </p> + +<p style="text-align: center"> +<img src="images/music02.png" alt="music" width="742" height="194" /></p> + +<p style="text-align: center">[<a href="music/music02.midi">Listen</a>] [<a href="music/music02.ly">View +Lilypond</a>]</p> + +<p style="text-align: center"> </p> + +<p>I think there are internal evidences of the antiquity of this song, +although the English sentence, "Wait for me," shows the modern +character of certain of the words. This sentence seems to supply the +place of unknown Indian words. Several Indians assured me that the +song was old. According to Leland, Pookjinsquess sang the following +words when she left Black Cat:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Niked ha Pogump min nekuk<br /></span> +<span class="i0">Netsnil sagamawin!<br /></span> +</div></div> + +<p>Which he translates,—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">I have left the Black Cat on an island;<br /></span> +<span class="i0">I shall be the chief of the Fishers now.<br /></span> +</div></div> + +<p>The best I can make out of the phonographic record given me by Peter +Selmore of the words which she sang is,—</p> + +<div class="blockquot"><pre> > > > ><br />Er tin le ber nits nah o o o o.<br />Wait for me.<br />Nick ne ar ber yer hay ey.<br /> +</pre></div> + +<p>The second line sounds like the English "Wait for me," but is not +distinct. The end of the first line is violently explosive. The third +line ends in a word expressive of strong feeling, possibly revenge.</p> + +<p>In a version of this story by Leland, Pookjinsquess leaves Black Cat +on the island, and paddles away, singing songs. In his story, Black +Cat was carried off from the island by the Fox, who swam out to get +him.</p> + +<p>Black Cat called to the gulls to defile Pookjinsquess with their dung. +They flew over her, and as she looked up they covered her face with +bird-lime.<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a> They then burst out in a laugh, which they still have, +when they saw how changed her face was.</p> +<p><span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span></p> +<p>Black Cat wandered about the island, until at last he found a wigwam +of the grandfather, the "Morning Star," who told him he was on a very +dangerous island. He told him it was the habit of the Great Beaver to +destroy every one who came to the island.<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a></p> + +<p>He told the Black Cat to climb a tree, and when he needed help to call +out for him. Night coming on, water began to rise about the base of +the tree, and the Giant Beaver came and began to gnaw at its base. The +friendly ants<a name="FNanchor_16_16" id="FNanchor_16_16"></a><a href="#Footnote_16_16" class="fnanchor">[16]</a> tried to keep the tree upright, but the water +continued to rise and the Beaver kept on gnawing. Then the Black Cat +in his sore dilemma called out, "Grandpa, come!" The grandfather +responded, "I am coming; wait till I get my moccasins." The water rose +higher. Again Black Cat called out, "Come, grandpa, come!" "I am +coming," his grandfather said; "wait till I get my cap." Again Black +Cat called, "Hurry, grandpa!" "Wait until I get my pipe," said the +grandparent. But the waters had reached him. The tree swayed to and +fro. "Come, grandpa, come!" said Black Cat for the last time. Then he +said, "I am coming; wait till I open my door;" and then he opened the +door of his wigwam and the Morning Star came forth, the water began to +recede, and the Beaver swam away.<a name="FNanchor_17_17" id="FNanchor_17_17"></a><a href="#Footnote_17_17" class="fnanchor">[17]</a> Then Black Cat's grandfather +told him to come down, and he would send him over the water to the +other shore on the back of the Wewillemuck. Black Cat thought that +Wewillemuck was too small to carry him over, but his grandfather told +him to seat himself between his horns, and when he wished +Wewillemuck<a name="FNanchor_18_18" id="FNanchor_18_18"></a><a href="#Footnote_18_18" class="fnanchor">[18]</a> to go faster he should tap him on the horns. The +grandfather then gave his grandson a small bow and arrows, and put him +on the snail's back between his horns.</p> + +<p>As they were crossing the channel, Wewillemuck said to the Black Cat, +"When we get near shore tell me." But Black Cat gave Wewillemuck a +sharp rap on the horns, and the snail jumped forward and went so far +that both went a far distance inland.<span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span> Wewillemuck said, "Why did you +not tell me we were near the land? Now I cannot get back to the water +again." But Black Cat took his small bow and arrows, and with them +carried Wewillemuck back to the water. So pleased was he that he said, +"Scrape from my horns some fine dust, and, whatever you wish, put this +powder upon it and it is yours." So Black Cat scraped off some powder +from the horns of Wewillemuck.</p> + +<p>The Raven was told to build a wigwam for Cooloo, who was chief. Pogump +(Black Cat) went to see the chief, and killed him with the powder. +Black Cat went to see Pookjinsquess; he scattered a ring of powder +around her wigwam, and then set it on fire. It blazed up and ignited +the wigwam, burning up the old woman Pookjinsquess; whose ashes, blown +about by the winds, made the mosquitoes.<a name="FNanchor_19_19" id="FNanchor_19_19"></a><a href="#Footnote_19_19" class="fnanchor">[19]</a></p> + +<p>Leland, in his version of this story, represents the Black Cat as +identical with Glooscap,<a name="FNanchor_20_20" id="FNanchor_20_20"></a><a href="#Footnote_20_20" class="fnanchor">[20]</a> and the Sable as a boy who had a flute by +which he could entice to himself all the animals. The story of the +sticks is similar, but the cutting up of the serpent is not mentioned. +He says that Black Cat, who is preparing his arrows, and will return +and destroy all, is Glooscap, who in another story kills the Snake, +cuts him in fragments, and invites all the animals to eat him. The +Turtle, the grandfather (adopted), arrives last, and only gets the +blood for his share.</p> + + +<h3>A STORY OF LEUX.</h3> + +<p>A story of the old time. In winter, while travelling, Leux met a +number of wolves, which were going in the same direction that he was. +At nightfall the old wolf built a fire and gave Leux supper. He gave +him skins to cover himself while he slept, but Leux said that the fire +was so warm that he did not need or wish a covering. At midnight Leux +awoke and was almost frozen with cold. The next morning Leux was +obliged to part with the wolves.<a name="FNanchor_21_21" id="FNanchor_21_21"></a><a href="#Footnote_21_21" class="fnanchor">[21]</a></p> + +<p>The old wolf said, "How far are you going?" Leux answered, "Three +days' journey." The wolf said then, "I will do for you the<span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span> very best +thing I can. I will give you three fires, one for each night." The +wolf told him to gather some dry wood, put it in a pile, jump over it, +and it would burn.<a name="FNanchor_22_22" id="FNanchor_22_22"></a><a href="#Footnote_22_22" class="fnanchor">[22]</a></p> + +<p>Leux parted from the wolf, and as soon as he was out of sight he +thought he would try to make a fire as directed by the wolf, remarking +that he did not think it would burn. So he gathered some dry wood, +made a little pile, and jumped over it, as he had been directed. The +wood was ignited, as the wolf had predicted, much to the surprise of +Leux. Leux then put out the fire. After walking a short distance he +kindled another in the same way. This he put out as before, and at +noon tried again, kindling the fire as before and putting it out +immediately after. Now when night came Leux made a camp and collected +a pile of good dry wood and jumped over it, as he had done previously, +and as he had been directed by the wolf. But this time the wood did +not burn. He repeatedly jumped over the wood, but in vain. The wood +gave off a cloud of smoke, but no blaze appeared. That night it was +bitter cold,—so cold that Leux was nearly frozen to death.<a name="FNanchor_23_23" id="FNanchor_23_23"></a><a href="#Footnote_23_23" class="fnanchor">[23]</a></p> + +<p>One day two young girls (in Leland's account the two girls are +weasels) were walking along, and k'Cheebellock came to them and +carried them to his home in another world high up in the sky. The +girls became homesick in the strange place, and every day they longed +more and more to get back to the earth. Every day they cried for their +homes. At last k'Cheebellock offered to carry them back to the earth, +and took them up to transport them to their native land. But +k'Cheebellock's wings were so large that he could not get to the +ground on account of the high trees. So he left them in the top of a +very high hemlock in the midst of the forest.<a name="FNanchor_24_24" id="FNanchor_24_24"></a><a href="#Footnote_24_24" class="fnanchor">[24]</a></p> + +<p>The girls could not get down out of the tree. As time passed on, after +a long time they saw a young man walking in the woods. They cried out +to him to come and take them down. The first time they called, the +young man did not look up. Now this man was Leux: they called again, +and he replied that he was very busy building a road [trail], and he +said he could not take them down he was so occupied. After a long time +the girls saw Leux pass by again, and<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span> they begged him to take them +down from the tree. This time Leux replied that he would take them +down if one of them would consent to become his wife. To this they +agreed.</p> + +<p>Now these girls had their hair tied with long shreds of eelskins. They +took off these strings, which bound their hair behind, and securely +tied them in hard knots on the top branches of the tree upon which +they were. Leux climbed the tree and brought the girls down safe and +sound. He then demanded one of them for his wife.<a name="FNanchor_25_25" id="FNanchor_25_25"></a><a href="#Footnote_25_25" class="fnanchor">[25]</a></p> + +<p>But the girls said, "First, it is necessary for you to untie and bring +down our hair bands for us." Leux climbed the tree to get the eelskin +hair bands, but they had tied them so securely that it took him a long +time to loosen the knots. When he came down the girls had built a +large and beautiful wigwam. They then made Leux blind<a name="FNanchor_26_26" id="FNanchor_26_26"></a><a href="#Footnote_26_26" class="fnanchor">[26]</a> [how, the +narrator did not know].</p> + +<p>Then the maidens call out to him, and now one and now the other +invites him to come to her. As he follows their voices one of them +leads him to fall into the water, and the other makes him stumble on +porcupine quills. Exhausted, Leux then goes to sleep, wearied out with +his exertions, but when he awoke the maidens had vanished.</p> + +<p>The story of the Indian maids who were loved by k'Cheebellock, the +spirit of the air, is told in another way by Leland, although that +part of the story which pertains to Leux and the hair bands is the +same in both accounts. In Leland's account we have a beautiful legend, +Micmac and Passamaquoddy, in which two maids, called the weasels, are +loved by the stars, not by k'Cheebellock. It is interesting also to +note that the hair bands in this variant of the story were of eelskin, +a fact which is not brought in Leland's account. k'Cheebellock is a +superhuman deity of the Passamaquoddies, and is represented as a being +without body, but with heart, head, wings, and long legs. He is +stronger than the wind, and is the genius of the air. k'Cheebellock +has sometimes been confounded with Kewok, but Kewok is the cannibal +deity, or a cannibal giant. He is said to have a heart of ice, and to +afflict the Indians in many ways. It is he who tears the bark from the +wigwam, and who frightens men and women. Kewok is the being in whom a +Norse divinity has been recognized by one or two well-known scholars.</p> + +<p>In olden times the hair of women was tied with hair strings which were +securely bound to a flat plate on the outside. This plate was formerly +of shell, or later of metal. To this hair string was ascribed<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span> certain +magic powers, especially in love affairs, and the possession of it was +a potent spell.</p> + + +<h3>HOW A MEDICINE MAN WAS BORN, AND HOW HE TURNED MAN INTO A TREE.</h3> + +<p>A story of old times. There was once a woman who travelled constantly +through the woods. Every bush she saw she bit off, and from one of +these she came to be with child. She grew bigger and bigger until at +last she could travel no longer, but built a wigwam near the mouth of +a stream. The woman gave birth to a child in the night. She thought it +best to kill the child, but did not wish to murder her offspring.<a name="FNanchor_27_27" id="FNanchor_27_27"></a><a href="#Footnote_27_27" class="fnanchor">[27]</a></p> + +<p>At last she decided to make a canoe of bark, and in it she put her +child and let it float down the river. The water of the river was +rough, but the child was not harmed, or even wet.<a name="FNanchor_28_28" id="FNanchor_28_28"></a><a href="#Footnote_28_28" class="fnanchor">[28]</a> It floated down +to an Indian village, and was stranded on the shore near a group of +wigwams. A woman of the village found the baby on the shore and +brought it to her home. Every morning, after the baby had been brought +to the place, a baby of the village died. The Indians did not know +what the matter was until they noticed that the waif which the woman +had found in the bark on the river bank went to the river every night +and returned shortly after. A woman watched to see what this had to do +with the death of the babes, and she saw the child, when it returned +to the wigwam, bring a tongue of a little child, roast and eat it. +Then it laid down to sleep. The next morning another child died, and +then the Indian knew that its tongue had been cut out. It was +therefore believed that the strange child had killed the baby. They +deliberated as to what they should do with the murderer. Some said, +cut him in pieces and cast the fragments into the river. Others said, +cut him up and burn the fragments. This, after much consultation, they +did. They burnt the fragments of the child until nothing but the ashes +remained. Everybody thought it dead, but the next morning it came back +to camp again, with a little tongue as before, roasted and ate the +morsel. The next morning another child was found to have died the +night before. After the weird child had roasted and eaten the tongue +of its victim he laid down to sleep in the same place he had laid +before he had been cut up into fragments and cremated. But in the +morning the child said<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span> that it would never kill any more children. He +had now, in fact, become a big boy. He said he would take one of his +bones out of his side. This he tried to do, and as he did it all the +bones came out of his body at the same time. Then he closed his eyes +by drawing his fingers over his eyelids so that his eyes were hidden +(not necessarily blind). He could not move, because he had no bones +and had grown very fat. He became a great medicine man, and told the +Indians that whatever they asked of him he would grant them. Then the +Indians moved away from the place and left the medicine man behind in +a nice wigwam which they built for him. But they were accustomed to go +back when they wished anything, and to ask the conjurer for it. The +Indians used to go to him for medicine of all kinds. When he granted +their request he said, "Turn me over and you will find the medicine +under me."<a name="FNanchor_29_29" id="FNanchor_29_29"></a><a href="#Footnote_29_29" class="fnanchor">[29]</a></p> + +<p>Once upon a time a young man who wished the love of women went to him +and asked for a love potion. The old man said, "Turn me over." The +young man turned the conjurer over and found under him an herb. The +old man told him he must not give this away or throw it away. The +young man went home to his wigwam. On his return home all the women of +the place followed him, everywhere and at all times. He longed to be +alone, and did not like to have the women so much about him. At last +he was so much troubled by them that he went back to the conjurer and +gave back the medicine to the medicine man, who took the herb, and the +young man went away without it. Another man went to the conjurer for +medicine. The old man said, "What do you want?" He said, "I want to +live as long as the world stands." The old man said the request was +hard to grant, but he would try to answer it. The conjurer, as was his +wont, said, "Turn me over," and underneath his body was the herb. Then +the conjurer told the man who wished to live forever to go to a place +which was bare of everything, so bare indeed that it was destitute of +all vegetation, and to stand there. He pointed out the place to him. +This the man did, and, looking back at the conjurer, branches grew out +all over him, and he was changed into a cedar tree. He is useless to +every one, and there he will stand forever.</p> + +<p>The first part of this story strongly reminds one of the story of +Moses, and may have been due to contact with Europeans. It is to<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span> be +remarked that the mother of the child became pregnant by eating an +herb. The child is therefore parthenogenetic. According to Leland, the +medicine man who turned the man into a cedar tree is Glooscap. +Glooscap performed many such miracles, as in the case of the story of +the animals. In another story the father of Glooscap is mentioned as a +being who lives under a great fall of water down in the earth. His +face is half red, and he has a single eye. In another he can give to +any one coming to him medicine to grant him whatever he wishes, and in +still another Glooscap is now sharpening his arrows way off in some +distant place. He will return to earth and make war.</p> + +<p>"On whom will he make war?" "He will make war on all, kill all: there +will be no more world; world all gone. Dunno how quick,—mebbe long +time: all be dead then, mebbe—guess it will be long time."</p> + +<p>"Are any to be saved by any one?" "Dunno. Me hear some say world all +burn up some day; water all will take fire. Some good ones be taken up +in good heavens, but me dunno; me just hear that. Only hear so."<a name="FNanchor_30_30" id="FNanchor_30_30"></a><a href="#Footnote_30_30" class="fnanchor">[30]</a></p> + +<p>In their stories the Passamaquoddies tell the old stories as true; but +they speak of other stories as what they hear. The part of the above +account, of the return of Glooscap and the destruction of the world, +they say is true. The last portion shows its modern origin in the +statement that they hear that it is so.</p> + +<p>The stories of the birth of Glooscap,<a name="FNanchor_31_31" id="FNanchor_31_31"></a><a href="#Footnote_31_31" class="fnanchor">[31]</a> his power to work miracles, +and his ultimate return to earth, are very suggestive.</p> + +<p>The belief of the Indians in a Great Spirit is a figment of the +imagination on the part of the whites. It is now extremely difficult +to discover what the original belief of the Passamaquoddies was, as +they are now Christianized and have been for many years.</p> + +<p>From a scientific standpoint much has been lost by this change. There +are several customs which are undoubtedly modifications of older +observances which they probably replace. That these customs are +secondary modifications, their general character seems to demonstrate. +Still they have certain Indian features, and as such merit record. +There are doubtless certain religious observances which have been +changed by the influence of the whites. If these were rightly +interpreted they might tell some very interesting story of the ancient +beliefs of this people, but many of these observances have been so +modified that their meaning, if they have any, is wholly obliterated.</p> + +<p>Among these might be mentioned a common burial custom, an<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span> account of +which has never been recorded. I am informed by Mrs. Brown that when +an Indian dies a gun is fired. The coffin is enveloped with fine white +sheeting, and cords are tied around the sheeting to keep the cotton in +place. When the coffin is lowered into the grave the cords are +removed, and the cotton is given to the grave-digger. Possibly this +custom may have been derived from some older one, or may have +originated from contact with the whites. The mode of burial in coffins +and the use of cotton sheeting are certainly modern customs, but may +be modifications of some older ceremonial when other material was +used.</p> + +<p>The counting-out rhyme which is given on the cylinder is as follows:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Hony, kee bee, lā ā-weis, ag-les, huntip.<br /></span> +</div></div> + +<p>The inflection on the last word is always a rising one. This is +especially true on the last syllable of the last word, "tip." The +counting out is not very different from that of white children. They +all place two fingers of each hand in a circle; the one who repeats +the doggerel, having one hand free, touches each finger in the circle +saying, <i>Hony, kee bee, lā ā-weis, ag-les, huntip</i>. Each finger +that the <i>huntip</i> falls on is doubled under, and this is repeated +again and again until there are but three fingers left. The persons +corresponding to these start to run, and the one caught has to play as +<i>Squaw-oc-t'moos</i>.<a name="FNanchor_32_32" id="FNanchor_32_32"></a><a href="#Footnote_32_32" class="fnanchor">[32]</a> To the Indian mind "counting out" has a +significance, and even the simple <i>huntip</i> is a magic word, bringing +good luck, as it lessens the chance of being "<i>squaw-oc-t'moos</i>." +["Journal of American Folk-Lore," vol. iii. No. 8, pp. 71, 72.]</p> + +<p>One of the songs, said to be a salutation, which was sung on the +cylinders, has been written out from the phonograph by the late Mr. +S.P. Cheney. The words, as nearly as I can make them out, are as +follows:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">T'wā too boo hen ee too boo ho [to be way] bla<br /></span> +<span class="i0">Tel ey wees ee lu<br /></span> +<span class="i0">Hoi kay yu kar, heno yah ha,<br /></span> +<span class="i0">Kaye yu kar, hen o yar-hah,<br /></span> +<span class="i0">Kay yu kar, hen o yah-hah, kay yu kar, hen o yar-hah.<br /></span> +</div></div> + +<p>The first two lines are sung first to the upper staff, then repeated +to the music on the second, which differs somewhat from the first. +Then follows the third and fourth lines, which are sung to the third +staff, and repeated with slight variation from the fourth.<span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span></p> + +<p style="text-align: center"> </p> + +<p style="text-align: center"> +<img src="images/music03a.png" alt="music" width="744" height="171" /></p> + +<p style="text-align: center">[<a href="music/music03a.midi">Listen</a>] [<a href="music/music03a.ly">View +Lilypond</a>]</p> + +<p style="text-align: center"> </p> + +<p style="text-align: center"><img src="images/music03b.png" alt="music" width="738" height="170" /></p> + +<p style="text-align: center">[<a href="music/music03b.midi">Listen</a>] [<a href="music/music03b.ly">View Lilypond</a>]</p> + +<p style="text-align: center"> </p> + +<p>The question of whether the Indians originally had characters to +designate tones has been discussed by Theodor Baker ("Ueber die Musik +der Nord Amerikanischen Wilden"). Although the Micmacs seemed to have +had an elaborate system of hieroglyphics<a name="FNanchor_33_33" id="FNanchor_33_33"></a><a href="#Footnote_33_33" class="fnanchor">[33]</a> to designate sounds, +neither they nor their immediate neighbors, according to Vetromile, +had characters to designate tones. The songs were probably committed +to memory, and possibly on that account were often somewhat modified.</p> + +<p>The cylinder with Passamaquoddy words and the English equivalents has +the following records, which I have written down as nearly as I could +from the phonograph, and verified by repeating them from my spelling +to the Indians. With two exceptions, the Indians, were able to +understand the word meant, and to give me an English equivalent +identical with that originally recorded. I have made these experiments +of verification in order to test the capabilities of the phonograph. +In the cases where my spelling of the word has failed to convey the +sound of the word, the phonograph was perfectly understood by the +Indian interrogated. This fact seemed to me to bring out a serious +defect in the use of the phonetic method, which may not be confined to +me alone. I doubt very much if the Indians could understand many of +the words in some of the vocabularies of other Indians which have been +published, if the words were pronounced as they are spelled. The +records of the phonograph, although of course sometimes faulty, are as +a general thing accurate.<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span> When I wrote out the Passamaquoddy words +given below, I was wholly ignorant of their meaning. I wrote them as I +heard them on the cylinder, placing at their side the English +equivalent. I then pronounced the word to an Indian, and he gave the +same English word which I had myself written from the phonograph:—</p> + +<div class="blockquot"><p> +k'tālgus (gin), <i>ear</i>.<br /> +Wee tin, <i>nose</i>.<br /> +Hük, <i>body</i>.<br /> +K'telobāgen, <i>arms</i>.<br /> +Sqăt, <i>fire</i>.<br /> +K'tāgen, <i>foot</i>.<br /> +Wittuk, <i>forehead</i>.<br /> +(Puks que nor wūk), Pugorken, <i>blood</i>.<br /> +Tups kuk, <i>neck</i>.<br /> +Wusquān, <i>elbow</i>.<br /> +Kort, <i>leg</i>.<br /> +Qūtque, <i>knee</i>.<br /> +Wukum, <i>heel</i>.<br /> +Wus quout, <i>liver (heart)</i>.<br /> +Wee bee, <i>tooth</i>.<br /> +p'kŭtt, <i>smoke</i>.<br /> +</p></div> + +<p>The object of the above list is simply to show how nearly one can +obtain the sound of the word phonetically by the phonograph. It is +thought to illustrate a possible use of this instrument.</p> + +<p>Vocabularies of Passamaquoddy words have been published, but as a +general thing they are very incomplete. Miss Abby Alger, of Boston, +has printed a short list of common words and phrases, and in Kilby's +"History of Eastport" the Passamaquoddy names of certain localities, +rivers, etc., are given.</p> + +<p>It is probably impossible to get the same story in all its details +from two different Indians. The variations in incidents are very +numerous. Consequently the observer who follows me will undoubtedly +find a great difference between the tale as I give it and as he hears +it. That is to be expected, nor is it probable that these stories +admit of absolute accuracy as long as human memory is fallacious. +These stories are <i>membra dejecta</i> of older ones, and, although lineal +descendants of ancient tales, are probably more or less modified or +changed.</p> + +<p>The following are a few of the mythological characters which play a +part in many of the stories of the Passamaquoddies. They are all given +on one of the cylinders of the phonograph:—</p> + +<div class="blockquot"><p><i>Leux.</i> Mischief-maker. In certain stories, simple fellow.</p> + +<p><i>Kewok.</i> A formless being with icy heart, and when mentioned +regarded as a terrible one.</p> + +<p><i>Pedogiic.</i> Thunder.</p> + +<p><i>Pesok que tuk.</i> Lightning.</p> + +<p><i>Ooargamess.</i> Small beings who live about rocks and chatter +in unknown tongue. Have been seen in late times.</p> + +<p><i>Lumpagonosis.</i> Water beings.</p> + +<p><i>Kelphit.</i> A shapeless (medicine) being who is turned over +twice each year. Under him are found flowers.</p> + +<p><i>Pogumpt.</i> Black Cat, Fisher.</p> + +<p><i>k'Chebollock.</i> The Spirit of the Air. This being is said to +be without body, but to have a heart, wings, head, and +legs.<span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span></p> + +<p><i>Cadoux.</i> Spirit of Night. Said to have been seen lately. An +evil spirit which tears bark from the wigwam, and in many +ways frightens the Indians.</p> + +<p><i>Pook-jin-squess.</i> The Jug. Called also the toad woman. In +some Indian stories spoken of as governor.</p> + +<p><i>Noosagess.</i> A being associated with the wind.</p> + +<p><i>Squaw-oc-t'moos.</i> Swamp woman.</p> + +<p><i>Mousham.</i> Grandfather.</p> + +<p><i>Glooscap.</i> The beneficent being whose deeds are generally +superhuman, and who figures in many heroic tales of the +Passamaquoddies. The term as applied to a man is one of +contempt. To call a man glooscap, or a woman glooscapess, is +to call them liars.</p> + +<p><i>Chematiquess.</i> The big rabbit. There are many tales in +relation to Chematiquess. The new one which I have treats of +his efforts to escape Glooscap.</p> + +<p><i>Mickemnise.</i> The good fellow. I have also heard the +Ouargamiss called Mickeminn.</p> + +<p><i>Hespens.</i> The raccoon.</p> + +<p><i>Quarbet.</i> The giant beast.</p> + +<p><i>M'Sartoo.</i> The Morning Star.</p> + +<p><i>Consuce.</i> The ancients; said to be the fabricators of stone +things. These were the makers of the stone axes or tomahawks +which are found in the territory once inhabited by the +Passamaquoddies.</p></div> + +<p>The accompanying <a href="#plate">plate</a> illustrates the above mentioned story of Pogump +and Pookjinsquess, the original of which was drawn on birch bark by +Noel Josephs.</p> + +<hr style="width: 45%;" /> + +<p>Since the above was written, I have spent some time at Zuñi Pueblo, +New Mexico, during which my studies of aboriginal language with the +phonograph were continued. While it is too early to state the exact +value of the records obtained, it may be interesting to know that I +have succeeded in obtaining some important specimens of the songs, +stories, and prayers of this tribe in the course of the summer. The +songs of the sacred dances of the Zuñians are particularly adapted to +successful recording with the phonograph. Of these there were obtained +several so-called <i>Ko-ko</i> songs, such as are sung in the <i>Kor-kok-shi</i> +or rain dances. The song sung at the <i>Ham-po-ney</i>, an ancient dance +celebrated every eight or ten years by the women, was also obtained +from one of the participants. This dance, an elaborate corn-dance, is +said to be an ancient ceremony, and is, next in importance to the +dedication of the houses, one of the most striking events in the +Zuñian calendar. The rarity of its performance, and the possibility +that when next performed it may be greatly modified, give a unique +value to this record.</p> + +<p>The most important of the ceremonies of the winter at Zuñi Pueblo is +undoubtedly the <i>Sha-la-ko</i>, at which certain of the houses to the +number of seven, which have been built during the past year,<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span> are +dedicated. The song and prayer of the <i>Sha-la-ko</i> was sung for me into +the phonograph by one of the Zuñians, who had, as I was told, taken +part in the celebration a few years ago.</p> + +<p>Among other interesting records may be mentioned the prayer of the +hunter to his fetish when on the hunt; and that of the Priest of the +Bow, formerly sung when he went to war with the Navajos. I also +obtained a song of the <i>She-vo-la</i> dance, which bears evidence of +great antiquity.</p> + +<p>I failed to get what I especially desired, viz., a record of the Zuñi +ritual or history of the tribe. Although repeatedly promised that it +should be given, and while at one time I thought that I had obtained +part of it, I must acknowledge an utter failure to accomplish what was +hoped in this line. The Zuñi epic, so called, is still unrecorded on +the phonograph, although at one time I was so confident that I had +obtained it, that I stated such to be the fact, and my statement has +appeared in print.</p> + +<p>There is among the Zuñians an interesting ceremonial for rain, which +is observed on the night before the departure of the pilgrims who +visit the Sacred Lake for water, as a preparation for the first of the +solstitial rain dances. I have been able to obtain the chant and words +of this ceremonial, called the <i>Dw-me-chim-che</i>, from one who has +taken part in it. The observance is so primitive, and bears so many +evidences of antiquity, that a record of the chant has an importance, +in the study of the customs of this interesting people, second to none +with which I am familiar.</p> + +<p>Experience has taught me that records of songs are the best which can +be obtained. These are, as a rule, better adapted to the phonograph. +Rituals and prayers are repeated in such a low tone that they are, as +a general thing, imperfectly reproduced on the wax cylinders of the +phonograph. A natural timidity of the Indians with respect to +repeating the sacred formulæ, and the absolute fear which some of them +have when the records are repeated to them by the phonograph, +prevented my obtaining many of these valuable records. Still I have +made a beginning, and have obtained enough to demonstrate the value, I +think, of the instrument, in the preservation and study of aboriginal +folk-lore.</p> + +<p>I have prepared an elaborate account of the ceremonies witnessed by +me, in many of which the songs, formulæ, and prayers of the +participants were repeated on the phonograph, and the records +themselves will be published as soon as they are carefully worked out.</p> + +<p style="text-align: right"><i>J. Walter Fewkes.</i></p> + +<p> </p> + +<p style="text-align: center"><a name="plate"> +<img src="images/image01.jpg" width="622" height="294" alt="birch-bark drawing" /></a></p> + + + +<hr style="width: 65%;" /> +<h2>FOOTNOTES</h2> + +<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> This work was undertaken as a preparation for similar +observation in connection with the Hemenway Archæological Expedition. +I am indebted to Mrs. Mary Hemenway, of Boston, for opportunities to +make these observations.</p></div> + +<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> I have given below English versions of these, or the +Indian stories told in English.</p></div> + +<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> My surprise at this coincidence was very great, but I +confess that I was also interested to hear from the lips of my Indian +friend, at parting, the familiar Italian word, "Addio."</p></div> + +<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> <i>Some Indoor and Outdoor Games of the Wabanaki Indians</i>, +Trans. Roy. Soc. Canada, Section II. 1889.</p></div> + +<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> I myself have never witnessed the snake-dance. The +description which follows was obtained from Mrs. Brown, who has seen +it performed twice, as well as from Peter Selmore, Noel Josephs, and +other Indians who have frequently taken part in it. The song was +recorded on the phonograph from the lips of Josephs, who is recognized +by the Indians themselves as one competent to sing the song. Josephs +told me that he remembered when this and other dances took place in a +large wigwam made of bark.</p></div> + +<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> The last part of this dance somewhat resembles a play +among boys, known as "Snap the whip."</p></div> + +<div class="footnote"><p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> The Zuñi folk-tales always begin with a similar +introduction, which may be translated, "In the time of the ancients." +The Passamaquoddies often end a story by the words which, being +translated, mean "this is the end." The same occurs in other Indian +stories.</p></div> + +<div class="footnote"><p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> The wind (Wochowsen) is represented as resisting the +Thunder-Bird. According to Chamberlain and Leland, "thunder beings are +always trying to kill a big bird in the south." It is said by the +Passamaquoddies that Wochowsen is the great bird which overspreads all +with his wings and darkens the sky. Often when he passes by, the glare +of the bright sun is ample to blind them.</p></div> + +<div class="footnote"><p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> The version gives only the incidents as remembered, and +can hardly be called a translation.</p></div> + +<div class="footnote"><p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> Probably Sable had a <i>m' toulin</i>, or magic power, and +his song was heard by Black Cat, although miles away beyond hills and +mountains.</p></div> + +<div class="footnote"><p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> Evidently to excite the curiosity of the Snake.</p></div> + +<div class="footnote"><p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> The fire was outside the wigwam, and the Snake put his +head out of the wigwam, when he was struck. Possibly the Snake watched +the process of straightening the stick through curiosity, and was off +his guard.</p></div> + +<div class="footnote"><p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> In another story which was told me, Glooscap turned the +eyes of the Snake white in the following manner:— +</p><p> +"Once on a time Glooscap was cooking something in his wigwam, and the +Snake wished to see what it was. So the Snake crawled up the outside +of the wigwam and looked down through the smoke-hole into the cooking +vessel. But Glooscap, who was stirring the pot of cooking food, held +in his hand a great ladle. He noticed the Snake peering in at the +smoke-hole, and, filling the bowl of the ladle full of the hot food, +threw it into the eyes of the Snake. From that time the eyes of the +Snake have been white."</p></div> + +<div class="footnote"><p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> According to the narrator, the bird that did this was a +very large one. Possibly it was Cooloo, the offended husband of +Pookjinsquess.</p></div> + +<div class="footnote"><p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> Quahbet, or the Giant Beaver, was not on the best of +terms with Black Cat, for Glooscap had slain many of the beavers, +whose bones still exist, and are of giant size. This hatred probably +arose, says Leland, from the time when Quahbeetsis, the son of the +Beaver, inspired Malsumsis to kill Glooscap.</p></div> + +<div class="footnote"><p><a name="Footnote_16_16" id="Footnote_16_16"></a><a href="#FNanchor_16_16"><span class="label">[16]</span></a> The ants assisted Black Cat in many ways. They were also +friendly to Leux, and on one occasion are said to have gathered the +bones and fragments of the "Merry God" together and restored his life. +Whether in the present instance they tried to keep the tree upright by +piling the earth about its trunk or not, the narrator does not say.</p></div> + +<div class="footnote"><p><a name="Footnote_17_17" id="Footnote_17_17"></a><a href="#FNanchor_17_17"><span class="label">[17]</span></a> Possibly the gnawing of the Beaver is the ripple of the +waves around the base of the tree.</p></div> + +<div class="footnote"><p><a name="Footnote_18_18" id="Footnote_18_18"></a><a href="#FNanchor_18_18"><span class="label">[18]</span></a> Mrs. Brown has identified Wewillemuck as the snail. Some +of the Indians say that it is a large lizard like an alligator. The +bark picture of this creature, made by Noel Josephs, is that of a +nondescript difficult to identify.</p></div> + +<div class="footnote"><p><a name="Footnote_19_19" id="Footnote_19_19"></a><a href="#FNanchor_19_19"><span class="label">[19]</span></a> In this manner he obtains his revenge. Dr. Boas tells me +he has heard a similar story of the origin of the mosquitoes on the +West Coast.</p></div> + +<div class="footnote"><p><a name="Footnote_20_20" id="Footnote_20_20"></a><a href="#FNanchor_20_20"><span class="label">[20]</span></a> Mrs. Brown writes me that the Black Cat referred to is +not identical with Glooscap. "There were very many of these +mythological personages," she says, "who were able to do things as +wonderful as Glooscap, but they were not of his nature. He worked for +good, they for selfish purposes." +</p><p> +Mr. Leland's work exhibits throughout want of exactness in recording +just what the Indians told him. It is in deductions and explanations +that error is liable to arise. A story made up from the recital of +several Indians is likely to exhibit their attempts to explain +doubtful parts of the story.</p></div> + +<div class="footnote"><p><a name="Footnote_21_21" id="Footnote_21_21"></a><a href="#FNanchor_21_21"><span class="label">[21]</span></a> It would seem, from Leland's account, that the wolf +admired Leux greatly because he cared so little for the cold or their +care.</p></div> + +<div class="footnote"><p><a name="Footnote_22_22" id="Footnote_22_22"></a><a href="#FNanchor_22_22"><span class="label">[22]</span></a> It was possible that the wolf gave him some charm or +medicine with which to accomplish this.</p></div> + +<div class="footnote"><p><a name="Footnote_23_23" id="Footnote_23_23"></a><a href="#FNanchor_23_23"><span class="label">[23]</span></a> The above story is told substantially as here given by +Leland, but with many additions. The source from which Leland obtained +his account is not given. The account which I give is from Noel +Josephs. In Leland's account Leux froze to death.</p></div> + +<div class="footnote"><p><a name="Footnote_24_24" id="Footnote_24_24"></a><a href="#FNanchor_24_24"><span class="label">[24]</span></a> Notice, also, that the thunder-birds were not able to +approach the trees, and the Indian who was turned into a thunder-bird +was warned not to approach the forest, for he moved so rapidly that he +would get caught in the crotch of a tree.</p></div> + +<div class="footnote"><p><a name="Footnote_25_25" id="Footnote_25_25"></a><a href="#FNanchor_25_25"><span class="label">[25]</span></a> It would be more in accord with the Indian words to say +"have one of them" instead of "have one of them for a wife."</p></div> + +<div class="footnote"><p><a name="Footnote_26_26" id="Footnote_26_26"></a><a href="#FNanchor_26_26"><span class="label">[26]</span></a> The wigwam may have been so dark that he could not see +anything, or perhaps he was blinded by his admiration for the girls.</p></div> + +<div class="footnote"><p><a name="Footnote_27_27" id="Footnote_27_27"></a><a href="#FNanchor_27_27"><span class="label">[27]</span></a> By combining this story with some given by Leland it +would seem that the child was Glooscap. If that is so, this is the +only account in Passamaquoddy lore in which his parthenogenetic origin +is traced. Mrs. Brown insists, however, that the medicine man was not +Glooscap.</p></div> + +<div class="footnote"><p><a name="Footnote_28_28" id="Footnote_28_28"></a><a href="#FNanchor_28_28"><span class="label">[28]</span></a> The resemblance of this story to the tale of Moses is +very great. Whether or not it is derived from the early teaching of +the church through Catholic priests, or from still earlier Norse +legends, I leave others to decide.</p></div> + +<div class="footnote"><p><a name="Footnote_29_29" id="Footnote_29_29"></a><a href="#FNanchor_29_29"><span class="label">[29]</span></a> Dr. Rand (<i>American Antiquarian</i>, p. 8, vol. xii. No. 1) +mentions a personage (Koolpejot) as "rolled over by means of a +handspike." He is a great medicine man: he has no bones, always lies +out in the open air, and is rolled over from one side to the other +twice a year, during spring and fall. He adds that an intelligent +Indian once suggested that this was a figurative representation of the +revolution of the seasons.</p></div> + +<div class="footnote"><p><a name="Footnote_30_30" id="Footnote_30_30"></a><a href="#FNanchor_30_30"><span class="label">[30]</span></a> Quoted from Leland's <i>Algonquin Legends</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_31_31" id="Footnote_31_31"></a><a href="#FNanchor_31_31"><span class="label">[31]</span></a> According to Leland's story.</p></div> + +<div class="footnote"><p><a name="Footnote_32_32" id="Footnote_32_32"></a><a href="#FNanchor_32_32"><span class="label">[32]</span></a> The word "squat" in Passamaquoddy means fire. Mrs. Brown +spells the name of the swamp woman as follows: <i>Squaw-oc-t'moos</i>. The +<i>a</i> is very long, and possibly can be best represented by <i>aw</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_33_33" id="Footnote_33_33"></a><a href="#FNanchor_33_33"><span class="label">[33]</span></a> Pictographic writing, which is so well known among the +Micmacs, was also practised by the Passamaquoddies. The sign of the +Passamaquoddies is a canoe with two Indians in it and a porpoise. This +sign appears on rocks in certain places. The design for the present +flag of this tribe is of late conception, and shows the Christian +influence.</p></div> + +<p> </p> +<hr class="full" /> +<p> </p> +<p>***END OF THE PROJECT GUTENBERG EBOOK CONTRIBUTION TO PASSAMAQUODDY FOLK-LORE***</p> +<p>******* This file should be named 17997-h.txt or 17997-h.zip *******</p> +<p>This and all associated files of various formats will be found in:<br /> +<a href="http://www.gutenberg.org/dirs/1/7/9/9/17997">http://www.gutenberg.org/1/7/9/9/17997</a></p> +<p>Updated editions will replace the previous one--the old editions +will be renamed.</p> + +<p>Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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\ No newline at end of file diff --git a/17997-h/music/music01.midi b/17997-h/music/music01.midi Binary files differnew file mode 100644 index 0000000..4049446 --- /dev/null +++ b/17997-h/music/music01.midi diff --git a/17997-h/music/music02.ly b/17997-h/music/music02.ly new file mode 100644 index 0000000..6dedef5 --- /dev/null +++ b/17997-h/music/music02.ly @@ -0,0 +1,31 @@ +\version "2.6.5" +\include "english.ly" + +melody = \relative c'' { + \time 2/4 + \key c \major + \autoBeamOff + g4 e4 e8. f16 e4 e4 a4 a4^> a4^> a4(^> g4) g4 e4 e2 \break + g4. a8 g8 e8 e4 e2 \cadenzaOn e16 r8 a8 c2( a4) \cadenzaOff \bar "||" +} + +\addlyrics { + Er tim lee ber nits nah o o o o Wait for me. + Nick ne ar ber yer nay ey. __ +} + +\score { + \new Staff \melody + \midi { \tempo 4 = 100 } + \layout { + indent = 0.0\cm + \context { + \Score + \remove Bar_number_engraver + } + \context { + \Staff + \remove "Time_signature_engraver" + } + } +}
\ No newline at end of file diff --git a/17997-h/music/music02.midi b/17997-h/music/music02.midi Binary files differnew file mode 100644 index 0000000..8be0db2 --- /dev/null +++ b/17997-h/music/music02.midi diff --git a/17997-h/music/music03a.ly b/17997-h/music/music03a.ly new file mode 100644 index 0000000..ca7d4ca --- /dev/null +++ b/17997-h/music/music03a.ly @@ -0,0 +1,30 @@ +\version "2.6.5" +\include "english.ly" + +melody = \relative c'' { + \time 2/4 + \key g \major + \autoBeamOff + \cadenzaOn b16 b8[ a8] c8 b4\fermata c8 b8[ a8] c8 b4 b8. c16 a16 a8 a8 a8 \cadenzaOff \bar "" \break + \cadenzaOn b16 b8[ a8] b8 b4\fermata c8 b8[ a8] c8 b4 b8. e16 e16 e8 a,8 a8 \cadenzaOff \bar "" +} + +\addlyrics { + T'wā too boo hen ee too boo ho bla tel ey wees ee lu +} + +\score { + \new Staff \melody + \midi { \tempo 4 = 72 } + \layout { + indent = 0.0\cm + \context { + \Score + \remove Bar_number_engraver + } + \context { + \Staff + \remove "Time_signature_engraver" + } + } +}
\ No newline at end of file diff --git a/17997-h/music/music03a.midi b/17997-h/music/music03a.midi Binary files differnew file mode 100644 index 0000000..dfbe0cf --- /dev/null +++ b/17997-h/music/music03a.midi diff --git a/17997-h/music/music03b.ly b/17997-h/music/music03b.ly new file mode 100644 index 0000000..f563fe8 --- /dev/null +++ b/17997-h/music/music03b.ly @@ -0,0 +1,30 @@ +\version "2.6.5" +\include "english.ly" + +melody = \relative c'' { + \time 2/4 + \key g \major + \autoBeamOff + \cadenzaOn a8 c8 b8[ a8] b8 g8 g4 \bar "|:" g8 a16[ g16] a16[ b16] a8. d,16 g8 g4 g16 \bar ":|" \cadenzaOff \break + \cadenzaOn a8 c8 b8[ a8] b8 g8 g4 g8 a16[ g16] a16[ b16] a8. d,16 g8 g4 r16 \cadenzaOff \bar "|." +} + +\addlyrics { + Hoi kay yu kar, hen -- o yah ha,_kay e_yu kar hen -- o yar -- hah. +} + +\score { + \new Staff \melody + \midi { \tempo 4 = 72 } + \layout { + indent = 0.0\cm + \context { + \Score + \remove Bar_number_engraver + } + \context { + \Staff + \remove "Time_signature_engraver" + } + } +}
\ No newline at end of file diff --git a/17997-h/music/music03b.midi b/17997-h/music/music03b.midi Binary files differnew file mode 100644 index 0000000..0a22f40 --- /dev/null +++ b/17997-h/music/music03b.midi |
