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+The Project Gutenberg eBook, Contribution to Passamaquoddy Folk-Lore, by
+J. Walter Fewkes
+
+
+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 www.gutenberg.org
+
+
+
+
+
+Title: Contribution to Passamaquoddy Folk-Lore
+
+
+Author: J. Walter Fewkes
+
+
+
+Release Date: March 15, 2006  [eBook #17997]
+
+Language: English
+
+Character set encoding: ISO-646-US (US-ASCII)
+
+
+***START OF THE PROJECT GUTENBERG EBOOK CONTRIBUTION TO PASSAMAQUODDY
+FOLK-LORE***
+
+
+E-text prepared by Thierry Alberto, Linda Cantoni, and the Project
+Gutenberg Online Distributed Proofreading Team (https://www.pgdp.net/)
+
+
+
+Note: Project Gutenberg also has an HTML version of this file
+      which includes the original illustrations and sound clips.
+      See 17997-h.htm or 17997-h.zip:
+      (https://www.gutenberg.org/dirs/1/7/9/9/17997/17997-h/17997-h.htm)
+      or
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+
+
+
+Transcriber's note:
+
+      The symbol [=] followed by a vowel represents a macron.
+      The symbol [)] followed by a vowel represents a breve.
+
+
+
+
+
+Hemenway Southwestern Archaeological Expedition
+
+CONTRIBUTION TO PASSAMAQUODDY FOLK-LORE
+
+by
+
+J. WALTER FEWKES
+
+
+
+
+
+
+
+Reprinted from the Journal of American Folk-Lore,
+October-December, 1890
+
+
+
+
+
+A CONTRIBUTION TO PASSAMAQUODDY FOLK-LORE.
+
+
+The 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.
+
+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
+K[=a]klan, a Zuni 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?
+
+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.
+
+In order to make experiments, with a view of employing this means of
+record among the less civilized Indians of New Mexico,[1] 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.
+
+[Footnote 1: This work was undertaken as a preparation for similar
+observation in connection with the Hemenway Archaeological Expedition.
+I am indebted to Mrs. Mary Hemenway, of Boston, for opportunities to
+make these observations.]
+
+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.
+
+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.
+
+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.
+
+The following list indicates the variety of records which were made:--
+
+     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."
+
+     4. A collection of Indian words corresponding with those
+     found on page 82 of the schedule of the United States Bureau
+     of Ethnology.
+
+     5. English words with Passamaquoddy translations.
+
+     6, 7. An old tale of how Pookjinsquess stole a child.
+
+     8. Song of the "Snake Dance."
+
+     9. "War Song."
+
+     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.
+
+     11. Numerals from 1 to 20; the days of the week; also, a
+     "counting-out" rhyme.
+
+     12-14. Tale of Leux and the three fires.
+
+     15. Tale of Leux and Hespens.
+
+     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.
+
+     18. War Song.
+
+     19. Pronunciation of the names of the fabulous personages
+     mentioned in Passamaquoddy stories.
+
+     20-22. Story of the birth of a medicine-man who turned man
+     into a cedar tree.
+
+     23. An ordinary conversation between the two Indians, Noel
+     Josephs and Peter Selmore.
+
+     24-27. Modern Passamaquoddy story, introducing many
+     incidents of ordinary life.
+
+     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.[2]
+
+[Footnote 2: I have given below English versions of these, or the
+Indian stories told in English.]
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+In taking these records with the phonograph I had an interesting
+experience. The first time I met Noel Josephs, I greeted him after the
+Zuni fashion. I raised my hand to his mouth, and inhaled from it. He
+followed in identically the same manner in which a Zuni 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.[3] 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.[4]
+
+[Footnote 3: 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."]
+
+[Footnote 4: _Some Indoor and Outdoor Games of the Wabanaki Indians_,
+Trans. Roy. Soc. Canada, Section II. 1889.]
+
+
+THE SNAKE DANCE.
+
+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 remnant 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.
+
+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.
+
+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.[5]
+
+[Footnote 5: 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.]
+
+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.
+
+
+SNAKE SONG.
+
+The words of the first strain are as follows:--
+
+    W[)a]y' ho y[=a]rhnie, way ho y[=a]rhnie.
+
+The words of the second strain are as follows:--
+
+    Hew nay ie h[=a]h, hew n[)a]'y ie h[=a]h, hew n[)a]'y ie h[=a]h,
+    Hew nay ie h[=a]h, hew nay ie h[=a]h, hew nay ie h[=a]h.
+
+When the strain changes from the first to the second, the words _ho
+yar'h nie_ become a discord like _noy[=a]h_.
+
+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.
+
+[Music illustration:
+
+Way ho yah-nie, way ho yahnie, way ho yahnie, way ho yahnie, way ho
+yah-nie, way ho-yah.
+
+Hew na-yie hah, hew na-yie hah, hew nayie hah, hew nayie hah, hew
+nayie hah.]
+
+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.[6]
+
+[Footnote 6: The last part of this dance somewhat resembles a play
+among boys, known as "Snap the whip."]
+
+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 Zuni 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.
+
+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.
+
+
+TRADE DANCE.
+
+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.
+
+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 continuation 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.
+
+This song is recorded on cylinder 17.
+
+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.
+
+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.
+
+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.
+
+
+WAR SONGS.
+
+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.
+
+     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
+     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.
+
+
+"M' TOULIN."
+
+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 _m' toulin_, 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 _m' toulin_ 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 _m' toulin_.
+
+
+THE ORIGIN OF THE THUNDER-BIRD.
+
+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.
+
+A story of the old times.[7] 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 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.
+
+[Footnote 7: The Zuni 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.]
+
+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.[8]
+
+[Footnote 8: 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.]
+
+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.
+
+
+BLACK CAT AND THE SABLE.
+
+The translation of the following tale of Pogump, or Black Cat and the
+Sable, was given me by Mrs. W. Wallace Brown.[9] 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 picture is given at the end of this
+paper.
+
+[Footnote 9: The version gives only the incidents as remembered, and
+can hardly be called a translation.]
+
+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.
+
+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 brother the Black Cat would hear and come to his
+aid.[10] 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.[11] 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.[12] When it was hot he struck the Snake
+on the head and blinded him.[13] 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 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.
+
+[Footnote 10: Probably Sable had a _m' toulin_, or magic power, and
+his song was heard by Black Cat, although miles away beyond hills and
+mountains.]
+
+[Footnote 11: Evidently to excite the curiosity of the Snake.]
+
+[Footnote 12: 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.]
+
+[Footnote 13: In another story which was told me, Glooscap turned the
+eyes of the Snake white in the following manner:--
+
+"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."]
+
+[Music illustration:
+
+Er tim lee ber nits nah o o o o Wait for me.
+
+Nick ne ar ber yer nay ey.--]
+
+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:--
+
+    Niked ha Pogump min nekuk
+    Netsnil sagamawin!
+
+Which he translates,--
+
+    I have left the Black Cat on an island;
+    I shall be the chief of the Fishers now.
+
+The best I can make out of the phonographic record given me by Peter
+Selmore of the words which she sang is,--
+
+                           > > > >
+    Er tin le ber nits nah o o o o.
+    Wait for me.
+    Nick ne ar ber yer hay ey.
+
+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.
+
+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.
+
+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.[14] They then burst out in a laugh, which they still have,
+when they saw how changed her face was.
+
+[Footnote 14: According to the narrator, the bird that did this was a
+very large one. Possibly it was Cooloo, the offended husband of
+Pookjinsquess.]
+
+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.[15]
+
+[Footnote 15: 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.]
+
+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[16] 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.[17] 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[18] 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.
+
+[Footnote 16: 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.]
+
+[Footnote 17: Possibly the gnawing of the Beaver is the ripple of the
+waves around the base of the tree.]
+
+[Footnote 18: 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.]
+
+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. 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.
+
+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.[19]
+
+[Footnote 19: 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.]
+
+Leland, in his version of this story, represents the Black Cat as
+identical with Glooscap,[20] 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.
+
+[Footnote 20: 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."
+
+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.]
+
+
+A STORY OF LEUX.
+
+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.[21]
+
+[Footnote 21: It would seem, from Leland's account, that the wolf
+admired Leux greatly because he cared so little for the cold or their
+care.]
+
+The old wolf said, "How far are you going?" Leux answered, "Three
+days' journey." The wolf said then, "I will do for you the 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.[22]
+
+[Footnote 22: It was possible that the wolf gave him some charm or
+medicine with which to accomplish this.]
+
+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.[23]
+
+[Footnote 23: 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.]
+
+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.[24]
+
+[Footnote 24: 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.]
+
+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 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.
+
+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.[25]
+
+[Footnote 25: 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."]
+
+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[26] [how, the
+narrator did not know].
+
+[Footnote 26: The wigwam may have been so dark that he could not see
+anything, or perhaps he was blinded by his admiration for the girls.]
+
+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.
+
+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.
+
+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 certain
+magic powers, especially in love affairs, and the possession of it was
+a potent spell.
+
+
+HOW A MEDICINE MAN WAS BORN, AND HOW HE TURNED MAN INTO A TREE.
+
+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.[27]
+
+[Footnote 27: 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.]
+
+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.[28] 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 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."[29]
+
+[Footnote 28: 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.]
+
+[Footnote 29: Dr. Rand (_American Antiquarian_, 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.]
+
+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.
+
+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 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.
+
+"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."
+
+"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."[30]
+
+[Footnote 30: Quoted from Leland's _Algonquin Legends_.]
+
+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.
+
+The stories of the birth of Glooscap,[31] his power to work miracles,
+and his ultimate return to earth, are very suggestive.
+
+[Footnote 31: According to Leland's story.]
+
+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.
+
+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.
+
+Among these might be mentioned a common burial custom, an 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.
+
+The counting-out rhyme which is given on the cylinder is as follows:--
+
+    Hony, kee bee, l[=a] [=a]-weis, ag-les, huntip.
+
+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, _Hony, kee bee, l[=a] [=a]-weis, ag-les, huntip_. Each finger
+that the _huntip_ 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
+_Squaw-oc-t'moos_.[32] To the Indian mind "counting out" has a
+significance, and even the simple _huntip_ is a magic word, bringing
+good luck, as it lessens the chance of being "_squaw-oc-t'moos_."
+["Journal of American Folk-Lore," vol. iii. No. 8, pp. 71, 72.]
+
+[Footnote 32: The word "squat" in Passamaquoddy means fire. Mrs. Brown
+spells the name of the swamp woman as follows: _Squaw-oc-t'moos_. The
+_a_ is very long, and possibly can be best represented by _aw_.]
+
+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:--
+
+    T'w[=a] too boo hen ee too boo ho [to be way] bla
+    Tel ey wees ee lu
+    Hoi kay yu kar, heno yah ha,
+    Kaye yu kar, hen o yar-hah,
+    Kay yu kar, hen o yah-hah, kay yu kar, hen o yar-hah.
+
+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.
+
+[Music illustration:
+
+T'w[=a] too boo hen ee too boo ho bla tel ey wees ee lu
+
+Hoi kay yu kar, hen-o yah ha, kay e yu kar hen o yar-hah.]
+
+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[33] 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.
+
+[Footnote 33: 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.]
+
+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. 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:--
+
+     k't[=a]lgus (gin), _ear_.
+     Wee tin, _nose_.
+     Huek, _body_.
+     K'telob[=a]gen, _arms_.
+     Sq[)a]t, _fire_.
+     K't[=a]gen, _foot_.
+     Wittuk, _forehead_.
+     (Puks que nor w[=u]k), Pugorken, _blood_.
+     Tups kuk, _neck_.
+     Wusqu[=a]n, _elbow_.
+     Kort, _leg_.
+     Q[=u]tque, _knee_.
+     Wukum, _heel_.
+     Wus quout, _liver (heart)_.
+     Wee bee, _tooth_.
+     p'k[)u]tt, _smoke_.
+
+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.
+
+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.
+
+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 _membra dejecta_ of older ones, and, although lineal
+descendants of ancient tales, are probably more or less modified or
+changed.
+
+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:--
+
+     _Leux._ Mischief-maker. In certain stories, simple fellow.
+
+     _Kewok._ A formless being with icy heart, and when mentioned
+     regarded as a terrible one.
+
+     _Pedogiic._ Thunder.
+
+     _Pesok que tuk._ Lightning.
+
+     _Ooargamess._ Small beings who live about rocks and chatter
+     in unknown tongue. Have been seen in late times.
+
+     _Lumpagonosis._ Water beings.
+
+     _Kelphit._ A shapeless (medicine) being who is turned over
+     twice each year. Under him are found flowers.
+
+     _Pogumpt._ Black Cat, Fisher.
+
+     _k'Chebollock._ The Spirit of the Air. This being is said to
+     be without body, but to have a heart, wings, head, and
+     legs.
+
+     _Cadoux._ 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.
+
+     _Pook-jin-squess._ The Jug. Called also the toad woman. In
+     some Indian stories spoken of as governor.
+
+     _Noosagess._ A being associated with the wind.
+
+     _Squaw-oc-t'moos._ Swamp woman.
+
+     _Mousham._ Grandfather.
+
+     _Glooscap._ 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.
+
+     _Chematiquess._ The big rabbit. There are many tales in
+     relation to Chematiquess. The new one which I have treats of
+     his efforts to escape Glooscap.
+
+     _Mickemnise._ The good fellow. I have also heard the
+     Ouargamiss called Mickeminn.
+
+     _Hespens._ The raccoon.
+
+     _Quarbet._ The giant beast.
+
+     _M'Sartoo._ The Morning Star.
+
+     _Consuce._ 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.
+
+The accompanying plate illustrates the above mentioned story of Pogump
+and Pookjinsquess, the original of which was drawn on birch bark by
+Noel Josephs.
+
+       *       *       *       *       *
+
+Since the above was written, I have spent some time at Zuni 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 Zunians are particularly adapted to
+successful recording with the phonograph. Of these there were obtained
+several so-called _Ko-ko_ songs, such as are sung in the _Kor-kok-shi_
+or rain dances. The song sung at the _Ham-po-ney_, 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
+Zunian 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.
+
+The most important of the ceremonies of the winter at Zuni Pueblo is
+undoubtedly the _Sha-la-ko_, at which certain of the houses to the
+number of seven, which have been built during the past year, are
+dedicated. The song and prayer of the _Sha-la-ko_ was sung for me into
+the phonograph by one of the Zunians, who had, as I was told, taken
+part in the celebration a few years ago.
+
+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 _She-vo-la_ dance, which bears evidence of
+great antiquity.
+
+I failed to get what I especially desired, viz., a record of the Zuni
+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 Zuni 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.
+
+There is among the Zunians 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 _Dw-me-chim-che_, 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.
+
+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 formulae, 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.
+
+I have prepared an elaborate account of the ceremonies witnessed by
+me, in many of which the songs, formulae, 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.
+
+_J. Walter Fewkes._
+
+
+[Illustration]
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK CONTRIBUTION TO PASSAMAQUODDY
+FOLK-LORE***
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