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"All war-parties consist of volunteers. The leader, or war-captain, who attempts to raise one must have some reputation to start on. His appeals, at the assemblages for dancing the preliminary war-dance, are to the principles of bravery and nationality. They are brief and to the point. He is careful to be thought to act under the guidance of the Great Spirit, of whose secret will he affects to be apprised in dreams, or by some rites.
"The principle of enlistment is sufficiently well preserved. For this purpose, the leader who proposes to raise the war-party takes the war-club in his hands, smeared with vermilion, to symbolize blood, and begins his war-song. I have witnessed several such scenes. The songs are brief, wild repetitions of sentiments of heroic deeds, or incitements to patriotic or military ardour. They are accompanied by the drum and rattle, and by the voice of one or more choristers. They are repeated slowly, sententiously, and with a measured cadence, to which the most exact time is kept. The warrior stamps the ground as if he could shake the universe. His language is often highly figurative, and he deals with the machinery of the clouds, the flight of carnivorous birds, and the influence of spiritual agencies, as if the region of space were at his command. He imagines his voice to be heard in the clouds; and while he stamps the ground with well-feigned fury, he fancies himself to take hold of the 'circle of the sky' with his hands. Every few moments he stops abruptly in his circular path, and utters the piercing war-cry.
"He must be a cold listener who can sit unmoved by these appeals. The ideas thrown out succeed each other with the impetuosity of a torrent. They are suggestive of heroic frames of mind, of strong will, of burning sentiment.
"'Hear my voice, ye warlike birds!
I prepare a feast for you to batten on;
I see you cross the enemy's lines;
Like you I shall go.
I wish the swiftness of your wings;
I wish the vengeance of your claws;
I muster my friends;
I follow your flight.
Ho, ye young men that are warriors,
Look with wrath on the battlefield!'
"Each warrior that rises and joins the war-dance thereby becomes a volunteer for the trip. He arms and equips himself; he provides his own sustenance; and when he steps out into the ring and dances, he chants his own song, and is greeted with redoubling yells. These ceremonies are tantamount to 'enlistment,' and no young man who thus comes forward can honourably withdraw.
"The sentiments of the following song were uttered by the celebrated Wabojeeg, as the leader of the Chippeways, after a victory over the combined Sioux and Sauks and Foxes, at the Falls of St. Croix, during the latter part of the seventeenth century:
I
"'Hear my voice, ye heroes!
On that day when our warriors sprang
With shouts on the dastardly foe,
Just vengeance my heart burned to take
On the cruel and treacherous breed,
The Bwoin—the Fox—the Sauk.
II
"'And here, on my breast, have I bled!
See—see! my battle scars!
Ye mountains, tremble at my yell!
I strike for life.
III
"'But who are my foes? They shall die,
They shall fly o'er the plains like a fox;
They shall shake like a leaf in the storm.
Perfidious dogs! they roast our sons with fire!
IV
"'Five winters in hunting we'll spend,
While mourning our warriors slain,
Till our youth grown to men
For the battle-path trained,
Our days like our fathers we'll end.
V
"'Ye are dead, noble men! ye are gone,
My brother—my fellow—my friend!
On the death-path where brave men must go
But we live to revenge you! We haste
To die as our forefathers died.'
"In 1824, Bwoinais, a Chippeway warrior of Lake Superior, repeated to me, with the appropriate tunes, the following war-songs, which had been uttered during the existing war between that nation and the Dakotas:
I
"'Oshawanung undossewug
Penasewug ka baimwaidungig.'
[From the south—they come, the warlike birds—
Hark! to their passing screams.]
II
"'Todotobi penaise
Ka dow Wiawwiaun.'
[I wish to have the body of the fiercest bird,
As swift—as cruel—as strong.]
III
"'Ne wawaibena, neowai
Kagait ne minwaindum
Nebunaikumig tshebaibewishenaun.'
[I cast my body to the chance of battle.
Full happy am I, to lie on the field—
On the field over the enemy's line.]"
The Indian Wife and Mother
The position of women among the North American Indians is distinctly favourable, when the general circumstances of their environment are considered. As with most barbarian people, the main burden of the work of the community falls upon them. But in most cases the bulk of the food-supply is provided by the men, who have often to face long and arduous hunting expeditions in the search for provender. The labour of planting and digging seed, of hoeing, harvesting, and storing crops, is invariably borne by the women. In the more accessible Indian territory of North America, however, the practice of agriculture is falling into desuetude, and the aborigines are becoming accustomed to rely to a great extent on a supply of cereals from outside sources.
In the art of weaving Indian women were and are extremely skilful. In the southern regions the Hopi women have woven cotton garments from time immemorial.
Among the various tribes the institution of marriage greatly depends for its circumstances upon the system of totemism, a custom which will be found fully described in the chapter which deals with the mythology of the Red Race. This system places a taboo upon marriages between members of the same clan or other division of a tribe. The nature of the ceremony itself differs with locality and race. Among the Plains