INDIAN MUSIC, SONGS, AND POETRY.

No. I.

THE North American tribes have the elements of music and poetry. Their war songs frequently contain flights of the finest heroic sentiment, clothed in poetic imagery. And numbers of the addresses of the speak ers, both occasional and public, abound in eloquent and poetic thought. "We would anticipate eloquence," observes a modern American writer, "from an Indian. He has animating remembrances-a poetry of language, which exacts rich and apposite metaphorical allusions, even for ordinary conversation-a mind which, like his body, has never been trammelled and mechanized by the formalities of society, and passions which, from the very outward restraint imposed upon them, burn more fiercely within." Yet, it will be found that the records of our literature, scattered as they are, in periodicals and ephemeral publications, rather than in works of professed research, are meagre and barren, on these topics. One of the first things we hear of the Indians, after their discovery, is their proneness to singing and dancing. But however characteristic these traits may be, and we think they are eminently so, it has fallen to the lot of but few to put on record specimens, which may be appealed to, as evidences of the current opinion, on these heads. With fa vourable opportunities of observation among the tribes, we have but to ada our testimony to the difficulties of making collections in these departments, which shall not compromit the intellectual character of the tribes, whose efforts are always oral, and very commonly extemporaneous. These difficulties arise from the want of suitable interpreters, the remoteness of the points at which observations must be made, the heavy demands made upon hours of leisure or business by such inquiries, and the inconvenience of making notes and detailed memoranda on the spot. The little that it is in our power to offer, will therefore be submitted as contributions to an inquiry which is quite in its infancy, and rather with the hope of exciting others to future labours, than of gratifying, to any extent, an enlightened curiosity on the subject.

Dancing is both an amusement and a religious observance, among the American Indians, and is known to constitute one of the most wide spread traits in their manners and customs. It is accompanied, in all cases, with singing, and, omitting a few cases, with the beating of time on instruments. Tribes the most diverse in language, and situated at the greatest distances apart, concur in this. It is believed to be the ordinary mode of expressing intense passion, or feeling on any subject, and it is a custom

which has been persevered in, with the least variation, through all the phases of their history, and probably exists among the remote tribes, precisely at this time, as it did in the era of Columbus. It is observed to be the last thing abandoned by bands and individuals, in their progress to civilization and christianity. So true is this, that it may be regarded as one of the best practical proofs of their advance, to find the native instruments and music thrown by, and the custom abandoned.

Every one has heard of the war dance, the medicine dance, the wabeno dance, the dance of honour (generally called the begging dance,) and various others, each of which has its appropriate movements, its air, and its words. There is no feast, and no religious ceremony, among them, which is not attended with dancing and songs. Thanks are thus expressed for success in hunting, for triumphs in war, and for ordinary providential cares. Public opinion is called to pressing objects by a dance, at which addresses are made, and in fact, moral instructions and advice are given to the young, in the course of their being assembled at social feasts and dances. Dancing is indeed the common resource, whenever the mass of Indian mind is to be acted on. And it thus stands viewed in its necessary connection with the songs and addresses, in the room of the press, the newspaper, and the periodical. The priests and prophets have, more than any other class, cultivated their national songs and dances, and may be regarded as the skalds and poets of the tribes. They are generally the composers of the songs, and the leaders in the dance and ceremonies, and it is found, that their memories are the best stored, not only with the sacred songs and chants, but also with the traditions, and general lore of the tribes.

Dancing is thus interwoven throughout the whole texture of Indian society, so that there is scarcely an event important or trivial, private or public, which is not connected, more or less intimately, with this rite. The instances where singing is adopted, without dancing, are nearly confined to occurrences of a domestic character. Among these, are wails for the dead, and love songs of a simple and plaintive character. Maternal affection evinces itself, by singing words, to a cheerful air, over the slumbers of the child, which, being suspended in a kind of cradle receives, at the same time avibratory motion. Children have likewise certain chants, which they utter in the evenings, while playing around the lodge door, or at other seasons of youthful hilarity. Some of the Indian fables are in the shape of duets, and the songs introduced in narrating their fictitions tales, are always sung in the recital.

Their instruments of music are few and simple. The only wind instrument existing among them is the Pibbegwon, a kind of flute, resembling in simplicity the Arcadian pipe. It is commonly made of two semicylindrical pieces of cedar, united with fish glue, and having a snake skin, in a wet state, drawn tightly over it, to prevent its cracking. The holes

which has been persevered in, with the least variation, through all the phases of their history, and probably exists among the remote tribes, precisely at this time, as it did in the era of Columbus. It is observed to be the last thing abandoned by bands and individuals, in their progress to civilization and christianity. So true is this, that it may be regarded as one of the best practical proofs of their advance, to find the native instruments and music thrown by, and the custom abandoned.

Every one has heard of the war dance, the medicine dance, the wabeno dance, the dance of honour (generally called the begging dance,) and various others, each of which has its appropriate movements, its air, and its words. There is no feast, and no religious ceremony, among them, which is not attended with dancing and songs. Thanks are thus expressed for success in hunting, for triumphs in war, and for ordinary providential cares. Public opinion is called to pressing objects by a dance, at which addresses are made, and in fact, moral instructions and advice are given to the young, in the course of their being assembled at social feasts and dances. Dancing is indeed the common resource, whenever the mass of Indian mind is to be acted on. And it thus stands viewed in its necessary connection with the songs and addresses, in the room of the press, the newspaper, and the periodical. The priests and prophets have, more than any other class, cultivated their national songs and dances, and may be regarded as the skalds and poets of the tribes. They are generally the composers of the songs, and the leaders in the dance and ceremonies, and it is found, that their memories are the best stored, not only with the sacred songs and chants, but also with the traditions, and general lore of the tribes.

Dancing is thus interwoven throughout the whole texture of Indian society, so that there is scarcely an event important or trivial, private or public, which is not connected, more or less intimately, with this rite. The instances where singing is adopted, without dancing, are nearly confined to occurrences of a domestic character. Among these, are wails for the dead, and love songs of a simple and plaintive character. Maternal affection evinces itself, by singing words, to a cheerful air, over the slumbers of the child, which, being suspended in a kind of cradle receives, at the same time avibratory motion. Children have likewise certain chants, which they utter in the evenings, while playing around the lodge door, or at other seasons of youthful hilarity. Some of the Indian fables are in the shape of duets, and the songs introduced in narrating their fictitions tales, are always sung in the recital.

Their instruments of music are few and simple. The only wind in strument existing among them is the Pibbegwon, a kind of flute, resembling in simplicity the Arcadian pipe. It is commonly made of two semicylindrical pieces of cedar, united with fish glue, and having a snake skin, in a wet state, drawn tightly over it, to prevent its cracking. The holes