Page 302 fruitful.

Thus the fields shall be more

"A singular proof of this belief, in both sexes, of the mysterious influence of the steps of a woman on the vegetable and insect creation, is found in an ancient custom, which was related to me, respecting cornplanting. It was the practice of the hunter's wife, when the field of corn had been planted, to choose the first dark or overclouded evening to perform a secret circuit, sans habilement, around the field. For this purpose she slipped out of the lodge in the evening, unobserved, to some obscure nook, where she completely disrobed. Then, taking her matchecota, or principal garment, in one hand, she dragged it around the field. This was thought to insure a prolific crop, and to prevent the assaults of insects and worms upon the grain. It was supposed they could not creep over the charmed line." Oneóta, p. 83.

Page 303. bound him.

46

With his prisoner-string he

These cords," says Mr. Tanner, "are made of the bark of the elm-tree, by boiling and then immersing it in cold water.

The leader of a war party commonly carries several fastened about his waist, and if, in the course of the fight, any one of his young men takes a prisoner, it is his duty to bring him immediately to the chief, to be tied, and the latter is responsible for his safe-keeping." — Narrative of Captivity and Adventures, p. 412.

Page 303. Wagemin, the thief of corn-fields, Paimo said, the skulking robber. "If one of the young female huskers finds a red ear of corn, it is typical of a brave admirer, and is regarded as a fitting present to some young warrior. But if the ear be crooked, and tapering to a point, no matter what color, the whole circle is set in a roar, and wa-ge-min is the word shouted aloud. It is the symbol of a thief in the corn-field. It is considered as the image of an old man stooping as he enters the lot. Had the chisel of Praxiteles been employed to produce this image, it could not more vividly bring to the minds of the merry group the idea of a pilferer of their favorite mondámin. . . .

"The literal meaning of the term is, a mass, or crooked ear of grain; but the ear of corn so called is a conventional type of a little old man pilfering ears of corn in a corn-field. It is in this manner that a single word or term, in these curious languages, becomes the fruitful parent of many ideas. And we can thus perceive why it is that the word wagemin is alone competent to excite merriment in the husking circle.

"This term is taken as the basis of the cereal chorus, or corn song, as sung by the

Northern Algonquin tribes. It is coupled

with the phrase Paimosaid, - a permutative form of the Indian substantive, made from the verb pim-o-sa, to walk. Its literal meaning is, he who walks, or the walker; but the ideas conveyed by it are, he who walks by night to pilfer corn. It offers, therefore, a kind of parallelism in expression to the preceding term." Oneóta, p. 254. Page 309. pieces.

Pugasaing, with thirteen

This Game of the Bowl is the principal game of hazard among the Northern tribes of Indians. Mr. Schoolcraft gives a particular account of it in Oneóta, p. 85. "This game," he says, "is very fascinating to some portions of the Indians. They stake at it their ornaments, weapons, clothing, canoes, horses, everything in fact they possess; and have been known, it is said, to set up their wives and children, and even to forfeit their own liberty. Of such desperate stakes I have seen no examples, nor do I think the game itself in common use. It is rather confined to certain persons, who hold the relative rank of gamblers in Indian society, - men who are not noted as hunters or warriors, or steady providers for their families. Among these are persons who bear the term of lenadizze-wug, that is, wanderers about the country, braggadocios, or fops. It can hardly be classed with the popular games of amusement, by which skill and dexterity are acquired. I have generally found the chiefs and graver men of the tribes, who encouraged the young men to play ball, and are sure to be present at the customary sports, to witness, and sanction, and applaud them, speak lightly and disparagingly of this game of hazard. Yet it can

not be denied that some of the chiefs, distinguished in war and the chase, at the West, can be referred to as lending their example to its fascinating power."

See also his History, Condition, and Prospects of the Indian Tribes, Part II, p. 72. Page 314. To the Pictured Rocks of sand

stone.

The reader will find a long description of the Pictured Rocks in Foster and Whitney's Report on the Geology of the Lake Superior Land District, Part II, p. 124. From this I make the following extract: —

"The Pictured Rocks may be described, in general terms, as a series of sandstone bluffs extending along the shore of Lake Superior for about five miles, and rising, in most places, vertically from the water, without any beach at the base, to a height varying from fifty to nearly two hundred feet. Were they simply a line of cliffs, they might not, so far as relates to height or extent, be worthy of a rank among great natural curiosities, although such an assemblage of rocky strata, washed by the waves of the great lake, would not, under any circumstances, be destitute of grandeur. To the voyager, coasting along their base in his frail canoe, they would, at all times, be an object of dread; the recoil of the surf, the rock-bound coast, affording, for miles, no place of refuge, the lowering sky, the rising wind, - all these would excite his apprehension, and induce him to ply a vigorous oar until the dreaded wall was passed. But in the Pictured Rocks there are two features which communicate to the scenery a won

derful and almost unique character. These are, first, the curious manner in which the cliffs have been excavated, and worn away by the action of the lake, which, for centuries, has dashed an ocean-like surf against their base; and, second, the equally curious manner in which large portions of the surface have been colored by bands of brilliant hues.

"It is from the latter circumstance that the name, by which these cliffs are known to the American traveller, is derived; while that applied to them by the French voyageurs (Les Portails') is derived from the former, and by far the most striking peculiarity.

"The term Pictured Rocks has been in use for a great length of time; but when it was first applied, we have been unable to discover. It would seem that the first travellers were more impressed with the novel and striking distribution of colors on the surface, than with the astonishing variety of form into which the cliffs themselves have been worn....

"Our voyageurs had many legends to relate of the pranks of the Menni-bojou in these caverns, and, in answer to our inquiries, seemed disposed to fabricate stories, without end, of the achievements of this Indian deity."

Page 324. Toward the sun his hands were lifted.

In this manner, and with such salutations, was Father Marquette received by the Illinois. See his Voyages et Découvertes, Section V.

A Blind Man is a Poor Man, 120.

A Christmas Carol, 145.

A Day of Sunshine, 405.
Afternoon in February, 113.
A Gleam of Sunshine, IOI.

A Handful of Red Sand, 133.

Ah, Love! 85.

Ah! Thou Moon That Shinest, 84.

Ah! What Pleasant Visions Haunt Me, 128.

A Little Bird in the Air, 385.

All are Architects of Fate, 132.

All Day has the Battle Raged, 390.

All Houses Wherein Men have Lived and
Died, 149.

All the Old Gods are Dead, 380.

A Millstone and the Human Heart, 120.

A Mist was Driving Down the British Chan-
nel, 149.

An April Day, 8.

And King Olaf Heard the Cry, 372.

And Now, Behold! as at the Approach of
Morning, 22.

And Then the Blue-Eyed Norseman Told,
371.

Annie of Tharaw, 118.

Annie of Tharaw, My True Love of Old,
118.

A Psalm of Life, 3.

Art and Tact, 120.

As One Who, Walking in the Twilight
Gloom, 121.

A Strain of Music Closed the Tale, 391.
As Unto the Bow the Cord Is, 291.

At Anchor in Hampton Roads We Lay, 404.
At Drontheim, Olaf the King, 382.

At the Foot of the Mountain Height, 139.
Autumn, 8.

Autumn, 117.

A Wind Came up Out of the Sea, 162.

A Youth, Light-Hearted and Content, 51.

Birds of Passage, 134.

Birds of Passage, 1858, 146.

Birds of Passage. Flight the Second, 403.
Bishop Sigurd at Salten Fiord, 381.
Black Shadows Fall, 134.

Blessing the Corn-Fields, 301.

Blind Bartimeus, 53.

Blind Bartimeus at the Gates, 53.

Build Me Straight, O Worthy Master, 122.
Burial of the Minnisink, 12.

By His Evening Fire the Artist, 135.
By the Fireside, 131.

By the Seaside, 122.

By the Shore of Gitche Gumee, 324.

Can it be the Sun Descending, 297.
Carillon, 99.

Catawba Wine, 159.
Children, 163.

Christian Love, 120.

Christ to the Young Man Said, 138.
Clear Fount of Light! My Native Land on
High, 21.

Come, Good People, All and Each, 225.
Come, Old Friend! Sit Down and Listen,

115.

Come to Me, O Ye Children! 163.
Coplas de Manrique, 13.

Creeds, 120.

Curfew, 121.

I am the God Thor, 371.

If perhaps These Rhymes of Mine, 120.
If Thou art Sleeping, Maiden, 97.

I have Read, in Some Old Marvellous
Tale, 6.

I Hear Along Our Street, 145.

I Heard a Brooklet Gushing, 28.

I Heard a Voice, That Cried, 136.

I Heard the Trailing Garments of the
Night, 2.

I Know a Maiden Fair to See, 28.

I Like That Ancient Saxon Phrase, Which
Calls, 52.

In Broad Daylight, and at Noon, 152.
In Dark Fens of the Dismal Swamp, 57.
In His Chamber, Weak and Dying, 104.
In His Lodge Beside a River, 321.
In Mather's Magnalia Christi, 148.
In Ocean's Wide Domains, 58.
Intelligence and Courtesy, 120.
Interlude, 359, 365, 367, 371, 391, 397.
In That Building, Long and Low, 157.
In That Delightful Land, 193.
In the Ancient Town of Bruges, 99.
In the Churchyard at Cambridge, 150.
In the Convent of Drontheim, 391.
In the Heroic Days When Ferdinand, 392.
In the Market-Place of Bruges Stands, 100,
In the Old Colony Days, 330.
In the Valley of the Pegnitz, 103.
In the Valley of the Vire, 154.

In the Village Churchyard She Lies, 150.
In Those Days Said Hiawatha, 304.