Читать книгу The Mythology of Cherokee, Iroquois, Navajo, Siouan and Zuñi - James Mooney - Страница 50

In the art of guerrilla warfare the Indians have always shown exceptional skill. Armed with bow and arrow, a war-club, or a tomahawk, they carried on a fierce resistance to the incursions of the white man. These weapons were artistically shaped and moulded, and were eminently suited to their owner's mode of fighting. But as they came more into contact with the whites the natives displayed a particular keenness to obtain firearms and gunpowder, steel knives and hatchets. They dispensed with their own rude if effective implements of war, and, obtaining the coveted weapons by making successful raids upon the camps of their enemies, they set themselves to learn how to use them. So mysterious did gunpowder appear to them that they believed it to possess the property of reproduction, and planted it in the earth in the hope that it would yield a supply for their future needs. In attacking the settlers they used many ingenious artifices to entrap or ambuscade them. These methods, naturally, proved successful against the whites, who had yet to learn Indian war-craft, but soon the settlers learned to adopt the same devices. The Indian would imitate the cry of the wild goose to attract the white hunter into the woods, where he would spring upon him. He would also reverse his snow-shoes in winter, to make it appear to the settler that he was retreating. Covering themselves with twigs to look like a bush was another method adopted by Indian spies. Occasionally they would approach the white man apparently in a spirit of friendliness, only to commit some act of treachery. Block-houses were built by the settlers as a means of defence against Indian nocturnal surprises, and into these the women and children were hurried for safety. But the perseverance of the white man and the declining birth-rate of the Indian tribes began to create a new situation. Driven repeatedly from one part of the country to another, and confined to a limited territory in which to live, hunt, and cultivate the soil, the Indians finally adopted a less aggressive attitude to those whom they at first, and for some time after their settlement, regarded with suspicion and resentment.

Although the methods of warfare differed with the various tribes, the general scheme of operations was usually dictated by the council of chiefs, in whose hands the making of peace and war also lay. The campaign was generally prefaced by many eloquent harangues from the leaders, who gradually wrought the braves into a fury of resentment against their enemies. The ceremony of the war-dance was then proceeded with. Ranged in a circle, the warriors executed a kind of shuffle, occasionally slowly gyrating, with gestures and movements obviously intended to imitate those of some bird or beast,14 and grunting, clucking, and snarling the while. This ceremony was always undertaken in full panoply of war-paint and feathers. Subsequently the braves betook themselves to the 'war-path.' If the campaign was undertaken in wooded country, they marched in single file.15 The most minute attention was paid to their surroundings to prevent ambuscade. The slightest sound, even the snapping of a twig, was sufficient to arrest their attention and cause them to halt. Alert, suspicious, and with every nerve strung to the highest point of tension, they proceeded with such exceeding caution that to surprise them was almost impossible. Should a warrior become isolated from the main body and be attacked and fatally wounded, he regarded it as essential to the safety of his comrades to utter a piercing shriek, which reverberated far through the forest ways and placed the rest of the band on their guard. This was known as the 'death-whoop.'

When the campaign was undertaken in prairie or open country, the method usually employed was that of night attack; but if for any reason this could not be successfully made, a large circle was drawn round the place to be assailed, and gradually narrowed, the warriors who composed it creeping and wriggling through the grass, and when sufficiently near rising and rushing the camp or fort with wild war-cries. If a stout defence with firearms was anticipated, the warriors would surround the objective of attack on horseback, and ride round and round the fated position, gradually picking off the defenders with their rifles or arrows as the opportunity presented itself. Once the place was stormed the Indian brave neither asked nor gave quarter, at least so far as its male defenders were concerned. These were at once slain and scalped, the latter sanguinary process being effected by the brave placing his knees on his enemy's shoulders, describing a rapid circle with his knife in the centre of the victim's head, seizing the portion of the scalp thus loosened, and quickly detaching it.

Schoolcraft, dealing with the subject of Indian warfare, a matter upon which he was well qualified to speak, writes:16

"Success in war is to the Indian the acme of glory, and to learn its arts the object of his highest attainment. The boys and youths acquire the accomplishment at an early period of dancing the war-dance; and although they are not permitted to join its fascinating circle till they assume the envied rank of actual warriors, still their early sports and mimic pastimes are imitations of its various movements and postures. The envied eagle's feather is the prize. For this the Indian's talent, subtlety, endurance, bravery, persevering fasts, and what may be called religious penances and observances are made.

"The war-path is taken by youths at an early age. That age may be stated, for general comparison, to be sixteen; but, without respect to exact time, it is always after the primary fast, during which the youth chooses his personal guardian or monedo—an age when he first assumes the duties of manhood. It is the period of the assumption of the three-pointed blanket, the true toga of the North American Indian.

"The whole force of public opinion, in our Indian communities, is concentrated on this point; its early lodge teachings (such as the recital of adventures of bravery), its dances, its religious rites, the harangues of prominent actors, made at public assemblages (such as is called 'striking the post'), all, in fact, that serves to awaken and fire ambition in the mind of the savage, is clustered about the idea of future distinction in war.

"... The Indian has but one prime honour to grasp; it is triumph in the war-path; it is rushing upon his enemy, tearing the scalp reeking from his head, and then uttering his terrific sa-sa-kuon (death-whoop). For this crowning act he is permitted to mount the honoured feather of the war-eagle—the king of carnivorous birds. By this mark he is publicly known, and his honours recognized by all his tribe, and by the surrounding tribes whose customs assimilate.

"When the scalp of an enemy has been won, very great pains are taken to exhibit it. For this purpose it is stretched on a hoop and mounted on a pole. The inner part is painted red, and the hair adjusted to hang in its natural manner. If it be the scalp of a male, eagle's feathers are attached to denote that fact. If a female, a comb or scissors is hung on the frame. In this condition it is placed in the hands of an old woman, who bears it about in the scalp-dance, while opprobrious epithets are uttered against the tribe from which it was taken. Amidst these wild rejoicings the war-cry is vociferated, and the general sentiment with old and young is: 'Thus shall it be done to our enemies.'

"The feather of the eagle is the highest honour that a warrior can wear, and a very extravagant sum is sometimes given to procure one. The value of a horse has been known to be paid. The mode in which a feather is to be cut and worn is important to be noticed.

"The scale of honour with the several tribes may vary, but the essential features are the same. Among the Dakota tribes an eagle's feather with a red spot denotes that the wearer has killed an enemy, a notch cut in it and edges of the feather painted red indicates that the throat of an enemy has been cut. Small consecutive notches on the front side of the feather, without paint, denote that the wearer is the third person that has touched the dead body; both edges notched, that he is the fourth person who has touched it; and the feather partly denuded that he is the fifth person that has touched the slain.

"On the blanket or buffalo robe worn by the Dakota Indian a red or black hand is often seen painted. The red hand indicates that the wearer has been wounded by his enemy, the black hand that he has slain his enemy.

"The warlike tribe of the Chippeways, on the sources of the Mississippi, who, from a national act in their history, bear the distinctive name of Pillagers, award a successful warrior who shoots down and scalps his enemy three feathers; and for the still more dangerous act of taking a wounded prisoner on the field, five—for they conceive that a wounded enemy is desperate, and will generally reserve his fire for a last act of vengeance, if he die the moment after. Those of the war-party who come up immediately and strike the enemy, so as to get marks of blood on their weapons, receive two feathers; for it is customary for as many as can to perform this act.... Those who have been of the war-party, and merely see the fight, although they may have no blood-marks of which to boast as honours, and may even have lacked promptness in following the leader closely, are yet allowed to mount one feather. These honours are publicly awarded; no one dares to assume them without authority, and there are instances where the feathers falsely assumed have been pulled violently from their heads in a public assemblage of the Indians. They never, however, blame each other for personal acts denoting cowardice or any species of timidity while on the war-path, hoping by this elevated course to encourage the young men to do better on another occasion.

"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.]"