PS 3507 .E577 P6 1917 Copy 1 Poems from Sioux and Chippewa Songs By FRANCES DENSMORE Washington, D. C. 1917 Digitized by the Internet Archive in 2011 with funding from The Library of Congress http://www.archive.org/details/poemsfromsiouxchOOdens 7 Poems from Sioux and Chippewa /?/7 I Son^s By FRANCES DENSMORE Washington, D. C. 1917 Copyright, 1917, by Frances Densmore. $82797 1M9 INTRODUCTION Music and poetry are as closely allied in the In- dian race as in our own, and the words oi many Indian songs arc characterized by true poetic thought. A literal translation of these words con- veys to us the poetic element, but in Mich a trans lation we lose the clement of rhythm. In a majority of Indian songs the rhythm is irregular and the native words follow this rhythm, a custom different from our own. in which the music follows the rhythm oi the words. The poems herewith offered arc the result oi an effort to express the poetic con- cepts of the Sioux and Chippewa songs in their i iriginal rhythms. The songs which form the basis oi this work were recorded phonographically in connection with the study oi Indian music which for main- years the writer has been making under the auspices of the Bureau of American Ethnology of the Smithsonian Institution at Washington. The inspiration of the poems was a desire to ascertain whether the rhythm '-I a song is expressive of its idea. This point having been established, there came a de-ire to test the poetic quality of Indian songs by offering the verses themselves to th< «e wh< i in this manner may a insider them apart fn >m the mus As already indicated, each poem is in the rhythm of a In some instances the words are continu- ous throughi u1 the song, end in these the poem re- sembles a rhythmic paraphrase of the literal trans- lation; in others the words were so 1 few that it be- came necessary to elaborate the idea in order that the words should fill the melody, adding such facts or concepts as are known to be associated with the song ; while a third class of songs contains no words, and in these instances the poem embodies the state- ments of Indians concerning the origin or use of the song. The literal translations are shown for the purpose of comparison. Grateful acknowledgment is made to Mr. Robert Higheagle, a graduate of Hampton Normal and Agricultural Institute, who translated the Sioux words, and to Mrs, Mary Warren English and Rev. C. H. Beaulieu, members of the Chippewa tribe, who translated the words of the Chippewa songs. These literal translations and the descrip- tions of songs are used by permission of the Bu- reau of American Ethnology. Washington, D. C */ytS*AA**>* j0l No. 1. "Behold" i Sioux) This is a ceremonial song of the SlOUX Sun dance, the three verses being sung by a leader in the cere- mony. The literal translation of the Sioux words is as h >11< >ws : "Where holy you behold, in the place where the sun rises, holy may you behold. Where holy you behold; in the place where the sun passes us on his course, holy you behold. Where goodness you he- hold at the turning hack of the sun, goodness may you behold." To the east turn. tribe, There t< > beh< >ld The place where the sun rises, Clad in gl< >ri< hi- majesty. S< mething holy may you behold In this mystery. To the south turn. tribe, There to beh< 'Id The place where the sun passes us In hi- daily c< iurse. Something holy may you behold In this mystery. T< i the west turn. tribe, There t< > behi >ld The place where the sun turns hack In gl< >ri> >us splend< >r. G< « 'due-- may y< >u beh Id In all this mvsterv. No. 2. Song at Sunrise (Sioux) This also is a song of the Sun dance and was sung by the leader as the sun rose on the second day of the ceremony. Literal translation : "Here am I, behold me. I am the sun, behold me." The rising sun in the east shining, Speaketh to us in his glorious splendor, "I am the sun ; see me in my rising. IvO, I am the sun, Behold with blinded eyes, I am the sun !" No. 3. Song of a Medicine-man (Sioux) Literal translation: "At night may I roam; against the winds may I roam; when the owl is hooting may I roam." In the night may I roam, In the night may I roam, Afar, afar in the night may I roam. Against the wind of morning may I roam, In the night may I roam, When the owl is heard hooting, hooting, May I roam, may I roam. No. 4. The Challenge ( Si' >U\ ) This is a personal song of Brave Buffalo, a Siou* medicine-man, who received it in a dream. Because of this dream he believed himself invulnerable and. asked the people to shoot their arrows at him as a test. No words were sung, Brave Buffalo saying that "the words were in his heart." The poem em- bodies, i<' some extent, the story ol the dream, as well as the medicine-man's challenge. " Y< >u cannot harm me, You cann< >t harm One who has dreamed a dream like mine, One who has seen the buffalo in their mighty lodcr And heard them say, 'Arrows cannot harm you now! We will protect you ; We will protect One who has been in the buffalo lodge, One who has seen us. One who ha- looked without fear \\}m >i} our mys teries, Hid them shoot their arrows straight, lad them shool their arrow- straight.' No. 5. My Dream (Sioux) This also is a song of Brave Buffalo, who said that he received it in a dream of a buffalo, and by it received power to engage in the practice of medi- cine. The literal translation of the words is : " 'I will appear, behold me!' a buffalo said to me." When I was but a child I dreamed a wondrous dream. I went upon a mountain; There I fell asleep. I heard a voice say, "Now will I appear to you." A buffalo said this to me, dreaming. When I was but a child I dreamed this wondrous dream. No 6. Night Song of a Medicine-man I S u\ ) This is a third song of Brave Buffalo, who said he received it in a dream ol wolves and used it in treating the sick. It was his custom to sing this s< >ng every night. Literal translation: "Owls (were) hooting in the passing of the night. Owls (were) hooting." The owls hooting softly, the owls hooting low; The owls hooting softly, while dark shadows go; The owls hooting softly, the owls hooting low, In the passing of the night, the owls hooting low, In the gray dawn of morning, the owls hooting low, To whom arc they calling. I wish I could know. No. 7. Song of a Warrior (Sioux) This song was sung before the departure of a war-party. A successful warrior had the right to paint his face black, this paint being worn during the dances which followed his return from war. Literal translation : "Friends, the many lands you fear, in them without fear I have walked. The black face-paint I seek." O, my friends, as I stand Here before you all assembled, I hear vou sins: of the lands where the warriors travel. O, my friends, the many lands that you fear, In them all without fear I have walked. O, my friends, even now I can see the distant mountains Where the snows never melt in the summer time. O, my friends, I have walked without fear in those lands, For there I sought the black face-paint. To the west and the north Lies the country of the enemy. In all those lands I have walked without fear of harm. O, my friends, in them all I have won the right to wear The warrior's badge of victory. No. 8. Old Sioux Love Song u\ ) Concerning love songs it was said among the ux that "in the old days all the 1<>vc songs were associated with a man's qualification to wed, tins being determined by his success in war or in the buffalo hunt." Literal translation of the Sioux word-: "You may go on the war-path. When your name I hear (announced among the victors), then 1 will marry you." Go thou forth with the warriors, thou forth t<> war: Go th<>u forth with the warriors. When 1 hear the Crier shout your name with the victors, Then, ah then, I will marry you. 1 will stay in the village, I will sit with the women All day making moccasins, Listening always for the signal cry that the warriors come. Then, ah then, I may marry von. No. 9. A Warrior to His Horse (Sioux) This is the personal song of Lone Man, who re- ceived it in a dream and sang it in time of danger, believing it to have supernatural power. Literal translation: "Friends, my horse, behold it. 'Friends, my horse will run, behold it,' was said to me, Friends, my horse flying (as it were), is running." In this instance the idea is slightly changed, but it expresses a Sioux custom. My horse be swift in flight Even like a bird; My horse be swift in flight, Bear me now in safety Far from the enemy's arrows, And you shall be rewarded With streamers and ribbons red. No. 10. The Warrior's Vow (Chippewa ) In this instance no words were sung, and the poem presents a war custom. The melody, with whose rhythm the poem conforms, is that o\ a song which was used in the war dances. The feast is spread; The leader now is telling his men Where the} - will g< ►, What enemy tribe they will attack. Seated round their leader, Hear them respond, "Ho, ah ho, ho, ho!" Idle feast is done ; The warriors stand making their vow Not to retreat from where they will see A lanee in the ground, There they must ti^-lit or fall. Hear them respond, "Ho, ah ho, ho, ho!" [n distant lands The warriors brave enter the fray; Thick fly the arrows, while overhead Shineth the lance. Hut at its foot how many Warrior- lie— dead beside the lanee No. 11 (Chippewa) When a Chippewa war-party left the village, the women walked before the warriors, all singing this song. After going some distance, the women di- vided and stood in two lines, between which the warriors passed on their way. The women then returned to the village still singing the song. Literal translation: "Come, it is time for you to depart. We are going on a long journey." Fare thee well. The time is come For our sad departing, We who take the road to war Travel on a long journey. Fare thee well. The warrior's eyes Must not look beside him; In departing he must see Only the camp-fires of the enemy. Fare thee well. We go to fight For the tribe's protection, Yet we know the road to war Ever is a long journey. No. 12. To the Buffalo (Chippewa ) This is a dance song, accompanying the use the Buffalo Medicine, which was supposed to strengthen the warriors. Literal translation: "Strike ye our land with curved h< otis." Strike ye now our land with your great curved h< mis : In your mighty rage toss the turl in the air, Strike ye now our land with your great curved h< Otis ; We will hear the sound and our hearts will be strong. When we go to war. Give us of your strength in the time o\ our need, King of all the plain— buffalo, buffalo. Strike ye now our land with v«>nr great curved h< otis : Lead us \> >rth t< > the fight. No. 13. The Thunderbirds (Chippewa) The following song was used in the treatment of the sick. It seems probable that the man who orig- inally used it was one who received it in a dream of the thunderbirds. Literal translation: "The sound approaches, the (thunderbirds^ draw near." Hear the loud sound! The thunderbirds draw near us, in their mighty power. Hark their voices ! The lightning flash is the gleamjp^ of their terrible eyes; The roll in the storm-swept sky Is the noise of the thunderbird's wings. No. 14. "In Her Canoe" (Chippewa I Literal translation: "1 see her, my sweetheart, paddling her canoe." In her can< >e I sec her. Maiden of my delighted eyes. I see in the rippling of the water The trailing light slipped from her paddle blade A signal sent to me. Ah, maiden of my desire, C.ive me a place in thy canoe; Give me the paddle blade, And yon shall steer us away Wherever you would go! No. 15. Love Song (Chippewa) This song was recorded in western Minnesota, but was said to have been brought by the Chippewa from La Pointe, Wisconsin, a generation ago. Literal translation: "To a very distant land he is going, my lover; soon he will come again." All my heart is lonely, All my heart is full of sorrow. My lover, my lover is departed. Dark the sky at evening, Sad the bird-notes in the dawning. My lover, my lover is departed. He was all my sunshine, His the beauty and the gladness. Return, return, gladness and joy. No. 16. Do Not Weep (Chippewa I Literal translation: "Do not weep. I am not going to die." I am ni >t going to die ; I am ii' >t g< >ing to die : I am not willing t< \ die. Ah. do not weep, beloved, for me. It is for you that I live ; It is for y< >u that I live : I [old me once more in your arms. Death could not take your lover from you. No. 17. Longing (Chippewa) Literal translation: "Although he said it. still I am tilled with longing when 1 think of him." It is true that he is gone away; It is true he spoke those bitter word-; Yet for these, for these I do not mourn. All my heart is filled with loneliness and pain In the fear he will not come again. Although he said it. -till I long For him, And still I wait f< >r him. No. 18. Song of the Crows (Chippewa) It is said that this song was heard by a young man in a fasting vision. Because of this experience he was able to understand the language of the crows. Literal translation : "The first to come I am called among the birds. I bring the rain. Crow is my name." I am first to come in early spring, "Pis I who bring the rain, First of all the birds, And I am called the crow. You may hear my call across the field And know that spring is near. I will bring the rain, For I am called the crow. No. 19. Song of an Ambitious Mother (Chippewa I This is the song of a mother who asks thai the chief's daughter be permitted to marry her son. A brass kettle was among the most valued possessions a Chippewa woman in the early days, ye1 the w<>rds imply that her son, and not herself, will be- stow this kettle upon the prospective bride. Literal translation: "I am asking for Bugac's daughter. My big brass kettle he is giving." (Bu- L, r ;ie is the name of a chief.) This I have come to ask you, This F have come to ask you — O, let your daughter Marry my son. the hunter, \nd he'll give your daughter Mv big brass kettle. No. 20. The Child in the Dark (Chippewa) The man who recorded this song said that when he was a child his mother once left him alone in the wigwam at night. He became very much afraid that he would hear an owl, which is the particular terror of small Chippewa children, so he composed this little song and sang it. The people in nearby wig- wams heard him singing, and learned the song, which afterward became popular in the village. Literal translation : "Very much also I of the owl am afraid, whenever I am sitting alone in the wisrwam." Very much do I fear That the owl I may hear When I sit all alone in the wigwam. Very much do I fear That the owl I may hear in the dark. No. 21. Lullaby (Chippewa ) The Chippewa women use no words with this song repeating over and over the soothing syllables "Way, way, way." Little baby, sleep, Mother swings vour hammock low; Little birds arc asleep in their nest. Way, way. way. way. way. Way. way. way, way, way, way, way. Little baby with nothing to fear. LIBRARY OF CONGRESS 021 426 088 8