Canadian Scenery, Volume 1 (of 2)Willis, Nathaniel Parker
History
Canadian Scenery, Volume 1 (of 2)
Willis, Nathaniel Parker
Canada -- Description and travel; Canada -- History
The orator having obtained an audience of the chiefs on
the other side, expounds the belts, dancing and singing in unison, and
by actions expressing the peaceful purpose of his mission. If the
opposite party be favourably inclined, they accept the offered symbols,
and next day present others of a similar import. He then smokes in the
calumet, and the contract is sealed by burying a hatchet; if there be
any allies, one is deposited for each. This agreement is often
accompanied with professions, at the moment perhaps sincere, of
maintaining the sun always in the heavens, and never again digging up
the hatchet; but the turbulence of individuals, and the satiety of long
peace, to which the whole nation is subject, usually rekindle
hostilities at no distant period.
Some notice may, finally, be expected of Indian amusements; the most
favourite of which are smoking, music, and dancing. These, however, are
viewed in a much higher light than mere pastime; being ranked among the
most serious occupations, and esteemed quite indispensable in the
conduct of every important affair. Without them a council cannot be
held, a negotiation carried on, peace or war proclaimed, nor any public
or private contract entered into; for not one of these transactions is
accounted valid, till it has been smoked over, and sung and danced to.
The calumet is the grand instrument of their policy. No important affair
can be taken into consideration without the pipe in their mouths; and
hence, to call an assembly of the chiefs is said to be lighting the
council fire. This tube accompanies and is the guardian of every
embassy, and to smoke together is the chief cement of national union.
Music and dancing, accompanying each other, are equally indispensable to
every solemn celebration. Yet the instruments and performance are alike
simple and rude; for their song, though often continued for a long
period, consists merely in the perpetual reiteration of a few wild
melancholy notes. The words are usually of the minstrel’s own
composition, and record his exploits in war or hunting, and sometimes
the praises of the animals which he has killed in the chase. The song is
accompanied by performance on the drum, and on the chichikoue or pipe.
The former is merely a hollowed piece of wood covered with skin; the
latter is formed of a thick cane, upwards of two feet in length, with
eight or nine holes, and a mouthpiece not unlike that of a common
whistle. Those who know how to stop the holes, and bring out a sound,
consider themselves performers; yet they cannot play upon it even those
simple airs which they execute with the voice, though they will often
continue for hours drawing out wild irregular notes.
Public-domain text, read in full here on John Shaqi.
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