"CHEROKEES,-The President of the United States has sent me with a powerful army to cause you, in accordance with the treaty of 1835, to join that part of your people who are already established on the other side of the Mississippi. Unhappily, the two years which were allowed for the purpose you have allowed to pa.s.s away without following, and without making any preparations to follow; and now, or by the time that this solemn address reaches your distant settlements, the emigration must be commenced in haste, but I hope without disorder. I have no power, by granting a further delay, to correct the error you have committed. The full moon of May is already on the wane, and before another shall have pa.s.sed away, every Cherokee man, woman, and child in these states(1) must be in motion to join their brethren in the West."

And so this harmless, helpless people left for their long journey. Their only offense was that they owned land which the whites wanted. There are still old Indians who remember the "great removal." Most of them were little children then, but the sad leaving their beloved mountains and the sorrow and hardship of the long journey is remembered after sixty years.

A few years since, we visited the Eastern Cherokees. Perhaps two thousand of them now live in the mountains of North Carolina and Tennessee. Some of these are persons who never went to the Indian Territory, but hid themselves in rocks and caves until the soldiers were gone; some ran away from the great company as it moved westward, trudging back a long and toilsome journey; some are the children and grandchildren of such refugees; some are persons who drifted back in later years to the hills and forests, the springs and brooks, which their fathers had known and loved. They are mostly poor,-unlike their relatives in the West,-but they are industrious and happy. Their log houses are scattered over the mountain slopes or perched upon the tops of ridges or cl.u.s.tered together in little villages in the pretty valleys. Their fields are fenced and well cultivated. They work them in companies of ten or twelve persons; such companies are formed to work the fields of each member in order. They dress like white people, and most of the old Indian life is gone.

Still there are some bits of it left. The women are basket-makers, and make baskets of wide splints of cane, plain or dyed black or red, which are interwoven to make striking patterns. Some old women weave artistically shaped baskets from slender splints of oak. Old Catolsta, more than ninety years old, still shapes pottery vessels and marks them with ornamental patterns which are cut upon a little paddle of wood, and stamped on the soft clay by beating it with the paddle. They still sometimes use the bow and arrow, though more in sport than in earnest, as most of them have white men's guns. The arrow race is still sometimes run.

Several young men start out together, each with his bow and arrows. The arrows are shot out over the course; they run as fast as possible to where these fall and picking them up shoot them on at once. And so they go on over the whole course, each trying to get through first. Ball is largely a thing of the past, and great games are not common. Still there are rackets at many houses. One day we got a "scratcher" from old Hoyoneta, once a great medicine man for ball-players. This scratcher consisted of seven splinters of bone, sharpened at one end and inserted into a quill frame which held them firmly, separated from one another by about a quarter of an inch or less. When a young man was about to play his first great game of ball, he went to Hoyoneta, or some other medicine man, to be scratched.

[Ill.u.s.tration.]

Indian Ball-Player. (After Catlin.)

He had already fasted and otherwise prepared himself for the ordeal. The old man, after muttering charms and incantations, drew the scratcher four times the length of the young man's body, burying the points each time deeply in the flesh. Each time the instrument made seven scratches. One set of these ran from the base of the left thumb, up the arm, diagonally across the chest, down the right leg to the right great toe; another, from the base of the right thumb to the left great toe; another, from the base of the left little finger, up the back of the arm, across the back, down the right leg to the base of the little toe; the other, from the base of the right little finger, to the left little toe. The young man then plunged, with all these bleeding gashes, into a cold running brook. He was then ready for the morrow's ball play, for, had he not been scratched twenty-eight times with the bones of swift running creatures, and been prayed over by a great medicine man?

Every one should know of Sequoyah or George Guess or Guest, as he was called in English. He was a Cherokee who loved to work at machinery and invent handy devices. He determined to invent a system of writing his language. He saw that the writing of the white men consisted in the use of characters to represent sounds. At first he thought of using one character for each word; this was not convenient because there are so many words. He finally concluded that there were eighty-six syllables in Cherokee, and he formed a series of eighty-six characters to represent them. Some of these characters were borrowed from the white man's alphabet; the rest were specially invented. It took some little time for the Cherokees to accept Sequoyah's great invention, but by 1827 it was in use throughout the nation. Types were made, and soon books and papers were printed in the Cherokee language in Sequoyah's characters. These are still in use, and to-day in the Indian Territory, a newspaper is regularly printed by the Cherokee Nation, part of which is in English, part in the Cherokee character. This newspaper is, by the way, supplied free to each family by the Cherokee government.

[Ill.u.s.tration.]

Examples of Sequoyah's Characters.

HELEN HUNT JACKSON.-Writer. Her _nom de plume_ was "H. H." Wrote two books about Indians, _A Century of Dishonor_ and _Ramona_.

Every American boy should read the former.

XXII. GEORGE CATLIN AND HIS WORK.

A famous man in America fifty years ago was George Catlin. He was born at Wyoming, Pennsylvania, in 1796, and lived to a good old age, dying in 1872. His father wished him to be a lawyer, and he studied for that profession and began its practice in Philadelphia. He was, however, fond of excitement and adventure, and found it hard to stick to his business.

He was fond of painting, though he considered it only an amus.e.m.e.nt. While he was living in Philadelphia a party of Indians from the "Far West" spent some days in that city on their way to Washington. Catlin saw them, and was delighted with their fine forms and n.o.ble bearing. He determined to give up law practice and to devote his life to painting Indians, resolving to form a collection of portraits which should show, after they were gone, how they looked and how they lived.

He made his first journey to the Indian country for this purpose in 1832.

For the next eight years he devoted himself to the work. He traveled many thousands of miles by canoe and horse, among tribes some of which were still quite wild. His life was full of excitement, difficulty, and danger.

He made paintings everywhere: paintings of the scenery, of herds of buffalo, of hunting life, Indian games, celebrations of ceremonies, portraits-everything that would ill.u.s.trate the life and the country of the Indian.

[Ill.u.s.tration.]

Portrait of George Catlin.

Among the tribes he visited were the Mandans, who lived along the Missouri River. Some of his best pictures were painted among them. He there witnessed the whole of their sun-dance ceremony, and painted four remarkable pictures of it. These represent the young men fasting in the dance lodge, the buffalo dance outside, the torture in the lodge, the almost equally horrible treatment of the dancers outside after the torture. Although a terrible picture, we have copied the painting showing the torture in the lodge (see next chapter) as an example of his work.

Other pictures by him are the ball-player (see XXI.) and the chief in war dress (see I.).

Sometimes the Indians did not wish to be painted. They thought it would bring bad luck or shorten life. At one Sioux village the head chief was painted before any one knew it. When the picture was done, some of the headmen were invited to look at it. Then all the village wanted to see it, and it was hung outside the tent. This caused much excitement. Catlin says the medicine men "took a decided and noisy stand against the operations of my brush; haranguing the populace and predicting bad luck and premature death to all who submitted to so strange and unaccountable an operation!

My business for some days was entirely at a stand for want of sitters; for the doctors were opposing me with all their force; and the women and children were crying with their hands over their mouths, making most pitiful and doleful laments."

At another town up the Missouri River, near the Yellowstone, there was a still greater excitement over one of Catlin's pictures. About six hundred Sioux families were gathered at a trading post from the several different sub-tribes of that great people. There had been some trouble over his painting, and the medicine men threatened that those who were painted would die or have great misfortune. An Uncpapa Sioux chief named Little Bear offered to be painted. He was a n.o.ble, fine-looking fellow, with a strong face which Catlin painted in profile. The picture was almost finished when a chief of a different band, a surly, bad-tempered man whom no one liked, came in. His name was Shonko, "The Dog." After looking at the picture some time, he at last said in an insolent way, "Little Bear is but half a man." The two men had some words, when finally The Dog said, "Ask the painter, he can tell you; he knows you are but half a man-he has painted but one half your face, and knows the other half is good for nothing." Again they bandied words back and forth, Little Bear plainly coming out ahead in the quarrel. The Dog hurried from the room in a great rage. Little Bear knew he was in danger; he hurried home, and loaded his gun to be prepared. He then threw himself on his face, praying to Wakanda for help and protection. His wife, fearing that he was bent on mischief, secretly removed the ball from his gun. At that moment the insolent voice of The Dog was heard. "If Little Bear is a whole man, let him come out and prove it; it is The Dog that speaks." Little Bear seized his gun and started to the door. His wife screamed as she realized what she had done.

It was too late; the two men had fired, and Little Bear fell mortally wounded in that side of his face which had not been painted in the portrait. The Dog fled.

The death of Little Bear called for vengeance. Such an excitement arose that Catlin soon left, going further up the river. The warriors of the two bands organized war-parties, the one to protect, the other to destroy, The Dog. The Dog's brother was killed. He was an excellent man, and his death was greatly mourned. The Dog kept out of reach. Councils were held. When the matter was discussed, some things were said which show the Indian ideas regarding portraits. One man said:

"He [Catlin] was the death of Little Bear! He made only one side of his face; he would not make the other; the side he made was alive, the other was dead, and Shonko shot it off." Another said: "Father, this medicine man [Catlin] has done us much harm. You told our chiefs and warriors they must be painted-you said he was a good man and we believed you! you thought so, my father, but you see what he has done! he looks at our chiefs and our women and then makes them alive! In this way he has taken our chief away, and he can trouble their spirits when they are dead! they will be unhappy." On his return voyage Catlin had to be cautious, and avoided the Uncpapa encampment. Some months later The Dog was overtaken and killed.

Catlin's pictures varied much in quality. Some were fine; others were poor. Often he made the outlines and striking features wonderfully well.

Catlin was among the Mandans in 1832. Thirty-three years later Washington Matthews was in the Upper Missouri country. He had with him a copy of Catlin's book with line pictures of more than three hundred of his paintings. The Indians had completely forgotten Catlin and his visit, but were much interested in his pictures.

The news soon spread that the white man had a book containing the "faces of their fathers." Many went up to Fort Stevenson to see them. They recognized many of the portraits and expressed great emotion. That is, the women did, weeping readily on seeing them. The men seemed little moved.

One day there came from the Mandan town, sixteen miles away, the chief, Rushing Eagle, son of Four Bears, who had been a favorite of Catlin's.

Catlin painted him several times (see opposite page 1). When the son saw his father's picture, though he gazed at it long and steadily, he showed no emotion. Dr. Matthews was called away on some errand, and told the chief that he would be away some time and left him alone with the book. He was obliged, however, to return for something, and was surprised to find Rushing Eagle weeping and earnestly addressing his father's portrait.

Catlin not only painted hundreds of pictures among many tribes; he also secured many fine Indian objects-dress, weapons, scalps, objects used in games, painted blankets, etc. With his pictures and curiosities, which had cost him so much time, labor, and danger, he traveled through the United States.

He exhibited in Boston, New York, Philadelphia, Washington, and many less important cities, and everywhere attracted crowds. He went to Europe and exhibited in France, Belgium, and England. Every one spoke of him. He was the guest of kings and prominent men everywhere. Louis Philippe, King of France, was so much interested in his work that he proposed to buy the pictures and curiosities for the French nation. But just then came the Revolution which dethroned him, and the sale fell through. Many of Catlin's pictures and some of his curiosities are still in existence, and the greater part of these are in the United States National Museum at Washington.

WASHINGTON MATTHEWS.-Physician, ethnologist. Author of important works regarding the Hidatsa and Navajo Indians. Wrote _The Catlin Collection of Indian Paintings_.

XXIII. THE SUN DANCE.

The Sioux or Dakota Indians are one of the largest tribes left. They live at present chiefly in the states of North and South Dakota. There are a number of divisions or sub-tribes of them-the Santee, Sisseton, Wahpeton, Yankton, Yanktonnais, and Teton Sioux. The Tetons in turn are divided into several bands each with its own name. These are all Sioux proper, but there are many other tribes that speak languages that are related to the Sioux. Among these Siouan-but not Sioux-tribes are the Winnebagoes, Mandans, Ponkas, a.s.sinaboines, Omahas, and Otoes.

The Sioux are tall, finely built Indians, with large features and heavy, ma.s.sive faces. They are a good type of the Plains Indians who until lately lived by hunting buffalo. There are now nearly thirty thousand true Sioux and about ten thousand Siouans of related tribes.

Among all peoples of the Siouan family it is probable that the terrible sun dance was practiced. It differed somewhat from tribe to tribe. It was seen and described by a number of whites, but to-day it has been forbidden by the United States government, and it is some years since it last took place.

The sun dance was made to please Wakantanka, the sun. If there were a famine or disease, or if one wished success in war, or to have a good crop, a young man would say, "I will pray to Wakantanka early in the summer." The man at once began to prepare for the event. He took sweat baths, drank herb teas, and gave feasts to his friends, where herb teas were used. He had to be careful of what things he touched; used a new knife, which no one else might use; must not touch any unclean thing. He could not go in swimming. He and his friends gathered together all the property they could, that he might give many gifts at the time of the dance.

At his house every one had to treat him kindly and not vex him. An _umane_ was made near the back of the tent. This was a s.p.a.ce dug down to the lower soil. Red paint was strewn over it, and no one might set foot upon it. Any of those who were to take part in the dance, after he had smoked would carefully empty the ashes from his pipe upon this spot. The spot represented life as belonging to the earth.

Invitations to neighboring tribes were sent early, and long before the dance parties began to arrive. Some of these would spend several weeks about the village. At first they pitched their camps wherever it best suited them. A little before the dance orders were given, and all the visitors camped in one large camp circle, each tribe occupying a special place. The s.p.a.ce within this circle was carefully leveled and prepared. A special building was erected in the center of this circle in which the young men made their preparations. In it were buffalo skulls,-one for each dancer,-a new knife and ax, and couches of sage for the dancers to lie upon.

A sacred tree was next secured and set up. This was an important matter.

Men of consequence were first sent out to select it. When they had found one they announced it in the village, and a great crowd rode out on horseback to the spot. Many strange things were done in getting it, but at last it was cut down. A bundle of wood, a blanket, a buffalo robe, and two pieces of buffalo skin-one cut to the shape of a man, the other to that of a buffalo-were fastened in the tree. It was then carried in triumph back to the camp and set up.

A dance house was built around this tree. It was like a great ring in shape, and the s.p.a.ce between it and the tree was not roofed. The dance house was built of poles and leaves. In it all the more important parts of the ceremony were performed. After the tree was set up and the dance house built, all the town was in excitement; men, dressed in all their finery, went dashing on horseback around the camp circle, shooting their pistols and making a great noise. The old men shot at the objects hung in the sacred tree. At evening the young men and women rode around, singing.

During all this time the young men had been preparing for the dance. They were especially dressed, they had sung, drummed, and smoked. When the evening came that has been described, the dance really began. The young men danced from the lodge, where they had been making preparation, to the dance lodge.

The leader carried a buffalo skull painted red. All cried as they went. On entering the dancing house they saluted the four cardinal points and seated themselves at the back of the lodge, singing. A spot, shaped like a crescent, was then cut in the ground, and the dancers placed in it the buffalo skulls they carried. Shortly afterward began the tortures, which have made this dance so famous. They were intended to test the bravery of the young men and to please the sun. Sometimes a man stood between four posts arranged in the form of a square. His flesh was cut in two places in the back, and thongs were pa.s.sed through and tied to the post in front.