Go out to the nearest chestnut tree, and get half a small burr; trim it
neatly. Fill it with putty; set four wooden pegs in this for legs, a
large peg for a head and a long thin one for a tail. On the head put two
little black pins for eyes. Now rub glue on the wooden pegs and sprinkle
them with powdered rotten wood, or fine sand, and you have a Burr
Porcupine. Sometimes carpet tacks are used for legs. You will have to
wear strong leather gloves in making this, it is so much like a real
Porcupine.
Now go into your woods and get a handful of common red cedar twigs with
leaves on, or other picturesque branches, some creeping moss of the
kind used by flower dealers to pack plants, various dried grasses, and a
few flat or sharp-cornered pebbles. Take these home. Get a cigar box or
a candy-box, some paper, clay or putty and glass, as already described
for the Monkey-hunt. Make a pond with the glass and a bank with the clay
and pebbles. Paint the top of the clay, and tops of the pebbles with the
thin glue, and also part of the glass; then sprinkle all with powdered
chalk, whitening, plaster of Paris or talcum powder for snow. Put the
Porcupine in the middle, and you have the "Woods in Winter."
TALE 78
The Fish and the Pond
[Illustration: The Fish and the Pond--and the Cone]
Go out and get the cone of a Norway Spruce tree, or a White Spruce; this
is the body of your Fish. Cut two round spots of white paper for eyes,
glue them on, and when dry, put a black ink spot in the middle of each.
Add a curved piece of paper on each side for gills. Then with an awl or
with the point of the scissors make holes in the sides, in which put
fins cut out of brown paper, fixing them in with glue. Then, with the
knife blade, make a long cut in the back, and split the tail, and in
each cut glue a thick piece of brown paper cut fin shape. When dry, draw
lines on these with ink. Now you have a good Fish.
For the pond, take a cigar-box, paint the lower quarter of it dark
green, and the upper part shaded into light blue, for sky. Glue a piece
of glass or else carwindow celluloid level across this near the bottom.
This is for water. Hide all the back and side edges of the glass with
clay banks as described in the Monkey-hunt, or with moss glued on. Put a
fine black thread to the Fish's back, another to his tail, and hang
him level above the water by fastening the threads to the top of the
box. Label it "Pond Life" or the "Fish at Home."
TALE 79
Smoke Prints of Leaves
[Illustration: Smoke Prints of Leaves]
Collect one or two leaves that have strongly marked ribs; elm and
raspberry are good ones. Take a piece of paper that is strong, but
rather soft, and about as big as this page. Grease, or oil it all over
with paint-oil, butter, or lard. Then hold it, grease-side down, in the
smoke of a candle, close to the flame, moving it about quickly so that
the paper won't burn, until it is everywhere black with soot.
Lay the paper flat on a table, soot-side up, on a piece of blotting
paper. Lay the leaf on this; then, over that, a sheet of paper. Press
this down over all the leaf. Lift the leaf and lay it on a piece of
soft, white paper; press it down as before, with a paper over it, on
which you rub with one hand while the other keeps it from slipping; lift
the leaf, and on the lower paper you will find a beautiful line-drawing
of the leaf, done in black ink; which, once it is dry, will never rub
out or fade away.
At one corner write down the date and the name of the leaf.
TALE 80
Bird-boxes
[Illustration: Bird-boxes]
You can win honours in Woodcraft if you make a successful bird-box. That
is one made by yourself, and used by some bird to raise its brood in.
There are three kinds of birds that are very ready to use the nesting
places you make. These are the Robin, Wren, and Phoebe. But each
bird wants its own kind exactly right, or will not use it.
First the Robin wants a shelf, as in the picture. It should be hung
against a tree or a building, about ten feet up, and not much exposed to
the wind. It should also be in a shady place or at least not where it
gets much sun.
The nails sticking up on the floor are to hold the nest so the wind will
not blow it away. The Phoebe-shelf is much the same only smaller.
The Wren-box should be about four or five inches wide and six inches
high inside, with a hole exactly seven eighths inch wide. If any bigger,
the Wren does not like it so well, and other birds may drive the Wren
away. Many Wren-boxes are made of tomato tins, but these are hard to cut
a hole in. The Wren-box should be hung where the sun never shines on it
all summer, as that would make it too hot inside.
TALE 81
A Hunter's Lamp
[Illustration: A Hunter's Lamp]
In the old pioneer days, every hunter used to make himself a lamp, for
it was much easier to make than a candle. It is a good stunt in
Woodcraft to make one. Each woodcrafter should have one of his own
handiwork. There are four things needed in it: The bowl, the wick, the
wick-holder and some fat, grease, or oil.
For the bowl a big clam shell does well.
For wick a strip of cotton rag rolled into a cord as thick as a slate
pencil, and about two inches long; a cotton cord will do, or perhaps the
fibrous bark of milkweed or other native stuff is the truly woodcraft
thing.
For wick-holder get a piece of brick, stone, or a small clam shell about
as big as a half dollar. Bore a hole through the middle to hold the
wick. It is not easy to get the hole through without splitting the
stone, but sometimes one can find a flat pebble already bored. Sometimes
one can make a disc of clay with a hole in it, then burn this hard in a
fierce fire, but the most primitive way is to rub the bump of a small
clam shell on a flat stone till it is worn through.
For oil use the fat, grease, lard, or butter of any animal, if it is
fresh, that is without salt in it.
Fill the bowl with the grease, soak the wick in grease and set it in the
holder so that half an inch sticks up; the rest is in the grease. The
holder rests on the bottom of the bowl.
Light the end that sticks up. It will burn with a clear, steady light
till all the oil is used up.
To have made a lamp that will burn for half an hour is counted an
"honour" in Woodcraft, and may win you a badge if you belong to a
Woodcraft Tribe.
TALE 82
The Coon Hunt
Take a little bundle of white rags, or paper, as large as a walnut; call
this the "Coon." While all the young folks hide their eyes or go out of
the room, the Guide puts the Coon on some place, high or low, but in
plain view; then, going away from it, shouts "Coon!"
Now the young scouts have to find that Coon, each looking about for
himself. As soon as one sees it, he says nothing, but sits down. Each
must find it for himself, then sit down silently, until all are down.
Last down is the "booby"; first down is the winner; and the winner has
the right to place the Coon the second time, if the Guide does not wish
to do it.
This is often played indoors and sometimes a thimble is used for the
Coon.
TALE 83
The Indian Pot
This is something everyone can make, no matter how young, and each,
including the Guide, should make one.
Get a lump of good stiff clay; yellow is better than blue, only because
it is a better colour when finished.
Work the clay up with water till soft, pick out all stones, lumps, and
straws. Then roll it out like a pancake; use a knife to cut this into
laces a foot long and about as thick as a pencil.
Dip your fingers in water, take one of these laces and coil it round and
round as in "a," soldering it together with water rubbed on and into the
joints. Keep on adding, shaping and rubbing, till you have a saucer
about three inches across and a quarter of an inch thick. Put this away
in some shady place to set, or harden a little; otherwise it would fall
down of its own weight.
After about an hour, wet the rim, and build up on that round and round
with laces as before, until you have turned the saucer into a cup, about
four inches across, and, maybe three inches high. Set this away to
stiffen. Then finish the shape, by adding more coils, and drawing it in
a little. When this has stiffened, make a "slip" or cream of clay and
water, rub this all over the pot inside and out; use your fingers and a
knife to make it smooth and even. When this is done, use a sharp point,
and draw on the pot any of the Indian designs show in the sketches,
using lines and dots for the shading.
[Illustration: The Indian Pot]
Now set the pot in some shady place to dry. High above the stove in the
kitchen is a good place, so long as it is not too near the stove-pipe.
After one day bring it nearer the heat. Then about the second day, put
it in the oven. Last of all, and this is the hardest part to do, let
the Guide put the bone-dry pot right into the fire, deep down into the
red coals at night, and leave it there till next day. In the morning
when the fire is dead, the pot should be carefully lifted out, and, if
all is well, it will be of hard ringing red terra cotta.
The final firing is always the hardest thing to do, because the pots are
so easily cracked. If they be drawn out of the fire while they are yet
hot, the sudden touch of cold air usually breaks them into pieces.
Now remember, O Guide! A pot is made of the earth, and holds the things
that come out of the earth to make life, that feed us and keep us. So on
it, you should draw the symbols that stand for these things. At the foot
of preceding page you see some of them.
TALE 84
Snowflakes, the Sixfold Gems of Snowroba
[Illustration: Snowflakes]
You have heard of the lovely Snowroba, white calm beautiful Snowroba,
the daughter of King Jackfrost the Winter King, whose sad history was
told in the first Tale. You remember how her robe was trimmed with white
lace and crystal gems, each gem with six points and six facets and six
angles, for that is one of the strange laws of the white Kingdom, the
sixfold rule of gems. I did not give a good portrait of the White
Princess, but I can show you how to make the Jewels which sparkled on
her robe.
Take a square of thin white paper three or four inches wide (a). Fold it
across (b), and again, until it is a square (c), half as wide as "a."
Mark on it the lines as in "d," and fold it in three equal parts as in
"e." Now with pencil draw the heavy black lines as in "f, g, h." Cut
along these lines with scissors, open out the central piece, and you
have your snow-gems as on facing page.
You can see for yourself that these are true to the gem-law of the White
Kingdom, if, when next the snow comes down, you look for the biggest
flakes as they lie on some dark surface. You will find many patterns all
of them beautiful, and all of them fashioned in accordance with the law.
Are You Alive?
Little boy or girl, are you all alive? Just as alive as an Indian? Can
you see like a hawk, feel like a blind man, hear like an owl? Are you
quick as a cat? You do not know! Well, let us find out in the next eight
tales. In these tests 100 is kept in view as a perfect score in each
department, although it is possible in some cases to go over that.
TALE 85
Farsight
1. Hold up a page of this book, and see how far off you can read it. If
at 60 inches, measured with a tapeline from your eye to the book, then
your eye number is 60, which is remarkably good. Very few get as high as
70.
2. Now go out at night and see how many Pleiades you can count; see Tale
52. If you see a mere haze, your star number is 0; if you see 4 little
pin points in the haze, your number is 8; if you see 6, your number is
12. If you see 7 your number is 14; and you will not get beyond that.
3. Now look for the Pappoose on the Squaw's back, as in Tale 50. If you
do not see it, you score nothing. If you can see it, and prove that you
see it, your number is 14 more.
Now add up these, thus: 60 plus 14 plus 14; this gives 88 as your
_farsight_ number. Anything over 60 means you can see like a hawk.
TALE 86
Quicksight
Take two boards, cards or papers, each about half a foot square; divide
them with black lines into 25 squares each, i. e. 5 each way; get 6 nuts
and 4 pebbles, or 6 pennies and 4 beans; or any other set of two things
differing in size and shape.
Let the one to be tested turn his back, while the Guide places 3 nuts
and 2 pebbles on one of the boards, in any pattern he pleases, except
that there must be only one on a square.
Now, let the player see them for 5 seconds by the watch; then cover it
up.
From memory, the player must place the other 3 nuts and 2 pebbles on the
other board, in exactly the same pattern. Counting one for every one
that was right. Note that a piece exactly on the line does not count;
but one chiefly in a square is reckoned to be in that square.
Do this 4 times. Then multiply the total result by 5. This gives his
_quicksight_ number, to be added to his _aliveness_ score.
TALE 87
Hearing
Can you hear like an owl? An owl can find his prey by hearing after
dark. His ears are wonderful. Let us try if yours are.
1. _Watch-test._ First, you must be blindfolded, and in some perfectly
quiet place indoors. Now have the Guide hold a man's watch (open if
hunting-cased), near your head; if you can hear it at 40 inches,
measured on a tapeline, and prove that you do, by telling exactly where
it is, in several tries, your hearing number is 40, which is high. If at
20 inches, it is low (20 pts.); if at 60 inches (60 pts.), it is
remarkable. Anything over 50 points means you can hear like an owl. In
this you go by your best ear.
2. _Pindrop-test._ Sometimes it is difficult to get a good watch-test.
Then the trial may be made with an ordinary, silvered brass stick-pin,
1-1/8 inches long, with small head. Lay the pin on a block of wood that
is exactly half an inch thick. Set this on a smooth polished board, or
table top of hardwood, not more than an inch thick, and with open space
under it. Set it away from the edge of the table so as to be clear of
the frame and legs. After the warning "ready," let the Guide tip the
block of wood, so the pin drops from the block to the table top (half an
inch). If you hear it at 35 feet in a perfectly still room, your hearing
is normal, and your hearing number is 35. If 20 feet is your farthest
limit of hearing it, your number is 20, which is low. If you can hear it
at 70 feet, your number is 70, which is remarkable.
You can use either the watch-test or the pin-test. If you use both, you
add the totals together, and divide by 2, to get your _hearing_ number.
TALE 88
Feeling
1. Have you got wise fingers like a blind man?
Put 10 nickels, 10 coppers and 10 dimes in a hat or in one hand if you
like. Then, while blindfolded, separate them into three separate piles,
all of each kind in a separate pile, within 2 minutes. If it takes you
the full 2 minutes (120 seconds), you are slow, and your feel number is
0. If you do it without a mistake in 1 minute and 20 seconds, your feel
number is 40, one point for each second you are less than 2 minutes. But
you must take off 3 points for every one wrongly placed, so 3 wrongly
placed would reduce your 40 to 31. I have known some little boys on the
East Side of New York to do it in 50 seconds without a mistake, so their
feel-number by coins was 70. That is, 120 seconds minus 50 seconds
equals 70. This is the best so far.
2. Now get a quart of corn or beans. Then when blindfolded, and using
but one hand, lay out the corn or beans in "threes"; that is, three at a
time laid on the table for 2 minutes. The Guide may move the piles aside
as they are made. Then stop and count all that are exactly three in a
pile (those with more or less do not count at all). If there are 40
piles with 3 in each, 40 is your number, by corn.
3. The last test is: Can you lace your shoes in the dark, or
blind-folded, finishing with a neat double bow knot?
Arrange it so your two shoes together have a total of at least 20 holes
or hooks to be used in the test, i. e., which do not have the lace in
them when you begin. Allow 1 point for each hole or hook, i. e., 20
points, finish the lacing in 2 minutes, in any case stop when the 2
minutes is up; then take off 2 points for each one that is wrongly
laced, or not laced. Thus: Supposing 4 are wrong, take off 4 times 2
from 20, and your blindfold lacing number is 12; if the number wrong was
10 or more, your lacing number is 0; if you had 3 wrong, your number is
14.
Suppose by these three tests--coins, corn, and laces--you scored 40,
30, and 14; add these together and they give your _feel_ number; 84.
TALE 89
Quickness
Put down 12 potatoes (or other round things) in a row, each one exactly
6 feet from the last, and the last 12 feet from a box with a hole in it,
just large enough to take in one potato. Now at the word "go," run and
get the first potato, put it through the hole into the box; then get the
second, bring it to the box, and so on, one at each trip. After one
minute, stop. Now multiply the number of potatoes in the box by 10, and
you have your _quickness_ number. If you have 8 in the box, you score 80
points, you are as quick as a cat. Very few get over 80. No one so far
has made 100 points.
TALE 90
Guessing Length
Take two common nails, or other thin bits of metal, and lay them on a
table or board, at what you guess to be exactly one yard (36 inches)
apart. Then let the Guide lay the tape-line on it, and, allowing 20
points for exactly right, take off 1 point for each half inch you are
wrong, over or under. Do not count quarter inches, but go by the nearest
half-inch mark. Do this 5 times, add up the totals, that will give your
_guessing-length_ number.
Thus, if your first guess turns out to be 37 inches, that is, 2
half-inches too much, 2 from 20 gives 18 points. Your next guess was 34
inches, that is 4 half-inches too little, 4 from 20 gives 16 points.
Your next guess gave 12 points, your next 17, and your last 19. The
total, 18 plus 16 plus 12 plus 17 plus 19, equals your number of
_guessing length_ or 82.
TALE 91
Aim or Limb-control
Take 25 medium-sized potatoes, and set up a bucket or bag whose mouth is
round and exactly one foot across. Draw a line exactly 10 feet from the
bucket or bag. Toe that line, and throw the potatoes, one by one, into
the bag. Those that go in, then bounce out, are counted as in. Do it
four times, then add up all the four totals of those that went in; that
gives your _aim_ or _control_ number.
For example, suppose that in the 4 tries you got 10 in the first time,
15 in the second, 20 in the third, 19 in the fourth. Add these together,
it gives your arm-control or _aim_ number as 64.
Now add up all these high numbers:
Farsight 88
Quicksight 50
Hearing 50
Feeling 84
Quickness 80
Guessing Length 82
Aim 64
Your aliveness number is 498
But very few can score so high. If you can score 400 you are surely
alive; you can see like a hawk, you can take in at a glance, you can
hear like an owl, you can feel like a blind man, you are quick as a cat,
you are a good judge of size, and you can aim true; That is, you are as
_alive as an Indian_.
TALE 92
A Treasure Hunt
Make 24 little white sticks, each about three inches long, and as thick
as a pencil. They are easy to make of willow shoots, after the bark is
peeled off. While the young folk hide their eyes, the Guide walks off in
the woods, ties a white rag on a tall stake or limb, for the point of
beginning. Then, one step apart and in a very crooked line, sets each of
the little white sticks in the ground, standing straight up. Under the
last stick should be buried the treasure; usually a stick of chocolate.
This the players are to find by following the sticks.
When the young folk get used to it, the line should be longer, the
sticks farther apart, and the last one may be ten steps from the last
but one.
When they are well trained at it, scraps of paper, white beans, corn, or
even chalk marks on trees, instead of sticks, will serve for trail; and
still later holes prodded in the ground with a sharp pointed cane will
do.
This game can be played in the snow; in which case, the track of the
Guide, when he hides the treasure, takes the place of the sticks.
Finally it makes a good game for indoors on a rainy day. In which case
we use buttons, corn, or scraps of white cotton for trail sticks. Of
course the trail now should be upstairs and down, and as long and
crooked as possible.
TALE 93
Moving Pictures
One of the best developers of imagination is the Moving Picture.
Sometimes called Pantomime, or Dumb-show which means all signs without
sounds.
The one who is to put on the "movie" is given a subject and must then
stand out on the stage or Council Ring, and carry all the story to the
spectators, without using any sound and with as few accessories as
possible.
The "print between the reels" is supplied by the Guide who simply
announces what is needed to explain.
The following subjects have been used successfully (unless otherwise
stated they are for one actor each):
Miss Muffet and the Spider--the well-known
Nursery Rhyme
Old Mother Hubbard
Little Jack Horner
Mary and her Little Lamb
Red Ridinghood--walk through the woods,
meeting the wolf, etc.
Robinson Crusoe--finding the track of a man
in the sand
A Barber Shop--shaving a customer (two actors)
The Man's First Speech at a Dinner
The Politician who was rotten-egged after vainly
trying to control a meeting
Joyride in a Ford Car--ending in a bad upset
(two actors)
The Operation--a scene in a hospital following
the accident (two or more)
The Professor of Hypnotism and His Subject (two actors)
The Man who Found a Hair in His Soup
The Young Lady Finds a Purse, on opening it a mouse
jumps out and she remembers that it is 1st of April
A Young Man Telephoning to His Best Girl
A Man Meeting and Killing a Rattlesnake
Lighting a Lamp
Drawing a Cork
Looking for a Lost Coin--finding it in one pocket or
shoe
A Musician Playing His Own Composition
The Sleeping Beauty and the Prince (two actors)
Goldilocks and the Three Bears
William Tell and the Apple (best rendered in caricature
with a pumpkin and two actors)
Eliza Crossing the Ice
The Kaiser Signing His Abdication
The Judgment of Solomon (three actors)
Brutus Condemning His Two Sons to Death.
TALE 94
A Natural Autograph Album
If you live in the country, I can show you an old Woodcraft trick. Look
for a hollow tree. Sometimes you can pick one out afar, by the dead top,
and sometimes by noting a tree that had lost one of the biggest limbs
years ago. In any case, basswoods, old oaks and chestnuts are apt to be
hollow; while hickories and elms are seldom so, for once they yield to
decay at all, they go down.
Remember that every hollow tree is a tenement house of the woods. It may
be the home of a score of different families. Some of these, like Birds
and Bats, are hard to observe, except at nesting time. But the fourfoots
are easier to get at. For them, we will arrange a visitors' book at the
foot of the tree, so that every little creature in fur will write his
name, and some passing thought, as he comes to the tree.
How?
Oh, it is simple; I have often done it. First clear and level the ground
around the tree for three or four feet; then cover it with a coat of
dust, ashes, or sand--whichever is easiest to get; rake and brush it
smooth; then wait over one night.
Next morning--most quadrupeds are night-walkers--come back; and you
will find that every creature on four feet that went to the tree
tenement-house has left us its trail; that is its track or trace.
No two animals make the same trail, so that every Squirrel that climbed,
every 'Coon or 'Possum, every Tree-mouse, and every Cottontail that went
by, has clearly put himself on record without meaning to do so; and we
who study Woodcraft can read the record, and tell just who passed by in
the night.
TALE 95
The Crooked Stick
Once upon a time there was a girl who was very anxious to know what sort
of a husband she should get; so, of course, she went to the old
wood-witch.
The witch asked a few questions, then said to the girl: "You walk
straight through that woods, turn neither to right nor left, and never
turn back an inch, and pick me out a straight stick, the straighter the
better; but pick only one, and bring it back."
So the girl set out. Soon she saw a fine-looking stick close at hand;
but it had a slight blemish near one end, so she said: "No; I can do
better than that." Then she saw another that was perfect but for a
little curve in the middle, so she passed it by.
Thus she went, seeing many that were nearly perfect; but walking on,
seeking one better, till she was quite through the woods. Then she
realized her chances were nearly gone; so she had to take the only stick
she could find, a very crooked one indeed, and brought it to the witch,
saying that she "could have got a much better one had she been more
easily satisfied at the beginning."
The witch took the stick, waved it at the girl and said: "then this is
your fortune; _through the woods and through the woods and out with a
crooked stick_. If you were less hard to please, you would have better
luck; but you will pass many a good man by, and come out with a crooked
stick."
* * * * *
Maybe some of our Woodcraft girls can find an initiation in this. Put it
just as the witch did it, but let it be considered a success if the
stick is two feet long and nowhere half an inch out of true line. Let me
add a Woodcraft proverb which should also have its mead of comfort--The
Great Spirit can draw a straight line with a crooked stick.
TALE 96
The Animal Dance of Nana-bo-jou
For this we need a Nana-bo-jou; that is, a grown-up who can drum and
sing. He has a drum and drumstick, and a straw or paper club; also two
goblins, these are good-sized boys or girls wearing ugly masks, or at
least black hoods with two eyeholes, made as hideous as possible; and
any number of children, from three or four up, for animals. If each has
the marks, colours, etc., of some bird or beast, so much the better.
First, Nana-bo-jou is seen chasing the children around the outside of
the circle, trying to catch one to eat; but failing, thinks he'll try a
trick and he says: "Stop, stop, my brothers. Why should we quarrel?
Come, let's hold a council together and I will teach you a new dance."
The animals whisper together and the Coyote comes forward, barks, then
says:
"Nana-bo-jou, I am the Coyote. The animals say that they will come to
council if you will really make peace and play no tricks."
"Tricks!" says Nana-bo-jou, "I only want to teach you the new songs from
the South."
Then all the animals troop in and sit in a circle. Nana-bo-jou takes his
drum and begins to sing:
"New songs from the South, my brothers,
Dance to the new songs."
Turning to one, he says: "Who are you and what can you dance?"
The answers are, "I am the Beaver [or whatever it is] and I can dance
the Beaver Dance."
"Good! Come and show me how."
So the Beaver dances to the music, slapping the back of his flat right
hand, up and under his left hand for a tail, holding up a stick in both
paws to gnaw it, and lumbering along in time to the music, at the same
time imitating the Beaver's waddle.
Nana-bo-jou shouts: "Fine! That is the best Beaver Dance I ever saw. You
are wonderful; all you need to be perfect is wings. Wouldn't you like to
have wings so you could fly over the tree-tops, like the Eagle?"
"Yes," says the Beaver.
"I can make strong medicine and give you wings, if all the animals will
help me," says Nana-bo-jou. "Will you?"
"Yes," they all cry.
"Then all close your eyes tight and cover them with your paws. Don't
look until I tell you. Beaver, close your eyes and dance very fast and I
will make magic to give you wings."
All close and cover their eyes. Nana-bo-jou sings very loudly and,
rushing on the Beaver, hits him on the head with the straw club. The
Beaver falls dead. The two goblins run in from one side and drag off the
body.
Then Nana-bo-jou shouts: "Look, look, now! See how he flies away! See,
there goes the Beaver over the tree-tops." All look as he points and
seem to see the Beaver going.
Different animals and birds are brought out to dance their dances and
are killed as before. Then the Crow comes out, hopping, flopping,
cawing. Nana-bo-jou looks at him and says: "You are too thin. You are no
good. You don't need any more wings," and so sends him to sit down.
Then the Coyote comes out to do the Coyote Dance, imitating Coyote,
etc.; but he is very suspicious and, in answer to the questions, says:
"No; I don't want wings. The Great Spirit gave me good legs, so I am
satisfied"; then goes back to his seat.
Next the Deer, the Sheep, etc., come out and are killed; while all the
rest are persuaded that the victims flew away. But the Coyote and the
Loon have their doubts. They danced in their turns, but said they didn't
want any change. They are satisfied as the Great Spirit made them. They
are slow about hiding their eyes. At last, they peek and realize that it
is all a trap and the Loon shouts: "Nana-bo-jou is killing us! It is all
a trick! Fly for your lives!"
As they all run away, Nana-bo-jou pursues the Loon, hitting him behind
with the club, which is the reason that the Loon has no tail and has
been lame behind ever since.
The Loon shouts the Loon battle-cry, a high-pitched quavering
LUL-L-L-O-O-O and faces Nana-bo-jou; the animals rally around the Loon
and the Coyote to attack the magician. All point their fingers at him
shouting "Wakan Seecha" (or Black Magic). He falls dead in the circle.
They bury him with branches, leaves, or a blanket, and all the animals
do their dances around him.
Before beginning, the story of the dance should be told to the
audience.
TALE 97
The Caribou Dance
[Illustration: Horns for the Caribou Dance]
The easiest of our campfire dances to learn, and the best for quick
presentation, is the Caribou Dance. It has been put on for public
performance after twenty minutes' rehearsing, with those who never saw
it before, because it is all controlled and called off by the Chief. It
does equally well for indoor gymnasium or for campfire in the woods.
In the way of fixings for this, you need only four pairs of horns and
four cheap bows. Real deer horns may be used, but they are scarce and
heavy. It is better to go out where you can get a few crooked limbs of
oak, cedar, hickory or apple tree; and cut eight pairs, as near like
those in the cut as possible, each about two feet long and one inch
thick at the butt. Peel these, for they should be white; round off all
sharp points of the branches, then lash them in pairs, as shown. A pair,
of course, is needed for each Caribou. These are held in the hand and
above the head, or in the hand resting on the head.
The four Caribou look best in white. Three or four hunters are needed.
They should have bows, but no arrows. The Chief should have a drum and
be able to sing the Muje Mukesin, or other Indian dance tune. One or two
persons who can howl like Wolves should be sent off to one side, and
another that can yell like a Lynx or a Panther on the other side, well
away from the ring. Otherwise the Chief or leader can do the imitations.
Now we are ready for
THE DANCE OF THE WHITE CARIBOU
The Chief begins by giving three thumps on his drum to call attention;
then says in a loud, singing voice: "The Caribou have not come on our
hunting grounds for three snows. We need meat. Thus only can we bring
them back, by the big medicine of the Caribou Dance, by the power of the
White Caribou."
He rolls his drum, then in turn faces each of the winds, beckoning,
remonstrating, and calling them by name; Kitchi-nodin (West); Keeway-din
(North); Wabani-nodin (East); Shawani-nodin (South). Calling last to the
quarter whence the Caribou are to come, finishing the call with a long
KO-KEE-NA. Then as he thumps a slow single beat the four Caribou come in
in single file, at a stately pace timed to the drum. Their heads are
high, and they hold the horns on their heads, with one hand, as they
proudly march around. The Chief shouts: "The Caribou, The Caribou!"
After going round once in a sun circle (same way as the sun), they go
each to a corner. The Chief says: "They honour the symbol of the Great
Spirit." The drum stops; all four march to the fire. They bow to it
together, heads low, and utter a long bellow.
Then the Chief shouts: "They honour the four Winds, the Messengers."
Then the Caribou back up four paces each, turn suddenly and make a short
bow, with a short bellow, then turn and again face the fire.
The Chief shouts: "Now they live their wild free lives on the plain." He
begins any good dance song and beats double time. The Caribou dance
around once in a circle.
The Chief shouts: "Full of life they fight among themselves."
The first and second Caribou, and third and fourth, close in combat.
They lower their heads, lock horns held safely away from the head,
snort, kick up the dust, and dance around each other two or three
times.
The music begins again, and they cease fighting and dance in a circle
once more.
The music stops. The Chief shouts: "They fight again." Now the first and
fourth and second and third lock horns and fight.
After a round or so the music begins again and they cease fighting and
again circle, dancing as before.
The Chief calls out: "The Wolves are on their track."
Now the howling of Wolves is heard in the distance, from the fellows
already posted.
The Caribou rush toward that side and face it in a row, threatening,
with horns low, as they snort, stamp, and kick up the dust.
The Wolf-howling ceases. The Caribou are victorious. The Chief shouts:
"They have driven off the Wolves." They turn away and circle once to the
music, holding their heads high.
Now Panther-yelling (or other menacing sound) is heard in the other
direction. The Chief shouts: "But now the Panthers have found them out."
Again the Caribou line up and show fight. When it ceases, the Chief
cries out: "They have driven off the Panther." Now they dance proudly
around, heads up, chests out as they step, for they have conquered every
foe.
Then the Chief calls out: "But another, a deadlier enemy comes. The
hunters are on their trail." The hunters appear, crawling very low and
carrying bows. They go half around the ring, each telling those behind
by signs, "Here they are; we have found them," "Four big fellows," "Come
on," etc. When they come opposite the Caribou, the first hunter lets off
a short "yelp." The Caribou spring to the opposite side of the ring, and
then line up to defy this new noise; but do not understand it, so gaze
as they prance about in fear. The hunters draw their bows together, and
make as though each lets fly an arrow. The first Caribou drops, the
others turn in fear and run around about half of the ring, heads low,
and not dancing; then they dash for the timber. The hunters run forward
with yells. The leader holds up the horns. All dance and yell around the
fallen Caribou and then drag it off the scene.
The Chief then says: "Behold, it never fails; the Caribou dance brings
the Caribou. It is great medicine. Now there is meat in the lodge and
the children cry no longer."
TALE 98
The Council Robe
The Woodcraft Council Robe is something which every one may have, and
should make for himself. It may be of any shade, of gray, buff, orange,
or scarlet. The best ones are of a bright buff. In size they are about
five feet by six feet, and the stuff may be wool, cotton, silk, or a
mixture. My own is of soft or blanket cotton.
The robe is used as a wall banner, a personal robe, or a bed spread, and
has for the first purpose two or more tag-loops sewn on the top. For the
second, it has a head-hole or poncho-hole, an upright slit near one end
(hh), and for the last, there are one or two buttons or tie-strings to
close the poncho-hole. These are the useful features of the robe.
The ornamental features are the records on it. While these vary with
each owner, the following usually appear: The Fourfold fire, near the
middle; the Woodcraft shield, the owner's totem, the symbols of each
coup and each degree won by the owner.
To this many add a pictographic record of great events or of camps they
have visited.
[Illustration: The Council Robe]
The easiest way to make the robe is to use paints on the cotton fabric.
The favourite way and more beautiful way, is to use appliquГ©s of
coloured cloths for the design.
The most beautiful is to embroider in silk or mercerized cotton. But the
last is very slow, and calls for much labour as well as some money.
On the preceding page are shown four different styles of robe; you may
choose or adapt which you please, except that only a Sagamore may use
the one with the 24 feathers in the centre.
THINGS TO REMEMBER
Things to Remember
TALE 99
How the Wren Became King of the Birds
The story is very old, and it may not be true, but this is how they tell
it in many countries.
The animals had chosen the lion for their King because his looks and his
powers seemed to fit him best of all for the place. So the birds made up
their minds that they also would have a royal leader.
After a long council it was decided that, in spite of strong opposition
from the Ostrich and his followers, the one with the greatest powers of
flight should be King. And away all flew to see which could go the
highest.
One by one they came down tired out, till only two were to be seen in
the air: the Eagle and the Turkey-buzzard still going up. At last they
got so high that the Turkey-buzzard froze his ears off for they were
naked. Then he gave it up. The Eagle went still higher to show how
strong he was, then sailed downward to claim the royal honours.
But just as they were about to give him the crown, the Wren hopped off
the top of the Eagle's head, where he had been hiding in the long
feathers, and squeaked out, "No matter how high he was, I was a little
bit higher, so I am King."
"You," said the Eagle; "Why I carried you up."
"Nothing to do with it," said the Wren.
"Then let's try it over," said the Eagle.
"No, no," said the Wren, "one try was agreed on, and it's settled now, I
was higher than you."
And they have been disputing over it ever since. The lawyers take the
Wren's side and the soldiers take the Eagle's side.
The peasants in Europe sometimes speak of the Eagle as "the King of the
Birds," but they always call the Wren the "Little King." And that is why
we call our gold-crowned Wrens, Kinglets, or Kingwrens and I suppose
that is why they wear a crown of gold.
TALE 100
The Snowstorm
It was at the great winter Carnival of Montreal not long ago. Looking
out of a window on a stormy day were five children of different races:
an Eskimo, a Dane, a Russian, an Indian, and a Yankee. The managers of
the Carnival had brought the first four with their parents; but the
Yankee was the son of a rich visitor.
"Look," cried the little Eskimo from Alaska, as he pointed to the
driving snow. "Look at the ivory chips falling! El Sol is surely carving
a big Walrus tusk into a fine dagger for himself. See how he whittles,
and sends the white dust flying."
Of course he didn't say "El Sol," but used the Eskimo name for him.
Then the Dane said: "No, that isn't what makes it. That is Mother Earth
getting ready for sleep. Those are the goose feathers of her feather
bed, shaken up by her servants before she lies down and is covered with
her white mantle."
The little Indian, with his eyes fixed on the storm, shook his head
gravely and said: "My father taught me that these are the ashes from
Nana-bo-jou's pipe; he has finished his smoke and is wrapping his
blanket about him to rest. And my father always spake true."
"Nay, you are all wrong," said the little Russian. "My grandmother told
me that it is Mother Carey. She is out riding in her strongest, freshest
steed, the White Wind. He has not been out all summer; he is full of
strength and fury; he spumes and rages. The air is filled with the foam
from his bridle, and froth from his shoulders, as she rides him, and
spurs him, and rides him. I love to see it, and know that she is filling
the air with strength and with messages. They carry me back to my own
dear homeland. It thrills me with joy to see the whiteness."
But the Yankee boy said: "Why, it's just snowing."
TALE 101
The Fairy Lamps
There was once a little barelegged, brown-limbed boy who spent all his
time in the woods. He loved the woods and all that was in them. He used
to look, not at the flowers, but deep down into them, and not at the
singing bird, but into its eyes, to its little heart; and so he got an
insight better than most others, and he quite gave up collecting birds'
eggs.
But the woods were full of mysteries. He used to hear little bursts of
song, and when he came to the place he could find no bird there. Noises
and movements would just escape him. In the woods he saw strange tracks,
and one day, at length, he saw a wonderful bird making these very
tracks. He had never seen the bird before, and would have thought it a
great rarity had he not seen its tracks everywhere. So he learned that
the woods were full of beautiful creatures that were skillful and quick
to avoid him.
One day, as he passed by a spot for the hundredth time, he found a
bird's nest. It must have been there for long, and yet he had not seen
it; and so he learned how blind he was, and he exclaimed: "Oh, if only I
could see, then I might understand these things! If only I knew! If I
could see but for once, how many there are, and how near! If only every
bird would wear over its nest this evening a little lamp to show me!"
The sun was down now; but all at once there was a soft light on the
path, and in the middle of it the brown boy saw a Little Brown Lady in a
long robe, and in her hand a rod.
She smiled pleasantly and said: "Little boy, I am the Fairy of this
Woods. I have been watching you for long. I like you. You seem to be
different from other boys. Your request shall be granted."
Then she faded away. But at once the whole landscape twinkled over with
wonderful little lamps--long lamps, short lamps, red, blue, and green,
high and low, doubles, singles, and groups; wherever he looked were
lamps--twinkle, twinkle, twinkle, here and everywhere, until the forest
shone like the starry sky. He ran to the nearest, yes, a nest; and here
and there, each different kind of lamp stood for another kind of nest. A
beautiful purple blaze in a low tangle caught his eye. He ran to it, and
found a nest he had never seen before. It was full of purple eggs, and
there was the rare bird he had seen but once. It was chanting the weird
song he had often heard, but never traced. But the eggs were the
marvelous things. His old egg-collecting instinct broke out. He reached
forth to clutch the wonderful prize, and--in an instant all the lights
went out. There was nothing but the black woods about him. Then on the
pathway shone again the soft light. It grew brighter, till in the
middle of it he saw the Little Brown Lady--the Fairy of the Woods. But
she was not smiling now. Her face was stern and sad, as she said: "I
fear I set you over-high. I thought you better than the rest. Keep this
in mind:
"Who reverence not the
lamp of life can never
see its light."
Then she faded from his view, and he never saw the lamps again.
TALE 102
The Sweetest Sad Song in the Woods
Once a great American poet was asked which he thought was the sweetest
voice in the woods. He said: "The sweetest sound in Nature is the
calling of the Screech Owl."
Sometimes, though rarely, it does screech, but the sound it most often
makes is the soft mournful song that it sings in the woods at night,
especially in the autumn nights.
It seems to be moaning a lament for the falling leaves, a sad good-bye
to the dear dying summer.
Last autumn one sat above my head in the dark October woods, and put his
little soul into a song that seemed to be
Ohhhh! Ohhhh!
The leaves are falling:
Ohhhh! Ohhhh!
A sad voice calling;
Ohhhh! Ohhhh!
The Woodbirds flying;
Ohhhh! Ohhhh!
Sweet summer's dying,
Dying, Dying.
[Illustration: The Lament of the Owl.
Notation by Ann Seton]
A mist came into my eyes as I listened, and yet I thanked him. "Dear
voice in the trees, you have said the things I felt, and could not say;
but voicing my sadness you have given it wings to fly away."
TALE 103
Springtime, or the Wedding of Maka Ina and El Sol
Oh, that was a stirring, glowing time! All the air, and the underwood
seemed throbbed with pleasant murmuring voices. The streams were
laughing, the deep pools smiling, as pussy-willows scattered catkins on
them from above. The oak trees and the birches put on little
glad-hangers, like pennants on a gala ship. The pine trees set up their
green candles, one on every big tip-twig. The dandelions made haste to
glint the early fields with gold. The song toads and the peepers sang in
volleys; the blackbirds wheeled their myriad cohorts in the air, a guard
of honour in review. The woodwale drummed. The redbud draped its naked
limbs in early festal bloom; and Rumour the pretty liar smiled and
spread the news.
All life was smiling with the frank unselfish smile, that tells of
pleasure in another's joy.
The love of love is wider than the world. And one who did not know their
speech could yet have read in their reflected joy a magnitude of joyful
happening, could guess that over two beings of the highest rank, the
highest rank of happiness impended.
Yes, all the living world stood still at gaze: the story of the
bridegroom, the gracious beauty of the bride were sung, for the wedding
day had come. And Mother Carey, she was there, for were they not her
peers? And the Evil One--he came, but slunk away, for the blessing of
the one Great Oversoul was on them.
Oh, virile, radiant one, El Sol! Oh, Maka Ina! bounteous mother earth,
the day of joining hand in hand passed by. The joy is with us yet;
renewed each year, when March is three weeks gone. Look, then, ye
wanderers in the woods! Seek in the skies, seek in the growing green,
but find it mostly in your souls, and _sing_!
TALE 104
Running the Council
Every good Woodcrafter should know the way of the Council Ring.
Select some quiet level place out of doors; in the woods if possible,
for it is so much better if surrounded by trees.
Make a circle of low seats; the circle should be not less than 12 feet
or more than 20 feet across, depending somewhat on the number to take
part.
In the middle prepare for a small fire. At one side is a special seat
for the Chief; this is called the Council Rock.
On very important occasions take white sand or lime, and draw a circle
around the fire. Then from that draw the four lamps and the twelve laws
as in Tale 105.
When all is ready with the Guide on the Council Rock, and the Scouts in
their seats, the Guide stands up and says: "Give ear my friends, we are
about to hold a council. I appoint such a one, Keeper of the fire and
so-and-so, Keeper of the tally. Now let the Fire-keeper light the fire."
Next the Tally-keeper calls the roll. After which the business part of
the Council is carried on exactly the same as any ordinary meeting,
except that instead of addressing the "Chairman," they say, "O Chief";
instead of "yes" they say "ho," instead of "no" they say "wah."
The order of doings in Council is:--
Opening and fire-lighting
Roll Call
Reading and accepting tally of last Council
Reports of Scouts (things observed or done)
Left-over business
New business
Honours
Honourable mention
(For the good of the Tribe) Complaints and suggestions.
(_Here business ends and entertainment begins._)
Challenges
Games, contests, etc.
Close by singing Omaha Prayer (Tale 108)
TALE 105
The Sandpainting of the Fire
[Illustration: The Sandpainting of the Fire]
When I was staying among the Navaho Indians, I met John Wetherall, the
trader. He had spent half his life among them, and knew more of their
ways than any other white man that I met. He told me that part of the
education of Navaho priest was knowing the fifty sandpaintings of his
tribe. A sandpainting is a design made on the ground or floor with dry
sands of different colours--black, white, gray, yellow, red, etc. It
looks like a rug or a blanket on the ground, and is made up of many
curious marks which stand for some man, place, thing, or idea. Thus, the
first sandpainting is a map of the world as the Navaho knew it, with
rivers and hills that are important in their history. These
sandpaintings cannot be moved; a careless touch spoils them, and a gust
of wind can wipe them out. They endure only in the hearts and memories
of the people who love them.
In the Woodcraft Camp there is but one sandpainting that is much used;
that is, the Sandpainting of the Fourfold Fire. When I make it in camp,
I use only white sand or powdered lime; but indoors, or on paper, I use
yellow (or orange) and white.
This is the story of the sandpainting. The fire is the symbol of the
Great Spirit; around that we draw a great circle, as in the diagram.
At each of the four sides we light another fire; these four are called
Fortitude, Beauty, Truth, and Love, and come from the Fire through
Spirit, Body, Mind, and Service.
Then from each of these we draw three golden rays. These stand for the
twelve laws of Woodcraft, and they are named in this way:
