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Posts Tagged ‘Hiawatha’

iroquois-constiution

This poem is a translation of one of the opening paragraphs of The Great Binding Law, Gayanshagowa of the Hauduonasee (Iroquois) nation that was given to that nation by Dekanawidah and written down by Hiawatha. The poem here was written by someone (I do not know who) who put the words of Dekanawidah into a somewhat western-looking poetic format.

“From the Iroquois Constitution”

“The Tree of Great Peace”

Roots have spread out
One to the north,
One to the east,
One to the south,
One to the west.
The name of these roots
Is the Great White Roots
And their nature
Is
Peace
And
Strength

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The Blackfoot River flows a few miles east of the Bitterroot Valley in Western Montana.

It is difficult to describe what the Blackfoot is like, because many of its natural qualities seem to have theological overtones. Maybe that’s why the Indians considered it a holy place. After the spring runoff, the water is blue-green and swift and cold and running in long riffles through boulders that stay half-submerged year round. The canyons are steep-sided and topped with fir and ponderosa and larch trees that turn gold in the fall. If you listen carefully, you notice the rocks under the stream knocking against one another and making a murmuring sound, as though talking to themselves or us. The boulders along the banks are huge and often baked white and sometimes printed with the scales of hellgrammites. Many of the boulders are flat-topped and are wonderful to walk out on so you can fly-cast and create a wide-looping figure eight over your head and not hang your fly in the trees. Wild roses grow along the banks, as well as bushes and leafy vines that turn orange and scarlet and apricot and plum in the autumn. When the wind comes up the canyon, leaves and pine needles balloon into the air, as though the entirety of the environment is in reality a single organism that creates its own rebirth and obeys its own rules and takes no heed of man’s presence. The greatest oddity on the river is the quality of light. It doesn’t come from above. There is a mossy green-gold glow that seems to emanate from the table rocks that plate the river bottom, and the trout drifting back and forth in the riffle are backlit by it.”
Burke, James Lee. Light of the World: A Dave Robicheaux Novel (p. 326). Simon & Schuster.

“Like many fly fishermen in western Montana where the summer days are almost Arctic in length, I often do not start fishing until the cool of the evening. Then in the Arctic half-light of the canyon, all existence fades to a being with my soul and memories and the sounds of the Big Blackfoot River and a four-count rhythm and the hope that a fish will rise. Eventually, all things merge into one, and a river runs through it. The river was cut by the world’s great flood and runs over rocks from the basement of time. On some of those rocks are timeless raindrops. Under the rocks are the words, and some of the words are theirs. I am haunted by waters.”
Norman Maclean, A River Runs Through It (1976).

Classical, baroque or romantic, spare or lush style is a preference or a fashion but good writing is good writing.

maxresdefaultFly fishing is a wonderful thing. A friend of mine, Dennis Machida, a determined fisherman, took me fly fishing a few times. He tried to teach me how to do it. I liked it a lot, although I was not a very good student.

There was a comedian I saw once who described a women’s mind as always full and buzzing with thoughts and ideas but a man’s as packed with boxes each containing only a single thought. At the center of all those boxes is one box that for a majority of men was the most important. That box is empty. Many men spend much of their time there.

I always thought fly fishing was something that a lot of men put into that particular box. Imagine standing for eight or so hours in freezing cold water whipping a piece of string back and forth above your head making lazy S’s in the sky.

I think it is interesting that neither of the authors quoted above actually mentions catching fish. It is not the purpose of fly fishing to catch fish. Oh, maybe one or two just to show people you actually went fishing. The purpose of fly fishing is to empty your mind of thought. It is a type or meditation for those who like to be uncomfortable while doing it and are infatuated with gear.

 

More reflections on fly fishing:

I had written the above in a post I send now and then to several of my friends and re-posted at This and that…. It is always flattering when someone responds positively to something I write. The following is from Naida West one of my favorite authors. I consider Naida’s historical trilogy, The California Gold Trilogy, to contain three of the finest historical novels written about America. Unlike others who merely place their story in another era, Naida’s involves mostly actual people taken from diaries and other sources to which she adds missing thoughts, motivations and dialogue and a character or two. Her characters are not kings and queens and the like, but ordinary (and some not so ordinary) people who populated the banks of the Cosumnes River in California more than 100 years ago.

I loved your reflections of fly fishing, such as this: “(Fly fishing) is a type of meditation for those who like to be uncomfortable while doing it and are infatuated with gear.”

Here’s a reflection of my own:

My lawyer father, a delightful actor on life’s stage if one winked at his pursuit of women and booze, grew younger before my eyes as he neared his favorite trout streams. By the time we left the road and bumped violently over bushes and rocky outcroppings seeking a place to stop, he was a wide-eyed child at Barnum and Bailey’s tent door. He bounced out to retrieve his gear while I steeled myself for a day of boredom with the windows up, my only excitement murdering mosquitoes that had snuck in while the door had been open. As the sun edged across the sky I poached in my sweat, recalling the day I explored a riverbank in shorts while he fished. The angry welts all over me, overlapping even under my shirt, just about killed me or so I thought. My dad had scoffed and said I should control the effects with my mind like he did. Umm, no. He admired swamis who barefooted across glowing coals.

Yet for an hour or two, coming and going, I had my dad to myself. At the wheel he recited story-length poems by Longfellow, Gray, Coleridge, and Poe, using theatrical emphasis to convey the meaning of outdated idioms. Between poems he answered questions about the words and phrases, always in an interesting way, repeating the stanzas where they were used. I memorized some of those poems before my mother & grandmother hauled us to CA, and in the 8th grade my teacher had me go from room to room in Carmel High School reciting them to classrooms of older kids. I saw my dad only a handful of times after we left Idaho, though he lived until 1989.”
Naida

 

0705F_HIAWATHA_SB

Hiawatha:

It is great to be reminded that there was a time when people quoted Longfellow, Poe and others instead of relying on street corner argot and advertising slogans to prove their intellectual integration with the greater American culture. For example, I often sprinkle my speech with the word “fuck” in an effort to signify my affinity for the common idiomatic mode of discourse we Americans use to express ourselves.

Speaking of Longfellow, I always felt he got a raw deal from the critics. He was part of a movement that began with Washington Irving and continued until Whitman gave up the ghost in an orgy of pantheistic individualism. They tried to create a new song unique to America out of the diverse traditions of those living or migrating to the continent at the time. True it was mostly wrapped in Yankee sensibilities. Nevertheless, they tried to bundle into a single melody the  of the stories Native American, Knickerbocker, Frontiersman, Acadian, Settler at the edge of the primeval wilderness and even the sad songs of slavery.  One can recognize those songs and stories even where altered to fit nativist sensibilities. I guess they were trying to write a “New World Symphony” decades too early. A violin differs from and oboe in its history, shape and sound, but, in a symphony by Brahms, together they create a song far different from what either could accomplish separately. No one criticizes old Johannes for failing to allow each instrument its own solo. Even Jazz requires the solos to doodle around with the underlying theme. (Come to think of it, Jazz was another attempt to meld the diverse music of several cultures, relying in part on the fundamentals of European folk music, African syncopation and rhythm, and Klezmer instrumentalization.)

Romantic and fuzzy headed, this movement died at mid-century when the two true songs of America emerged, one indescribably evil and malicious. The other almost as bad, lacking a unifying theme other than simple revulsion.

Longfellow’s Song of Hiawatha, an attempt to use new interest at the time in Native American culture and legends to create a syncretic myth for the new country, has been soundly criticized. At first, the criticism appeared to emanate from the trolls of that era who focused, in part, upon the poems idealization of a people whom they believed deserved their extinction. Later, because the poem relied on the study of Native American culture by a man who was one of the first to take an interest in their way of life, it was ridiculed because significant portions of that research were in error and more recent studies decades after the poem’s publication came to different conclusions. This is like criticizing the ancient Egyptians for not using reinforced concrete to construct their pyramids.

Did you know that reciting the Song of Hiawatha provides greater psychological and physical benefits than meditation? It’s true, try it. Find a quiet room, darkened but not devoid of light. Make yourself comfortable and slowly, in a hushed voice as deep you can manage, recite the poem making sure you accent it properly.

Longfellow used the trochaic meter instead of the iambic that is more comfortable for Indo-European speakers. It is a more common rhythm in Ural-Altaic languages (in this case Finnish) that Longfellow believed, rightly or wrongly, reflected the natural rhythms of the language of the First Peoples. In any event, for some English speakers, it seems to produce a chthonic throbbing that reverberates in the marrow of their bones like the moan of a cello.

Try it, you’ll like it. Do not begin with that portion of the poem that we learned in grade school but at the beginning with the Introduction. To get you started I include it here:

“Should you ask me, whence these stories?
Whence these legends and traditions,
With the odors of the forest
With the dew and damp of meadows,
With the curling smoke of wigwams,
With the rushing of great rivers,
With their frequent repetitions,
And their wild reverberations
As of thunder in the mountains?
I should answer, I should tell you,
From the forests and the prairies,
From the great lakes of the Northland,
From the land of the Ojibways,
From the land of the Dacotahs,
From the mountains, moors, and fen-lands
Where the heron, the Shuh-shuh-gah,
Feeds among the reeds and rushes.
I repeat them as I heard them
From the lips of Nawadaha,
The musician, the sweet singer.”

Note: Do not try this with Evangeline or any of the Acadian poems. Those rhythms can cause mild stomach upset to the inexperienced.

 

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