assaults of insects and worins upon the grain. It was supposed they could not creep over the charmed line." Oneóta, p.

83.

Page 171. bound him.

With his prisoner string he

are

"These cords," says Mr. Tanner, made of the bark of the elm-tree, by boiling and then immersing it in cold water. The leader of a war party commonly carries several fastened about his waist, and if, in the course of the fight, any one of his young men takes a prisoner, it is his duty to bring him immediately to the chief, to be tied, and the latter is responsible for his safe keeping.". Narrative of Captivity and Adventures, p. 412. Page 172.

game of hazard among the Northern tribes of Indians. Mr. Schoolcraft gives a particular account of it in Oneóta, p. 85. "This game," he says, "is very fascinating to some portions of the Indians. They stake at it their ornaments, weapons, clothing, canoes, horses, everything in fact they possess; and have been known, it is said, to set up their wives and children, and even to forfeit their own liberty. Of such desperate stakes I have seen no examples, nor do I think the game itself in common use. It is rather confined to certain persons, who hold the relative rank of gamblers in Indian society, men who are not noted as hunters or warriors, or steady providers for their families. Among these are persons who bear the term of Ienadizze-wug, that is, wanderers about the Wagemin, the thief of cornfields, country, braggadocios, or fops. It can Paimosaid, who steals the maize-ear. hardly be classed with the popular games "If one of the young female huskers of amusement, by which skill and dexterfinds a red ear of corn, it is typical of aity are acquired. I have generally found brave admirer, and is regarded as a fitting present to some young warrior. But if the ear be crooked, and tapering to a point, no matter what color, the whole circle is set in a roar, and wi-ge-min is the word shouted aloud. It is the symbol of a thief in the cornfield. It is considered as the image of an old man stooping as he enters the lot. Had the chisel of Praxiteles been employed to produce this image, it could not more vividly bring to the minds of the merry group the idea of a pilferer of their favorite mondámin.

the chiefs and graver men of the tribes, who encouraged the young men to play ball, and are sure to be present at the customary sports, to witness, and sanction, and applaud them, speak lightly and disparagingly of this game of hazard. Yet it cannot be denied that some of the chiefs, distinguished in war and the chase, at the West, can be referred to as lending their example to its fascinating power."

See also his History, Condition, and Prospects of the Indian Tribes, Part II. P. 72.

Page 181. To the Pictured Rocks of sandstone.

"The literal meaning of the term is, a mass, or crooked ear of grain; but the ear of corn so called is a conventional type of a little old man pilfering ears of corn in a The reader will find a long description cornfield. It is in this manner that a sin- of the Pictured Rocks in Foster and Whitgle word or term, in these curious lan-ney's Report on the Geology of the Lake guages, becomes the fruitful parent of Superior Land District, Part II. p. 124. many ideas. And we can thus perceive From this I make the following extract: why it is that the word wagemin is alone "The Pictured Rocks may be described, co.npetent to excite merriment in the husk-in general terms, as a series of sandstone ing circle.

"This term is taken as the basis of the cereal chorus, or corn song, as sung by the Northern Algonquin tribes. It is coupled with the phrase Paimosaid, -a permutative form of the Indian substantive, made from the verb pim-o-sa, to walk. Its literal meaning is, he who walks, or the walker, but the ideas conveyed by it are, he who walks by night to pilfer corn. It offers, therefore, a kind of parallelism in expression to the preceding term.". One óta, p. 254.

Page 177. Pugasaing, with thirteen pieces.

This Game of the Bowl is the principal

bluffs extending along the shore of Lake Superior for about five miles, and rising, in most places, vertically from the water, without any beach at the base, to a height varying from fifty to nearly two hundred feet. Were they simply a line of cliffs, they might not, so far as relates to height or extent, be worthy of a rank among great natural curiosities, although such an assemblage of rocky strata, washed by the waves of the great lake, would not, under any circumstances, be destitute of grandeur. To the voyager, coasting along their base in his frail canoe, they would, at all times, be an object of dread; the recoil of the surf, the rock-bound coast, affording, for miles, no place of refuge, the

lowering sky, the rising wind, all these would excite his apprehension, and induce him to ply a vigorous oar until the dreaded wall was passed. But in the Pictured Rocks there are two features which communicate to the scenery a wonderful and almost unique character. These are, first, the curious manner in which the cliffs have been excavated and worn away by the action of the lake, which, for centuries, has dashed an ocean-like surf against their base; and, second, the equally curious manner in which large portions of the surface have been colored by bands of brilliant hues.

"It is from the latter circumstance that the name, by which these cliffs are known to the American traveller, is derived; while that applied to them by the French voyageurs Les Portails') is derived from the former, and by far the most striking peculiarity.

"The term Pictured Rocks has been in use for a great length of time; but when it was first applied, we have been unable to discover. It would seem that the first travellers were more impressed with the novel and striking distribution of colors on the surface than with the astonishing variety of form into which the cliffs themselves have been worn. .

"Our voyageurs had many legends to relate of the pranks of the Menni-bojou in these caverns, and, in answer to our inquiries, seemed disposed to fabricate stories, without end, of the achievements of this Indian deity."

Ch. VI. It is contained in a letter from the Rev. James Pierpont, Pastor of New Haven. To this account Mather adds these words :

Reader, there being yet living so many credible gentlemen that were eyewitnesses of this wonderful thing, I venture to publish it for a thing as undoubted as 't is wonderful."

Page 215. And the Emperor but a Macho.

Macho, in Spanish, signifies a mule. Golondrina is the feminine form of Golondrino, a swallow, and also a cant name for a deserter.

Page 217. Oliver Basselin.

Oliver Basselin, the "Père joyeux du Vaudeville," flourished in the fifteenth century, and gave to his convivial songs the name of his native valleys, in which he sang them, Vaux-de-Vire. This name was afterwards corrupted into the modern Vaudeville.

Page 189. Toward the sun his hands away. were lifted.

This was the engagement between the In this manner, and with such saluta- Enterprise and Boxer, off the harbor of tions, was Father Marquette received by Portland, in which both captains were the Illinois. See his Voyages et Déco-in. They were buried side by side, in vertes, Section V.

Page 212.

That of our vices we can frame
A ladder.

The words of St. Augustine are, "De vitiis nostris scalam nobis facimus, si vitia ipsa calcamus."

the cemetery on Mountjoy.

Page 222. Santa Filomena.

"At Pisa the church of San Francisco contains a chapel dedicated lately to Santa Filomena; over the altar is a picture, by Sabatelli, representing the Saint as a beautiful, nymph-like figure, floating down from heaven, attended by two angels bearing the lily, palm, and javelin, and bePage 212. neath, in the foreground, the sick and A detailed account of this "apparition maimed, who are healed by her intercesof a Ship in the Air" is given by Cotton sion."-MRS. JAMESON, Sacred and LeMather in his Magnalia Christi, Book I.gendary Art, II. 298.

Sermon III. De Ascensione.

The Phantom Ship.

INDEX.

[The titles in small capital letters are those of the principal divisions of the work, those in
lower-case are single poems, or the subdivisions of long poems.]