In Indian Tents Stories Told by Penobscot, Passamaquoddy and Micmac Indians to Abby L. Alger — Edition Insights
Edition facts
In Indian Tents Stories Told by Penobscot, Passamaquoddy and Micmac Indians to Abby L. Alger — Edition Insights can be approached with a clearer sense of reading commitment from its source measurements: 30,200 words, 2 hr 12 min estimated reading time, and 4 detected text sections.
The text analysis averages about 20.8 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Passamaquoddy Indians -- Folklore,” connecting these edition facts with the source record’s subject description.
Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.
How this score is calculated
- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
Read the Text
and he commanded to afflict the foe with all manner of evils. The Witch was soon covered with boils and sores, and every part of his body was filled with aches and pains. But he despatched his guardian spirit, the Humming-bird, to “Quiliphirt,” the God of medicine, who gave him the plant “Kī Kay īn-bīsun,”[1] and as soon as it was administered, every ill departed.
The next to enter the lists was Āgwem, the Loon, whose poohegan was “K’taiūk,” or Cold. Soon the mountain was covered with snow and ice, the cave was filled with cold blasts of wind, frosts split the trees and cracked asunder the huge rocks. The Giant Witch suffered horribly, but did not yield. He produced his magic stone and heated it red-hot, still, so intense was the cold that it had no power to help him.
Alŭmūset’s wings were frozen, and he could not fly on any more errands; but another of the master’s attendant spirits, “Litŭswāgan,” or Thought, went like a flash to “Sūwessen,” the South Wind, and begged his aid.
The warm South Wind began to blow about the mountain, and Cold was driven from the scene.
Next to try his fate was Kosq, the Heron, whose guardian spirit was “Chenoo,” the giant with the heart of ice, who quickly went to work with his big stone hatchet, chopped down trees, tore up rocks, and began to hew a vast hole in the side of the mountain; but the Giant Witch now for the first time let loose his terrible dog “M’dāssmūss,” who barked so loudly and attacked Chenoo so savagely that he was driven thence in alarm.
The next warrior was Mūin, the Bear, whose poohegans were “Petāgŭn,” or Thunder, and “Pessāquessŭk,” or Lightning. Soon a tremendous thunderstorm arose which shook the whole mountain, and a thunder-bolt split the mouth of the cave in twain; the lightning flashed into the cavern and nearly blinded the Giant Witch, who now for the first time knew what it was to fear. He yelled aloud with pain, for he was fearfully burned by the lightning. Thunder and Lightning redoubled their fury, and filled the place with fire, much alarming the foe, who hurriedly bade Humming-bird summon “Haplebembo,” the big bull-frog, to his aid. Bull-frog appeared, and spat out his huge mouth full of water, which nearly filled the cave, quenching the fire, and driving away Thunder and Lightning.
Next to fight was Lox, the Indian Devil. Now Lox was always a coward, and having heard of the misfortunes of his friends, he cut off one of his big toes, and when Striped Squirrel called him to begin the battle, he excused himself, saying that he was lame and could not move.
Next in order came K’tchīplāgan, the Eagle, whose poohegan was “Aplāsŭmbressit,” the Whirlwind. When he entered the enemy’s abode in all his fury and frenzy of noise, the Giant Witch awoke from sleep, and instantly “K’plāmūsūke” lost his breath and was unable to speak; he signed to Humming-bird to go for “Culloo,” the lord of all great birds; but the Whirlwind was so strong that the Humming-bird could not get out of the cave, being beaten back again and again. Therefore the Giant Witch bade Thought summon Culloo. In an instant the great bird was at his side, and made such a strong wind with his wings at the mouth of the cave that the power of the Whirlwind was destroyed.
Hassagwākq’ now began to despair, for but one witch remained to him, and that was Wābe-kèloch, the Wild Goose, who was very quiet, though a clever fellow, never quarrelling with any one, and not regarded as a powerful warrior. But the great chief had a dream in which he saw a monstrous giant standing at the mouth of the enemy’s cave. He was so tall that he reached from the earth to the sky, and he said that all that was needful in order to destroy the foe was to let some young woman entice him out of his lair, when he would at once lose his magic power and might readily be slain.
The chief repeated this dream to Wābe-kèloch, ordering him to obey these wise words. Wild Goose’s poohegan was “Mikŭmwess,” the Indian Puck, a fairy elf, who speedily took the shape of a beautiful girl and went to the mouth of the cave, where he climbed into a tall hemlock-tree, singing this song as he mounted:
“Come hither, young man, Come list to my song, Come forth this lovely night, Come forth, for the moon shines bright, Come, see the leaves so red, Come, breathe the air so pure.”
Giant Witch heard the voice, and coming to the mouth of the cave, he was so charmed by the music that he stepped out and saw a most lovely girl sitting among the branches of a tree. She called to him: “_W’litt hoddm’n, natchī pen eqūlin w’liketnqu’ hēmus_,”--“Please, kind old man, help me down from this tree.” As soon as he approached her, Glūs-kābé, the great king of men, sprang from behind the tree, threw his “timhēgan,” his stone hatchet, at him and split his head open. Then addressing him, Glūs-kābé said: “You have been a wicked witch, and have destroyed many of Chief Hassagwākq’s best warriors. Now speak yet once again and tell where you have laid the bones of your victims.” Giant Witch replied that in the hollow of the mountain rested a vast heap of human bones, all that remained of what were once the mightiest men of Striped Squirrel’s tribe.
He then being dead, Glūs-kābé commanded all the birds of the air and the beasts of the forest to assemble and devour the body of Giant Witch.
This being done, Glūs-kābé ordered the beasts to go into the cave and bring forth the bones of the dead warriors, which they did. He next bade the birds take each a bone in his beak and pile them together at the village of Hassagwākq’.
He then directed that chief to build a high wall of great stones around the heap of bones, to cover them with wood, and make ready “eqūnāk’n,” or a hot bath.
Then Glūs-kābé set the wood on fire and began to sing his magic song; soon he bade the people heap more wood upon the fire, and pour water on the steaming stones. He sang louder and louder, faster and faster, until his voice shook the whole village; and he ordered the people to stop their ears lest the strength of his voice should kill them. Then he redoubled his singing, and the bones began to move with the heat, and to sizzle and smoke and give forth a strange sound. Then Glūs-kābé sang his resurrection song in a low tone; at last the bones began to chant with him; he threw on more water, and the bones came together in their natural order and became living human beings once more.
The people were amazed with astonishment at Glūs-kābé’s might; and the great Chief Hassagwākq’ gathered together all the neighboring tribes and celebrated the marvellous event with the resurrection feast, which lasted many days, and the tribe of Striped Squirrel was never troubled by evil witches forever afterward.
I was sitting on the beach one afternoon with old Louisa Flansouay (François) and the other Indians, when she suddenly rose with an air of great determination, saying to me, “Come into camp and I tell you a story!” (No story can ever be told in the open air; if the narrator be not under cover, evil spirits may easily take possession of her.)
I gladly followed old Louisa, who is a noted story-teller, and heard the following brief but thrilling tale.
Many, many years ago a great chief had an only daughter who was so handsome that she was always known by the name of “Ūliske,” which is to say “Beauty.” All the young men of the tribe sought her hand in marriage, but she would have nothing to say to them. Her father vainly implored her to make a choice; but she only answered him, “No husband whom I could take, would ever be any good to me.”
Every year at a certain season, she wandered off by herself and was gone for many days; where she went no one could discover, nor could she be restrained when the appointed time came round.
At last, however, she yielded to persuasion and took a husband. For a time all went well. When the season for her absence was at hand, she told her husband that she must go. He said he would go with her, and as she made no objection, they set out on the following morning and travelled until they came to a lovely, lonely lake. A point of land ran out into the water, well wooded and provided with a pleasant wigwam. Here Ūliske beached the canoe; they went ashore and remained for two days and nights, when the husband disappeared. Ūliske in due time returned to her tribe and reported his loss. Her father and his followers sought long and anxiously, but no trace of him was ever found. Later on, Ūliske took a second husband, a third and a fourth, always quietly yielding to persuasion, and always saying as at first, that no husband whom she took could ever be any good to her. One after the other visited with her the peninsula in the lake and disappeared in the same sudden and mysterious way.
The fifth husband was known as “Ū-el-ŭm-bek,” “the handsome, the brave,” and he made up his mind to solve the strange riddle of his predecessors. When he and Ūliske reached the peninsula, he said that, while she got supper, he would keep on in the canoe and see what fish or game he could find. He went but a little way, then drew the canoe up among the bushes and searched in every direction till he found a well beaten foot-path. “Now I shall know all,” he said, and hid himself behind a tree. Soon Ūliske came from the wigwam and went down to the water. Undressing herself, and letting down her long black hair, she began to beat upon the water with a stick and to sing an ancient Indian song. As she sang, the water began to heave and boil, and coil after coil slowly uprose above the surface a huge Wi-will-mekq’, a loathly worm, its great horns as red as fire. It swam ashore and clasped Ūliske in its scaly folds, wrapping her from head to foot, while she caressed it with a look of delight. Then Ū-el-ŭm-bek knew all. The Wi-willmekq’ had cast a spell upon Ūliske so that to her it appeared in the likeness of a beautiful young hero. The worm had destroyed her four husbands, and, had he not been prudent, would have drowned him as well. Waiting until Ūliske was alone, he returned to the wigwam before she had had time to wash off the slimy traces of Wi-will-mekq’s embraces, and charged her with her infatuation. Giving her no time to answer, he hurriedly chewed a magic root with which he had provided himself, flung it into the lake, thus preventing any attack as he crossed the water, got into the canoe and paddled away, leaving Ūliske to her fate, well knowing that as she had failed to supply her loathly lover with a fresh victim, she must herself become the prey of his keen appetite.
Rejoining his tribe, he frankly told his story. Even the chief declared that he had done well, and of Ūliske nothing more was ever heard.
In old times there were many witches among the Indians. Indeed, almost every one was more or less of a magician or sorcerer, and it was only a question as to whose power was the strongest.
In the days of which I speak, one family had been almost exterminated by the spells of a famous m’téūlin, and only one old woman named “M’déw’t’len,” the Loon, and her infant grandson were left alive; and she, fearing lest they should meet with the same fate, strapped the baby on her back upon a board bound to her forehead, as was the ancient way, and set forth into the wilderness. At night she halted, built a wigwam of boughs and bark, and lay down, lost in sad thoughts of the future; for there was no brave now to hunt and fish for her, and she must needs starve and the baby too. As she mourned her desolate state, a voice said in her ear: “You have a man, a brave man, Wālūt,[3] the mighty warrior; and all shall be well if you will take the beaver skin from your old ’t’bān-kāgan,’[4] spread it on the floor, and place the baby on it.” This she did, and then fell peacefully asleep. When she waked, she saw, standing in the middle of the skin, a tall man. At first, she was terrified; but the stranger said, “Fear not, ‘Nochgemiss,’[5] it is only I!” and truly, as she gazed, she recognized the features of the baby whom she had laid upon the beaver fur, so few hours before. Even before day dawned, he had brought in a huge bear, skinned and dressed it. All day he came and went, bringing fish and game, great and small, and the old woman was glad.
Next morning, the skin which hung at the door of the wigwam was raised, and a girl looked in and smiled at Wālūt. His grandmother said, “Follow her not, for she is a witch, and would destroy you.” The next day and the next and so on, for five days, the same thing was repeated; but on the sixth day, the girl not only lifted the curtain, but she entered in, went straight to Wālūt’s sleeping place and began to arrange his bed. This done, she drew from her bosom “nokoksis,” tiny brass kettles, and proceeded to cook a meal,--soup, corn and meat,--all in perfect silence. Grandmother watched her, but said nothing. When the meal was cooked, the girl set a birch-bark dish before grandmother and Wālūt, and began to ladle out the soup. Although the kettle was so small that it seemed no bigger than a child’s toy, both the dishes were filled and plenty then remained. No word was said; but when night came, the girl lay down beside Wālūt and thus, by ancient Indian law, became his wife. Their happy life, however, was of short duration, for the girl’s mother, “Tomāquè,” the Beaver, was a mighty magician, and was angry because her daughter had married without her consent. She therefore stole her away and deprived her of all memory of her husband and the past. Wālūt was determined to recover his bride, and his grandmother, wishing to help him, took from the old bark kettle a miniature bow and arrows. These she stretched and stretched until they became of heroic size. She strung the bow with a strand of her own hair, and gave it to her grandson, telling him that no arrow shot from that bow could ever miss its mark. She also dressed him from head to foot in the garb of an ancient warrior, formerly the property of his grandfather, as was the bow. She told him that he had a long, hard road to go, and many trials to overcome; but he was not afraid. All day he travelled, and, at night fall, came to a wigwam in which lived an old man. Wālūt asked him where Tomāquè might be found. The old man answered: “I cannot tell you, my child. You must ask my brother who lives farther on. He is much older than I, and he may know. To-night you can rest here, if you can put up with the hardships of my wigwam.” Wālūt accepted this offer, and the old man began to heap great stones on the fire. It grew hotter and hotter, and Wālūt thought his last hour had come; but he said to himself, “I can suffer,” and he piled more stones on the fire, and built a wall of them about the wigwam, so that it grew hotter than ever, and the old man said, “Let me out, let me out, I am too hot!” But Wālūt said, “I am cold, I am cold!” and so he conquered the first magician.
Next night he came to the home of the second brother, who made the same answer to his inquiries as the first, and also offered him a night’s shelter if he could bear the hardships of the wigwam. No sooner had Wālūt accepted his offer, than he sat down and bade his guest pick the insects from his head and destroy them, after the old custom, by cracking them between his teeth. Now these insects were venomous toads which would blister Wālūt’s lips and poison his blood. Luckily he had a handful of cranberries in his pocket, and for every toad, he bit a cranberry.[6] The old man was completely deceived, and when he thought that his guest had imbibed enough poison to destroy him, he bade him desist from his task. Thus Wālūt passed successfully through the second trial. On the third day he journeyed until he came to the abode of the third brother, oldest of all, seemingly just tottering on the brink of the grave. Wālūt again asked for Tomāquè, and the old man answered: “To-morrow, I will tell you. Rest here to-night, if you can bear the hardships of my home.” As they sat by the fire the old man began to rub his knee, and instantly flames of fire darted from every side; but Wālūt was on his guard, and uttered a spell which drew the old man slowly, but surely, into the fire which he had created, and he perished. “Rub your knee, old man,” cried Wālūt, “rub your knee until you are tired!”
Abby L. Alger's preface to In Indian Tents (1897) describes a fieldwork process that required patience and tact: she made half-a-dozen visits, told her own best stories, and exerted all her arts of persuasion before being called in to hear a marvellous bit of folk-lore. The old people, she notes, had firm faith in the witches, fairies, and giants they recounted, and any trace of amusement or incredulity would meet with quick indignation. This editorial note examines three patterns visible in the excerpts: the recurring motif of delayed rescue, the role of animal and celestial helpers, and the layered narrative structure that combines multiple versions into a single whole.
Delayed Rescue as a Structural Motif
In the story of Northwest Wind, a crisis unfolds through a repeated call-and-response pattern. As the Beaver gnaws the tree and the water rises, Northwest Wind cries for his grandfather M'Sārtū, the Eastern Star. Each plea is met with a deliberate, step-by-step reply: “I’m getting up,” “I am putting on my coat,” “I will put on my hat.” The rescue only arrives after the tree is almost gnawed through. This pattern appears in other tales in the collection—Alger notes that one story may have a dozen versions, each containing something new. The delayed rescue creates suspense while emphasizing the helper's gradual preparation, a motif that recurs across multiple narratives.
Animal and Celestial Helpers in a Dangerous World
The excerpts present a world where animals and stars actively intervene. The old woman warns Northwest Wind to fill his tracks with sand to escape the mystic dog M'dāsmūs. Later, the Beaver is a destructive force, while M'Sārtū, described as the slowest and clumsiest of all the stars, becomes a savior. The chief Culloo steals Northwest Wind's Bird Wābīt and Rabbit. These figures are not mere symbols but active characters with specific powers and limitations. Alger's preface confirms that the storytellers believed in these beings, and the tales treat them with matter-of-fact seriousness.
Composite Narratives from Multiple Informants
Alger states that she tried to bring various versions of each tale into a single whole. This editorial method is visible in the Northwest Wind story, which includes episodes with the grandmother, the lake crossing, the Beaver, and the visit to Culloo. The narrative shifts location and introduces new characters without explicit transitions, suggesting a composite structure. Alger also acknowledges contributions from Mrs. Wallace Brown, who supplied stories from her own collection. Readers should be aware that the text is a synthesis, not a verbatim transcription, and that the original oral performances likely varied in pacing and detail.
Readers approaching In Indian Tents will find it useful to note the repeated structural patterns—especially the delayed rescue and the interplay of human, animal, and celestial agents. The composite nature of the tales means that some episodes may feel abrupt or loosely connected. Pay attention to the names of characters like Glūs-kābé and M'Tēūlin, which recur across stories, and consider how Alger's editorial choices shape the narrative flow.
That afternoon, rain streaked the window while an old Penobscot storyteller’s voice seemed to linger between Alger’s lines—how the giants and witches felt less like fiction than weather. I closed the book, and my hand drifted to Gods of the North — Background and Themes, almost without thinking. There it was again: that same northern wind, patiently waiting in another tongue.
Noah Thomas
2 weeks agoJoseph Allen
3 weeks agoJames Miller
1 month agoIsaac White
2 weeks agoHow will you remember this book?
Save your reaction, strongest insight, and memorable passage.
Daniel Campbell
3 weeks ago