Indian Legends of Minnesota — Inside the Classic

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In Category - Folklore
Severance, Cordenio A., Mrs., 1863?-1925 [Editor] Project Gutenberg 2008 Not confirmed
Indians of North America -- Folklore; Indians of North America -- Poetry Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 35,736
Reading time 156 min
Text sections 7

For Indian Legends of Minnesota — Inside the Classic, the stored edition analysis reports 35,736 words, 2 hr 36 min estimated reading time, and 7 detected text sections.

The text analysis averages about 24.2 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 “Indians of North America -- Folklore,” connecting these edition facts with the source record’s subject description.

This 1893 collection compiles narrative poems and legends tied to Minnesota's landscapes, drawing on Dakota and Ojibwe oral traditions. The editor's preface frames the work as an effort to preserve regional romance before commercial development erases it. Excerpts reveal a mix of Longfellow adaptations, original verse by local poets, and a long poem 'The Lone War-Path' blending Sioux and Blackfoot lore.
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Editorial Edition Score 4.7/5

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  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
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She thought not of the trade, but went To her young lord with true content, And while she dreamed of joy to come Her heart was full, her lips were dumb; And day by day her task was wrought, Each hour with self-denial fraught; His wants were met, his lodge was trim, Her patient thoughts were all for him. The powers divine did seem to bless The promise of his wild caress; And so the happy moons flew by, Till new refulgence filled her sky When there appeared a baby boy, Whose laugh o'erflowed her cup of joy; For this must prove, she could but feel, A bond between them strong as steel.

Alas, thou too confiding wife, What clouds were gathering o'er thy life! For vanity alone will stay With human nature to the last; Each happy day will slip away Into the valleys of the past, Returning but a ghostly thing When the spirit drinks at Memory's spring.

Why did he vow to cherish ever? Or why allow his heart to change? What maid was she who came to sever Thy love and thee? What magic strange Had she to work her strange endeavor? What mind shall solve the mystery Of loves that come and loves that flee? Why should Anpetusapa give Her heart's whole life, her richest treasure, To one whose boasted flame could live Through but a dozen moons' small measure; Whose passion was for selfish pleasure?

Yet so it was; another came Her heart to cloud, her place to claim. Her lodge became another's nest; The first wife, she was second now; 'Neath custom's yoke compelled to bow And see her rival fondly pressed. The death gloom settled on her brow, Day brought no sun, the night no rest. The beam of sadness lit her eye, And memories that could never die Until her body, void of breath, Became the precious spoil of Death. Morn after morn beheld her still Slow sinking, like a mountain rill Whose fountain-head, once bubbling bright, Hath dried away, and left the white And pulseless sand to mark where long Began the sparkle and the song.

One joy alone was left to bring The heart-swept thrill of other days, When to her baby she would sing Her lullaby of love and praise; And this, even this, renewed the thought Of joyous hopes that came to naught. Betrayed by faith, yet faithful to the last, She murmured not; but patiently she passed Each day in kindly service, given As if her heart were all unriven, Until at length heroic strength Could bear no more.

Upon the shore Of wild Messipi's plunging flood, Where they were camped so long before, They camped again; again their blood Marched to the music of its roar.

'Tis morning: every bird its matin sings And beats the air with throbbing wings, The air so sweet and quick; the glistening dew Hangs crystal beauty on all verdant things,-- Each trembling drop reflecting true The overspread, unclouded blue; While from the east the cohorts of the sun With dazzling spears begin to strew The morning vapors, damp and dun, Whose melting ranks are closed anew To vanish where the rapid waters run.

Anpetusapa hides her woe Until her husband and her foe Have left the lodge and gone from sight. Then with a tearless eye and bright, She gazes madly round the place Where every comfort bears the trace Of wifely labor wrought with pain, Of woman's love that lives in vain. Here moccasins lie with bead-work gay; Here on the wall the breezes sway The music-breathing flute, Whose lips are dry and mute, While she who once inspired its tone Now sits despairing and alone. The very curls of smoke that rise And mingle with the morning skies, Are tokens of the duties done Beneath the red eye of the rising sun. Awhile she sits in cruel thought, Till, with her anguish overwrought, She flies to him who sweetly bears The image of her faithless god, And on each infant feature wears The smiling hopes on which he trod. Convulsively she clasps her child, Whose love, alone left undefiled, Is not enough to nerve her soul Beneath its crushing weight of dole.

The volume opens with a preface that candidly admits the compiler's limited archaeological knowledge and the rushed timeline for completion. Rather than claiming scholarly authority, Mrs. Severance positions the book as a gathering of 'the more noticeable legends already in verse' to stimulate interest in Minnesota's scenery and romance. This editorial humility sets a distinctive tone: the collection is explicitly a preservationist act, not a definitive record.

The excerpts show a striking formal variety. 'The Lone War-Path' uses a loose, enjambed line with irregular capitalization and punctuation, while other poems employ regular meter and rhyme. The inclusion of Longfellow's 'Hiawatha' passages alongside local poets like Ida Sexton Searls and Adelaide George Bennett creates a layered texture of borrowed and original voices.

Formal Range and Narrative Voice

The excerpt from 'The Lone War-Path' displays a distinctive prosody: lines are broken into short, uneven segments, often with mid-sentence line breaks and minimal punctuation. This creates a breathless, incantatory rhythm that mimics oral storytelling. For example, the passage beginning 'Then Guteba, like Jacob's son' uses lineation to isolate phrases like 'Base custom that of vulgar herd,' giving them emphatic weight.

In contrast, the preface and notes use conventional prose, while the Longfellow extracts employ his characteristic trochaic tetrameter. The collection thus juxtaposes three distinct registers: the editor's plain expository voice, the smooth borrowed cadence of Longfellow, and the experimental, almost free-verse style of the original narrative poems. This formal diversity suggests the compiler valued variety over consistency, perhaps reflecting the disparate sources she gathered.

Recurring Imagery and Landscape

Across the excerpts, certain images recur with notable frequency: bridges of light, water that is both lifeless and treacherous, and the boundary between the living and the dead. In 'The Lone War-Path,' the spirit bridge 'Ke-wa-ku-na' is described as 'a bridge of golden gleams' that 'sinks and rolls,' while the bay beneath is 'darkly deep and treacherous' where water 'shamming, seems to sleep, / But only lies, like cunning fox.'

This dual nature of water—as both barrier and passage—echoes in the preface's mention of 'every lake, forest, and valley' clinging to romance. The physical landscape of Minnesota is not just a setting but an active participant in the legends, with specific place names like Lake Vermilion and Wey-do-dosh-she-ma-de-nog anchoring the supernatural events. The editor's note that 'the story-teller himself is confused as to the relation between event and locality' hints at the fluidity of these oral traditions.

Temporal Shifts and the Editor's Role

The preface establishes a clear temporal anxiety: the legends are fading, and the compiler works against time. This sense of urgency contrasts with the unhurried, repetitive structure of the poems themselves. In 'The Lone War-Path,' the narrative is framed as an annual retelling: 'The story is not new. It is / Told with every year, as I do tell / It now, when comes Medawe time.'

The editor's voice intrudes only in the preface and notes, leaving the poems to speak for themselves. Yet the selection itself is an editorial act: by choosing 'the more noticeable legends already in verse,' Severance privileges poetic over prose versions, and by including Longfellow, she links local lore to a national literary figure. The notes section (not excerpted) likely provides further contextualization, but the poems carry the primary narrative burden.

Readers approaching this collection should attend to the interplay between the editor's stated purpose and the poems' formal choices. The irregular lineation of 'The Lone War-Path' rewards reading aloud, while the Longfellow extracts offer familiar touchstones. The notes may clarify the relationship between specific legends and their geographic origins, but the poems themselves resist easy categorization—they are neither pure folklore nor polished literary works, but something in between, shaped by multiple hands and a hurried editorial process.

Holding this book, I remembered winter nights when my grandmother told stories that felt older than the roads around us. Indian Legends of Minnesota carries that same hush, that ache for places already changing. It reminded me of flipping through Curious Creatures in Zoology — A Reader’s Guide—not for facts, but for the strange, gentle wonder of believing in things half-seen, half-remembered.

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