Western Kansas world. [volume] (WaKeeney, Kan.) 1885-current, 1904-08-20

drama made from the legend of Hia-
watha. So it was arranged, and the
following summer, 1900, the daughters
of the poet, when they visited the
Indian camping grounds on the shores
of Lake Huron, were treated to the
play performed by Indian actors.
On this occasion the amateur actors
numbered about seventy-five, and
were carefully chosen from the Shing-
wauk band of the Ojibways, who re-
side on the Garden River Reserve,
twenty miles southeast of Sault Ste-
Marie, in the province of Ontario. 1t
is well known that Longfellow heard
the original legend of Hiawatha from
his friend, Schoolcraft, the historian,
who married into the Ojibways-
There appears to be some doubt
whether Longfe1low ever visited the
country himself, although the aged
Chief Buk-wuj-jini-ni always main
tanned that the poet visited him, and
that he related the legend to him.
However that may be. it has been
generally conceded that Longfellow
wrote of the scenery with marvellous
accuracy, and also that his Indian
names and words were wonderfully
correct doubly to be marveled at II
he had never had the advantage of
visit to the scene. This, however, is
a DEPRESSION.
The drama, which has been annual
Nv acted since the visit of Longfellow's
daughters usually between July and
September of each year, is performed
on one of the Desbarats islands in the
st. Mary river on the Canadian shore
of Lake Huron. The spectators are
seated on the shore, and, while most
of the action of the piece takes place
on a platform anchored in the river,
the river and islands within a short
distance are used. As matter OF fact,
the stage is the largest upon which
a play was ever performed, and the
scenery and. the actors are natural.
Realists should find in the production
all their hearts desire. The produc-
ton is managed with completeness
regarding details, and the greatest
care is taken to see that the charac-
tiers are assumed by those best fitted
for them. Although the actors are In
dams. study of Catlin's designs was
given. in order that the costumes
should be accurate
In speaking, the Ojibway tongue
was used, but SO clever were the ac-
was closely followed with ease by
the spectators, who were, of course,
ignorant of the meaning of the gut
teraI sounds emitted by the players.
The music which accompanied the
action was characteristic, harmonious
and, at times, POLITICALLY weird and
sentimental, and the choruses were
impressive
The play opens most dramatically.
Near a red pine tree column of
smoke ascends from a pile of blazing
branches as a signal to the Indian
nations. In response to the pillar
of smoke, scores of red faces appear
on the surrounding. heights. 1t is the
smoke of Gitcne. Mantle, the Great
Spirit, calling the tribes of the land
together -All the tribes beheld the
signal" and with shril1 warwhoops
the Indians pour from their hiding
places and rush to the burning pyre.
Then Gitche Mantle, stretching forth
his right hand, speaks to the gathered
group and bids them listen to his
words Of wisdom
The counsel of the Master of Life
is potent, and the braves, who were
spotted with war paint, throw on
their deerskins, cast aside their weap-
ons and jump into the waters, where
the paint is speedily removed from
their bodies This Introduction ends