The Path of the Rainbow
An Anthology of Songs and Chants from the Indians of North America
Nonfiction, History, Americas, Native American, Religion & Spirituality, Occult, Occultism, New Age
| Author: | George W. Cronyn | ISBN: | 9781613920671 |
| Publisher: | Body and Soul Publications | Publication: | March 20, 2013 |
| Imprint: | Language: | English |
| Author: | George W. Cronyn |
| ISBN: | 9781613920671 |
| Publisher: | Body and Soul Publications |
| Publication: | March 20, 2013 |
| Imprint: | |
| Language: | English |
Poetic art in America, at the time it began to be overlaid by European culture, had reached a mark close to that of the Greeks at the beginning of the Homeric era. The lyric was well developed, the epic was nascent, and the drama was still in the Satyris stage of development, a rude dance ritual about an altar or a sacrificial fire. Neither poetry nor drama were yet divorced from singing, and all art was but half-born out of the Great Mystery. Magic was sung, and songs had magic power.
This partly explains why most Indian songs are songs for occasions. The rest of the explanation lies in the fact that songs have magic power. Tirawa, Wokonda, The Friend of the Soul of Man, is in everything; in the field we plant, the stone we grind with, the bear we kill. By singing, the soul of the singer is put in harmony with the essential Essence of Things. There are songs for every possible adventure of tribal life; songs for setting out on a journey, a song for the first sight of your destination, and a song to be sung by your wife for your safe return. Many of these songs occur detached from everything but the occasion from which they sprang, such as the women's grinding song, measured to the plump, plump! of the mealing stone, or the Paddle Song which follows the swift rhythm of the stroke. Others, less descriptive and retaining always something of a sacred character, occur originally as numbers in the song sequences by which are celebrated the tribal Mysteries…
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Poetic art in America, at the time it began to be overlaid by European culture, had reached a mark close to that of the Greeks at the beginning of the Homeric era. The lyric was well developed, the epic was nascent, and the drama was still in the Satyris stage of development, a rude dance ritual about an altar or a sacrificial fire. Neither poetry nor drama were yet divorced from singing, and all art was but half-born out of the Great Mystery. Magic was sung, and songs had magic power.
This partly explains why most Indian songs are songs for occasions. The rest of the explanation lies in the fact that songs have magic power. Tirawa, Wokonda, The Friend of the Soul of Man, is in everything; in the field we plant, the stone we grind with, the bear we kill. By singing, the soul of the singer is put in harmony with the essential Essence of Things. There are songs for every possible adventure of tribal life; songs for setting out on a journey, a song for the first sight of your destination, and a song to be sung by your wife for your safe return. Many of these songs occur detached from everything but the occasion from which they sprang, such as the women's grinding song, measured to the plump, plump! of the mealing stone, or the Paddle Song which follows the swift rhythm of the stroke. Others, less descriptive and retaining always something of a sacred character, occur originally as numbers in the song sequences by which are celebrated the tribal Mysteries…
*** For more titles like this one, type into the search field: Body and Soul Publications ***
