_ Inasmuch as music is said to begin where words end, we might expect it to play a role in the taciturn courtship of Indians. One of the maidens described by Mrs. Eastman (85) "had many lovers, who wore themselves out playing the flute, to as little purpose as they braided their hair and painted their faces," Gila Indians court and pop the question with their flutes, according to the description by Bancroft (I., 549):
"When a young man sees a girl whom he desires for a
wife he first endeavors to gain the good-will of the
parents; this accomplished, he proceeds to serenade his
lady-love, and will often sit for hours, day after day,
near her house playing on his flute. Should the girl
not appear, it is a sign that she rejects him; but if,
on the other hand, she comes out to meet him, he knows
that his suit is accepted, and he takes her to his
house. No marriage ceremony is performed."
In Chili, among the Araucanians, every lover carries with him an amatory Jew's-harp, which is played almost entirely by inhaling. According to Smith
"they have ways of expressing various emotions by
different modes of playing, all of which the Araucanian
damsels seem fully to appreciate, although I must
confess that I could not.
"The lover usually seats himself at a distance from the
object of his passion, and gives vent to his feeling in
doleful sounds, indicating the maiden of his choice by
slyly gesturing, winking, and rolling his eyes toward
her. This style of courtship is certainly sentimental
and might be recommended to some more civilized lovers
who always lose the use of their tongues at the very
time it is most needed."
"Sentimental" in one sense of the word, but not in the sense in which it is used in this book. There is nothing in winking, rolling the eyes, and playing the Jew's-harp, either by inhalation or exhalation, to indicate whether the youth's feelings toward the girl are refined, sympathetic, and devoted, or whether he merely longs for an amorous intrigue. That these Indian lovers _may_ convey definite _ideas_ to the minds of the girls is quite possible. Even birds have their love-calls, and savages in all parts of the world use "leading motives" _a la_ Wagner, i.e., musical phrases with a definite meaning.[243]
[FOOTNOTE 243:
Army bugle calls, telling the soldiers what to do, are "leading motives." See my article on "The Utility of Music," _Forum_, May, 1898; or Wallaschek's _Primitive Music_.]
Chippewayan medicine men make use of music-boards adorned with drawings which recall special magic formulae to their minds. On one of these (Schoolcraft, V., 648) there is the figure of a young man in the frenzy of love. His head is adorned with feathers, and he has a drum in hand which he beats while crying to his absent love: "Hear my drum! Though you be at the uttermost parts of the earth, hear my drum!"
"The flageolet is the musical instrument of young men and is principally used in love-affairs to attract the attention of the maiden and reveal the presence of the lover," says Miss Alice Fletcher, who has written some entertaining and valuable treatises on Indian music and love-songs.[244] Mirrors, too, are used to attract the attention of girls, as appears from a charming idyl sketched by Miss Fletcher, which I will reproduce here, somewhat condensed.
One day, while dwelling with the Omahas, Miss Fletcher
was wandering in quest of spring flowers near a creek
when she was arrested by a sudden flash of light among
the branches. "Some young man is near," she thought,
"signalling with his mirror to a friend or sweetheart."
She had hardly seen a young fellow who did not carry a
looking-glass dangling at his side. The flashing signal
was soon followed by the wild cadences of a flute. In a
few moments the girls came in sight, with merry faces,
chatting gayly. Each one carried a bucket. Down the
hill, on the other side of the brook, advanced two
young men, their gay blankets hanging from one
shoulder. The girls dipped their pails in the stream
and turned to leave when one of the young men jumped
across the creek and confronted one of the girls, her
companion walking away some distance. The lovers stood
three feet apart, she with downcast face, he evidently
pleading his cause to not unwilling ears. By and by she
drew from her belt a package containing a necklace,
which she gave to the young man, who took it shyly from
her hands. A moment later the girl had joined her
friend, and the man recrossed the brook, where he and
his friend flung themselves on the grass and examined
the necklace. Then they rose to go. Again the flute was
heard gradually dying away in the distance.
[FOOTNOTE 244:
_A Study of Omaha Indian Music_ (14, 15, 44, 52). Cambridge, 1893; _Journal Amer. Folklore_, 1889 (219-26); _Memoirs Intern. Congr. Anthrop.,_ 1894 (153-57).] _