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55 pages 1 hour read

Henry Wadsworth Longfellow

The Song of Hiawatha

Fiction | Novel/Book in Verse | Adult | Published in 1855

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Cantos VII-XIIChapter Summaries & Analyses

Summary: “VII: Hiawatha’s Sailing”

Hiawatha desires to explore the river Taquamenaw, so he builds a canoe to carry him. He asks the birch tree to give him bark for the boat’s body, and the cedar tree to give him boughs to reinforce it, and the larch tree for its roots to bind the canoe together. Then Hiawatha takes the sap of the fir tree to waterproof the inside. The trees are unhappy, but agree to help him. He also takes quills from the hedgehog to create an adornment for the canoe. Finally, Kwasind helps Hiawatha clear the fallen trees and rocks from the river to ensure safe passage for any who want to travel on it.

Summary: “VIII: Hiawatha’s Fishing”

In his canoe, Hiawatha sets out to catch Nahma, king of all fishes. He calls Nahma to come, but Nahma instead sends the pike to break Hiawatha’s fishing line. When Hiawatha sees the pike, he shouts at him and sends the fish away in shame. Hiawatha calls Nahma again, but Nahma sends the sunfish. Hiawatha sees the sunfish, gets angry, and sends him away too. Finally, Nahma rises up out of the water and devours Hiawatha and his canoe. Inside the fish’s belly, Hiawatha sees Nahma’s heart and beats it with his fist. Once Nahma is dead, Hiawatha calls on gulls to eat its flesh so he can escape. After the life-saving seagulls have had their fill, Nokomis makes fish oil from the remains until only Nahma’s skeleton remains on the shore.

Summary: “IX: Hiawatha and the Pearl-Feather”

Nokomis tells Hiawatha about a fearsome magician, Pearl-Feather, who lives in the west in a home guarded by snakes. The magician killed Nokomis’ father and now sends sicknesses to their people. She encourages Hiawatha to challenge him, so he takes his canoe and goes to the home of Pearl-Feather, where he slays the snakes and makes his way through the black water to challenge the magician to a fight. They fight all day. At one point, Hiawatha fears Pearl-Feather is too strong for him, but then a woodpecker tells Hiawatha of a weak spot on Pearl-Feather’s head. As the magician bends to pick up a stone, Hiawatha shoots Pearl-Feather three times with his arrows. Hiawatha rewards the woodpecker by anointing it with the dead magician’s blood and takes the magician’s treasures home for his people, who hold a great feast in Hiawatha’s honor.

Summary: “X: Hiawatha’s Wooing”

Hiawatha dreams of the Dakota maiden Minnehaha. Nokomis cautions him against taking a bride from another tribe, for the Dakota and the Ojibwe have often been at war, but Hiawatha argues that his union will bring peace. He goes to the arrow maker, and on his way he slays a deer to bring as a gift. The arrow maker and his daughter sit together, dreaming of the past and the future. Minnehaha remembers Hiawatha and wonders if he will ever return. When Hiawatha arrives and joins them for a meal, he tells the arrow maker about his home, family, and friends, and asks for Minnehaha’s hand. The arrow maker and his daughter both agree. They travel together towards Hiawatha’s home while the animals, the sun, and the moon look on.

Summary: “XI: Hiawatha’s Wedding-Feast”

Hiawatha and Minnehaha marry and throw a great feast for all their family and friends. Nokomis prepares the meal, while Hiawatha and Minnehaha take care of everyone. After they eat, Nokomis calls on Pau-Puk-Keewis, a handsome man disliked by warriors and loved by women, to honor them with the Dance of Beggars. After Chibiabos performs love songs to great applause, Iagoo, the great boaster who is constantly telling inflated tales of his own adventures, grows jealous of Chibiabos, so he stands to tell the crowd a story.

Summary: “XII: The Son of the Evening Star”

Iagoo tells a story about Osseo and his father, the Evening Star.

Once there was a hunter with ten beautiful daughters. They all married handsome men except for the youngest and most beautiful, Oweenee, who married an ugly old man named Osseo. Once as they were all walking together, they came upon a hollow tree felled by a storm and Osseo leapt into it. When he came out he was young and handsome, but all his age and ugliness had transferred to Oweenee. Even though her sisters laughed at her, Osseo stayed by her side. At a feast, Osseo’s father sent him a message saying that tasting the blessed food before him would change everything to silver and turn the spiteful sisters to birds. Osseo ate, and at this, the sisters and their husbands transformed, while Oweenee became beautiful again. Osseo and Oweenee had a son. After Osseo made him bows and arrows, the boy unknowingly shot one of the birds. As it died, it became a woman again. All of the other charms broke, and the sisters and their husbands became Puk-Wudjies, or Little People.

As he finishes the story, Iagoo warns the audience of the dangers of careless teasing. Then Chibiabos sings for them, and the party closes.

Analysis: Cantos VII-XII

While later cantos become more introspective, these stories focus on proving Hiawatha’s physical prowess as a guardian and leader of the tribes. For instance, “Hiawatha’s Sailing” Hiawatha interacting with the natural world and establishing his rulership over it. The canto opens with Hiawatha’s command: “Give me of your bark, O Birch-tree!” (8.1); this conveys his status—the trees are intimidated and unhappy with Hiawatha’s demands, but ultimately, they offer their bounty willingly. Constructing the birch canoe—transforming the natural resource of wood into a vehicle that signifies civilization, human intelligence, and dominion over the landscape—is an important marker of Hiawatha’s fitness for rule. He understands how to exert power and influence over the landscape in a relatively benign way, asking for the trees’ cooperation rather than assaulting them.

The canoe becomes a constant part of Hiawatha’s episodic adventures. “Hiawatha’s Fishing” is one of the most traditional of the poem’s tales, drawing from the Manabozho but also bringing to mind the feats of epic heroes like Beowulf. Similarly, “Hiawatha and the Pearl-Feather” also illustrating an instance in which Hiawatha proves his might over an external adversary. His battle with Nahma, the sturgeon king that swallows Hiawatha and his canoe in one gulp is an adventure reminiscent of the biblical Jonah or one of the feats of the Greek hero Heracles. In Hiawatha’s more personal battle with the sorcerer Pearl-Feather, it’s notable that he relies on both his birch canoe and the oil made from Nahma’s corpse: Each of Hiawatha’s triumphs has led to the next. However, Pearl-Feather very nearly defeats him, pushing our hero to his limit. It’s only through the compassion of a nearby woodpecker that Hiawatha fells the magician. Here, the poem alludes to Native American myths that explain the natural world via myths, explaining how the woodpecker received its red feathers.

Having established Hiawatha’s aptitude as leader, the poem considers the need for succession. Exploring the hero’s emotional life, the tenth canto, “Hiawatha’s Wooing,” opens with an introspective metaphor that shows us Hiawatha’s desires for a partner. As befits his life experiences, Hiawatha casts a potential partner in terms of tools: As unto the bow the cord is, / So unto the man is woman” (10.1-2)—an image of surprising equality for Longfellow’s time and white readership. Both man and woman are parts of the weapon, neither mastering the other, but both necessary to its functioning. Hiawatha already has a particular cord in mind for his bow: the Dakota maiden Minnehaha he met earlier. Before Hiawatha arrives, the poem shows readers that Minnehaha too is interested in Hiawatha: “She was thinking of a hunter, / From another tribe and country, / Young and tall and very handsome” (11.106-108). What could have been a business transaction that portrayed Minnehaha as a commodity becomes a love story of shared attraction and not simply Hiawatha’s desire.

The next two cantos bring the reader into Hiawatha and Minnehaha’s wedding, with the twelfth illustrating the celebration and the thirteenth recounting a story told for their entertainment. Unlike previous episodes, this chapter is not particularly plot driven; instead, it shows all of Hiawatha’s loved ones coming together in joy. This wedding celebration happens almost exactly halfway through the story; it functions as the midpoint which divides Hiawatha’s story into one of aspiring to create a life and one of protecting it. Here he is at his most fulfilled, but he also has the most to lose. This is his final peak before the story begins to take this happiness away from him.

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