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Formative influences there are, deep seated, far reaching, escaped by few, but like those which of yore astrologers imputed to the stars, they potently incline, they do not coerce. Language, pursuits, habits, geographical position, and those subtle mental traits which make up the characteristics of races and nations, all tend to deflect from a given standard the religious life of the individual and the mass. It is essential to give these due weight, and a necessary preface therefore to an analysis of the myths of the red race is an enumeration of its peculiarities, and of its chief families as they were located when first known to the historian.

      Of all such modifying circumstances none has greater importance than the means of expressing and transmitting intellectual action. The spoken and the written language of a nation reveal to us its prevailing, and to a certain degree its unavoidable mode of thought. Here the red race offers a striking phenomenon. There is no other trait that binds together its scattered clans, and brands them as members of one great family, so unmistakably as this of language. From the Frozen Ocean to the Land of Fire, without a single exception, the native dialects, though varying infinitely in words, are marked by a peculiarity in construction which is found nowhere else on the globe,3 and which is so foreign to the genius of our tongue that it is no easy matter to explain it. It is called by philologists the polysynthetic construction. What it is will best appear by comparison. Every grammatical sentence conveys one leading idea with its modifications and relations. Now a Chinese would express these latter by unconnected syllables, the precise bearing of which could only be guessed by their position; a Greek or a German would use independent words, indicating their relations by terminations meaningless in themselves; an Englishman gains the same end chiefly by the use of particles and by position. Very different from all these is the spirit of a polysynthetic language. It seeks to unite in the most intimate manner all relations and modifications with the leading idea, to merge one in the other by altering the forms of the words themselves and welding them together, to express the whole in one word, and to banish any conception except as it arises in relation to others. Thus in many American tongues there is, in fact, no word for father, mother, brother, but only for my, your, his father, etc. This has advantages and defects. It offers marvellous facilities for defining the perceptions of the senses with the utmost accuracy, but regarding everything in the concrete, it is unfriendly to the nobler labors of the mind, to abstraction and generalization. In the numberless changes of these languages, their bewildering flexibility, their variable forms, and their rapid deterioration, they seem to betray a lack of individuality, and to resemble the vague and tumultuous history of the tribes who employ them. They exhibit an almost incredible laxity. It is nothing uncommon for the two sexes to use different names for the same object, and for nobles and vulgar, priests and people, the old and the young, nay, even the married and single, to observe what seem to the European ear quite different modes of expression. Families and whole villages suddenly drop words and manufacture others in their places out of mere caprice or superstition, and a few years’ separation suffices to produce a marked dialectic difference. In their copious forms and facility of reproduction they remind one of those anomalous animals, in whom, when a limb is lopped, it rapidly grows again, or even if cut in pieces each part will enter on a separate life quite unconcerned about his fellows. But as the naturalist is far from regarding this superabundant vitality as a characteristic of a higher type, so the philologist justly assigns these tongues a low position in the linguistic scale. Fidelity to form, here as everywhere, is the test of excellence. At the outset, we divine there can be nothing very subtle in the mythologies of nations with such languages. Much there must be that will be obscure, much that is vague, an exhausting variety in repetition, and a strong tendency to lose the idea in the symbol.

      What definiteness of outline might be preserved must depend on the care with which the old stories of the gods were passed from one person and one generation to another. The fundamental myths of a race have a surprising tenacity of life. How many centuries had elapsed between the period the Germanic hordes left their ancient homes in Central Asia, and when Tacitus listened to their wild songs on the banks of the Rhine? Yet we know that through those unnumbered ages of barbarism and aimless roving, these songs, “their only sort of history or annals,” says the historian, had preserved intact the story of Mannus, the Sanscrit Manu, and his three sons, and of the great god Tuisco, the Indian Dyu.4 So much the more do all means invented by the red race to record and transmit thought merit our careful attention. Few and feeble they seem to us, mainly shifts to aid the memory. Of some such, perhaps, not a single tribe was destitute. The tattoo marks on the warrior’s breast, his string of gristly scalps, the bear’s claws around his neck, were not only trophies of his prowess, but records of his exploits, and to the contemplative mind contain the rudiments of the beneficent art of letters. Did he draw in rude outline on his skin tent figures of men transfixed with arrows as many as he had slain enemies, his education was rapidly advancing. He had mastered the elements of picture writing, beyond which hardly the wisest of his race progressed. Figures of the natural objects connected by symbols having fixed meanings make up the whole of this art. The relative frequency of the latter marks its advancement from a merely figurative to an ideographic notation. On what principle of mental association a given sign was adopted to express a certain idea, why, for instance, on the Chipeway scrolls a circle means spirits, and a horned snake life, it is often hard to guess. The difficulty grows when we find that to the initiated the same sign calls up quite different ideas, as the subject of the writer varies from war to love, or from the chase to religion. The connection is generally beyond the power of divination, and the key to ideographic writing once lost can never be recovered.

      The number of such arbitrary characters in the Chipeway notation is said to be over two hundred, but if the distinction between a figure and a symbol were rigidly applied, it would be much reduced. This kind of writing, if it deserves the name, was common throughout the continent, and many specimens of it, scratched on the plane surfaces of stones, have been preserved to the present day. Such is the once celebrated inscription on Dighton Rock, Massachusetts, long supposed to be a record of the Northmen of Vinland; such those that mark the faces of the cliffs which overhang the waters of the Orinoco, and those that in Oregon, Peru, and La Plata have been the subject of much curious speculation. They are alike the mute and meaningless epitaphs of vanished generations.

      I would it could be said that in favorable contrast to our ignorance of these inscriptions is our comprehension of the highly wrought pictography of the Aztecs. No nation ever reduced it more to a system. It was in constant use in the daily transactions of life. They manufactured for writing purposes a thick, coarse paper from the leaves of the agave plant by a process of maceration and pressure. An Aztec book closely resembles one of our quarto volumes. It is made of a single sheet, twelve to fifteen inches wide, and often sixty or seventy feet long, and is not rolled, but folded either in squares or zigzags in such a manner that on opening it there are two pages exposed to view. Thin wooden boards are fastened to each of the outer leaves, so that the whole presents as neat an appearance, remarks Peter Martyr, as if it had come from the shop of a skilful bookbinder. They also covered buildings, tapestries, and scrolls of parchment with these devices, and for trifling transactions were familiar with the use of slates of soft stone from which the figures could readily be erased with water.5 What is still more astonishing, there is reason to believe, in some instances, their figures were not painted, but actually printed with movable blocks of wood on which the symbols were carved in relief, though this was probably confined to those intended for ornament only.

      In these records we discern something higher than a mere symbolic notation. They contain the germ of a phonetic alphabet, and represent sounds of spoken language. The symbol is often not connected with the idea but with the word. The mode in which this is done corresponds precisely to that of the rebus. It is a simple method, readily suggesting itself. In the middle ages it was much in vogue in Europe for the same purpose for which it was chiefly employed in Mexico at the same time—the writing of proper names. For example, the English family Bolton was known in heraldry by a tun transfixed by a bolt. Precisely so the Mexican emperor Ixcoatl is mentioned in the Aztec manuscripts under the figure of a serpent coatl, pierced by obsidian knives ixtli, and Moquauhzoma by a mouse-trap montli, an eagle quauhtli, a lancet zo, and

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