Индейские реалии в произведении Г. У. Лонгфелло «Песнь о Гайавате»

3 . Comprehensive analysis of realities in Longfellow's poem " The song of Hiawatha "
In this chapter, we will analyze Indian realities as words reproduced by Longfellow himself in their sound form, and, as far as possible and necessary, explained or described by the writer himself.
The list of Indian realities in their Indian sound form, given at the end of the poem, includes over two hundred words, but in reality there are much more of them, because many realities from the field of flora and fauna, climate, natural phenomena, generalizing landscape names are expressed by the author in English words. Because of this, they do not cease to be realities, because, for example, the names of the seasons, given in their Indian sound form, are usually provided with an English translation¹².
In this section, we are going to consider the form of representation of realities by the writer himself, since For Longfellow, Indian realities were a foreign language phenomenon, so we found it possible to use the translation analysis of the ways of reproducing realities in the OJ.
“Transcription” - recording by means of a given national alphabet of untranslatable foreign words. The problem of transcription arises when foreign personal names, surnames, geographical names, etc. are transmitted in writing.
Each language has its own phonetic composition. In " The song of Hiawatha " Longfellow uses a large number of transcribed Native American words for realities. The pronunciation and spelling of these words is not typical of native English speakers. The spelling of words with a capital letter and their unusual sound composition for the English ear in some cases makes it clear to the reader that this is reality.
First, we will give examples of pure transcription, since the author does not consider it necessary to give an explanation or an equivalent due to the fact that these realities were explained in the previously written chapters of the poem.
Yenadizee
Oweenee
Mudjekeewis
Mohawks
Nawadaha
Hiawatha
Iagoo
Sounds and letter combinations such as -dji-, -ee-, -ai-, -awk-, -aha-, -ah-, -ia-, -djoo- are not inherent in the English language, but are close in sound to the original Indian names ...
Here are some examples of transcription, which is accompanied by an equivalent:
Subbekashe, the spider
Kagh, hedgehog
Kayoshk, sea-gull
Keneu, eagle
Adjidaumo, the squirrel
Pishnekuh, the brant
Letter combinations -ashe-, -agh-, -ashk-, -еu-, -ito-, - uh - are also not typical for the English language and are not found in words of English origin.
Thus, we conclude that almost all the realities in the work are primarily reproduced by Longfellow in their original sound and the corresponding English spelling, and the unusual phonetic composition of the word helps the reader to determine what reality is in front of him. Almost always, transcribed realities are accompanied by translation using equivalents or analogs.
"Kalki" is a literal literal translation of a word from one language to another. Concepts inherent only to certain nations are combined into denotative realities, denoting objects and phenomena that are characteristic of a given culture, but have no correspondences in the compared culture. In his poem, Longfellow recreates everyday life, traditions¹³, Indian culture, etc., using many realities, each of which is explained in individual cases with the help of tracing paper. Giving one word in the Indian sound, he also gives tracing copies of existing synonyms, or a functional analogue:
Wigwam
Sacred lodge
Sacred chamber
Home
As the story progresses, and the words become familiar to the reader, the author gives them either in an Indian sound, or gives the already cited tracing paper. Very often tracing paper goes immediately after the realities, separated by commas:
Cheezis , the great sun
Sebowishe, the brook
Wabemo-wusk, the yarrow
Dahinda, the bull-frog
Ahmeek, the beaver
We cannot assert that the above examples are tracing or equivalent due to our lack of knowledge of the Indian language.
We have identified more than 200 realities in the work. And almost all of them are copied, thereby the author makes it easier for the reader to understand the meaning of the Indian reality in the text of the poem.
In addition to transcribing and tracing Native American realities, Longfellow uses descriptive translation in order to give a more accurate description of the heroes, to recreate the fullness and reality of customs and rituals¹⁴.
From these lines, the reader learns that Gitche Manito was the Supreme Deity who descended to earth:
Gitche Manito, the mighty
The creator of the nations (I, 79-80)
He the Master of Life, descending (I, 3)
Here Longfellow explains Native American reality using the English equivalent, emphasizing the main character trait - cowardice.
“Back, go back! O Shaugodaya!
Bac k to old Nokomis, Faint-heart! " ( IX , 81-82)
Longfellow, with the help of a descriptive translation, reveals the meaning of the Indian reality of the Keneu , showing the reader that he was a mighty war eagle, the leader of the birds.
And the nob le Hiawatha
Sang his war-song wild and woful
And above him the war-eagle
The Keneu, the great war-eagle,
Master of all fowls with feathers (IX, 61-65)
In this passage, the author describes an evil wizard, the Spirit of Wealth, the one whom all nations called the Pearl Pen.
"Yonder dwells the great Pearl-Feather,
Megissogwon, the Magician,
Manito of Wealth and Wampum, (IX, 20-24)
In all of the above examples, Longfellow uses a descriptive translation, revealing to the reader the meaning of reality, explaining it exactly.
In the next episode, the very description of the event in its content and meaning is a reality, since inherent only in a certain nation - the Indians. It describes the tradition of harvesting, which the tribes, and in particular the women of these tribes Minnehaha, Nokomis, and others, attached great importance to.
Then Nokomis, the old woman,
Spake, and said to Minnehaha:
T is the Moon when, leaves are falling;
All the wild rice has been gathered,
And the maize is ripe and ready;
Let us gather in the harvest,
Let us wrestle with Mondam in,
Longfellow describes the folk divination of the groom, which is also an ethnographic behavioral reality.
And whene'er some lucky maiden
Found a red ear in the husking,
Found a maize-ear red as blood is,
"Nushka!" cried they all together,
"Nus hka! You shall have a sweetheart,
You shall have a handsome husband! "
"Ugh!" the old men all responded
Having studied and analyzed the realities in Longfellow's work “ The song of Hiawatha ”, we considered it necessary and possible to classify them into semantic groups. In the course of the analysis on the basis of semantic features, we have identified the following groups of realities:
- geographical ;
- ethnographic ;
- religious and mystical ;
- the realities of everyday life ;
- anthroponyms .
For a clearer idea of ​​the essence of the above classification, we characterize each group separately and give examples of the realities we identified in Longfellow's work “ The song of Hiawatha ” in the subsequent sections of our work.
Geographic realities mainly include the names of settlements, their location, characteristics of flora and fauna, as well as natural conditions. While exploring the geographic realities in Longfellow's The Song of Hiawatha , we divided them into the following groups:
a) the name of territories, possessions, districts, islands
the kingdom of Ponemah
the kingdom of Wabasso
the realm of Wabun
the realm of Megissogwon
the valley of Tawansentha
the valley of wyo ming
the Islands o f the Blessed
Keewaydin, the region of the homewind (North-West wind)
Sand Hills of the Nagow Wudjoo
b) the names of rivers, mountains
Sebowisha
Pauwating
Taquamenan
Mississippi 
Esconaba
Mountains of prairie
Red pipe-stone quarry
Gitche Gumo - Lake Superior
c) characteristics of the flora .
While reading the poem, we came across the names of trees, shrubs and plants characteristic of the area.
Nohma - wusk, the spearmint
Wabemo - wusk, the yarrow
Apukwa - bulrush
Mondamin - maize
cedar
older-bushes
barber ry-bushes
red willow
d ) characteristics of the fauna
Using a large number of realities denoting birds, animals and insects, Longfellow tried to show the diversity of nature and its inhabitants.
- animals
Ahmeek, the beaver
Lynx, the fox
Kagh, the hedgehog
wood chuck
e rmine
- birds
Shada, pelican
Ahmo, golden swan
Shuh, shuh-gah, the heron
Owaissa, the bluebird
Waw-be- wawa, the white goose
Kayoshk, sea-gull
Koko-koho, the owl
Mama, wood-pecker
- insects and reptiles
Dush - kwo - neshe , the dragon fly
Subbe kas he, the spider
Kenabeek, the serpent
Dahinda, the bull-frog
Wah-wah-taysee, the fire-fly
- fish
Kenozha, the pickerel
Nahma, the sturgeon
Maskenozha, the pike
Sahwa, yellow perch
Shawgashee , craw - fish
Also, geographical realities include realities - the names of tribes. Each nation developed its own way of life and culture, which first led them to be divided into different clans, and then to the emergence of nations:
Delawares 
Mohawks
Choctaws
Pawnees
Omahas 
Mandas
Dacotahs
Hurons
Ojibways
Shoshonies
Camanches
Thus, Longfellow used geographical realities in his poem in order to more colorfully show the reader the exotic beauty of American nature through the place names of the indigenous people. The geographical realities used in Longfellow's " The song of Hiawatha " reflect:
- names of territories, regions, districts, islands
- names of rivers and mountains
- characteristics of flora
- characteristics of fauna
- the name of the nations.

Ethnographic realities include descriptions of holidays, designations of traditions and customs, culture inherent in a particular nation. In “ The song of Hiawatha, ” Longfellow gives a broad insight into the culture of the North American Indians using ethnographic realities¹⁵.

Of great interest when reading the poem is the description of the wedding of Hiawatha and his chosen one Minehakha.
She had sent through all the village
Messengers with wands of willow
As a sign of invitation
This phrase shows that the culture of the Indians was already rising to a higher level. So that the wedding was not boring, the Indians performed many songs, dances, and various tricks. The realities denoting proper names give us an idea of ​​how well the Indians developed folklore genres:
Osseo, Son of the Evening Star
Chibiabos, musician
Nawadaha, musician, the sweet singer
Megissogwon, the magician
Yenadizze, the dancer
But among the Indians was the famous Iagoo, the great boaster, who entertained the people with his stories and legends. Knowledge of legends broadened the horizons of the people. To brighten up their leisure, the Indians played games .
Kuntasoo, the Game of Plumstones
Ozawabeek, a round piece of brass
Copper in the Game of Bowl
Pugasaign, the Game of Bowl
Consider another interesting example describing the names of the months of the year and seasons. The Indians associate these names with the phenomena characteristic of each of the months.
Moon of Falling Leaves, September
Moon of Bright Nights, April
Moon of Leaves, May
Moon of Strawberries, June
Moon of Snow-Shoes, November
Mighty Peboan, the Winter
Segwun, Spring
When the Mighty Peboan season began , the Indians were skiing. From the above, we see that the civilization of the Indians has already risen to a fairly high level, and the appearance of talented people contributed to the development of culture as a whole.
Religious and mystical realities reflect adherence to a particular religion and the performance of cult rites. The Indians believed in spirits, appealed to their power, asked for help. In their understanding, there were gods of good and evil. The highest god to whom they turned their gaze was
Gitche Manito, the Mighty.
"Gitche Manito, the Mighty!
Give your children food, oh father!
Give us food or we must perish!
They included Puk-Wudjie among the evil spirits, and so on. the Indians were uneducated, then for them such natural phenomena as Waywassimo, the lightning; Annemeekee, the thunder, they refer to the manifestation of evil spirits and the wrath of the gods. To escape the wrath of the gods, they performed the Death-Dance of spirits ritual dances and sacrifices¹⁶ .
The Sacred Belt of Wampum was considered the embodiment of the good and unity of peoples , which, according to legend, brings happiness to those with whom it is. But this belt was in the possession of the evil spirit Mishe-Mokwa, and in order for peace to reign on the earth between the nations, the West Wind destroyed Mishe-Mokwa and returned the sacred belt to the people. Hiawatha did not eat anything for seven days in order to appeal to the Supreme Deity to give them Mondamin-corn .
In showing Indian worship of the spirits of good and evil, Longfellow used various descriptive realities:
the ma gic virtues, the power of evil,
the envious evil spirit
The Indians worshiped many different gods, which had their own names and were expressed in the poem using transcribed and traced realities:
Cheezis, the sun god
Unktahee, god of water
Manito of Wealth, the spirit of wealth that all nations have called
"Pearl Feather".
The realities of everyday life reflect the nature of housing, decoration, peculiarities of national dress, dishes, food, etc.
So in the poem " The song of Hiawatha " the first thing that catches our eye is the well-known reality of wigwam, which means the dwelling of North American Indians. A fire was made inside the wigwam, which served to heat the room. The whole day over the wigwam flowed the smoke of a fire, which could be seen from afar. For the name of the wigwam, the author uses such analogs and synonyms as lodge, chamber, Sacred Lodge, which in the concept of the Indians means a sacred dwelling¹⁷.
Describing the appearance of the Indians, Longfellow focuses our attention on the festive attire of people during the celebrations with the help of descriptive realities:
He was dressed in deer-skin leggings,
Fringed with hedgehog quills and ermine,
And in moccasins of buck-skin,
Thick with quills and beads embroidered.
On his head were plumes of swan's down,
On his heels were tails of foxes,
In one hand a fan of feathers,
And a pipe was in the other.
Barred with streaks of red and yellow,
Streak s of blue and bright vermilion, (XI, 77-86)
The Indians were very skillful in decorating their clothes, using embroidery, trimming with fur, feathers, semi-precious stones, and beads.
As a token of the feasting;
And the wedding guests assembled,
Clad in all their richest raiment,
Robes of fur and belts of wampum,
Splendid with their paint and plumage,
Be autiful with beads and tassels. ( XI , 22-27)
With such descriptions, the author wanted to show the reader how the Indians had to work hard to dress, put on shoes in those difficult conditions in which they lived.
From the poem, we learn that the Indians made baby cradles out of linden, moss and reeds served as a feather bed, the baby was swaddled with dried deer veins .
There the wrinkled old Nokomis
Nursed the little Hiawatha,
Rocked him in his linden cradle,
Bedded soft in moss and rushes,
Safely bound with reindeer sinews; (III, 74-78)
Men knew how to make a bow from ash branches, a bowstring made of deerskin, arrows from oak branches, arrowheads were made of flint, chalcedony, jasper; to increase the speed of the arrow, feathers were attached to it.
Made a bow for Hiawatha;
From a branch of ash he made it,
From an oak-bough made the arrows,
Tipped with flint, and winged with feathers,
And the cord he made of deer-skin. ( III , 163-168)
The Indians knew how to make boats - canoe from birch bark, strengthened them with strong but flexible cedar branches, tying larchtree with fibrous roots and filling up cracks and holes with coniferous resin. They mastered the art of decorating their boats, painted with the juice of roots and berries .
The Indians shared all their knowledge, skills and abilities in any area with their children and youth. This is how Hiawatha was brought up :
Out of childhood into manhood
Now had grown my Hiawatha,
Skilled in all the craft of hunters,
Learned in all the lore of old men,
In all youthful sports and pastimes,
I n all manly arts and labors. (IV, 1-6)
For a clearer idea of ​​the life of the Indians, Longfellow uses not only the realities denoting clothes, but also gives the names of tools, kitchen utensils, various delicacies used during the holidays .
Labor tools :
fishing line of cedar
canoe, bow, silver arrows, lances
arrow heads of flint, jaspher, chalcedony
Puggawaugun
Cheemaun, a birch canoe
Kitchen utensils :
bowls of bass-wood
the spoons of wood
the spoons of horn of bison
Food :
Mon damin, corn
Mahnomonue, wild rice Meenahga, the blueberry
the Bemahgut, grave-vine
suger from the maple
Here is another example of a festive table given by Longfellow in a poem.
First they ate the sturgeon, Nahma
And the pike, the Maskenozha,
Caught and cooked by old Nokomis;
Then on pemican they feasted
Pemican and buffalo marrow
Haunch of deer and hump of bison
Yellow cakes of the Mondamin
And the wild rice of the river (XI, 28-35)
The numerous realities of everyday life used by the author in the poem give the reader the opportunity to learn in more detail about the image and way of life of the Indians, about the variety of their occupations: hunting, fishing, agriculture, and craft. The beauty of clothing and the use of comfortable shoes, kitchen utensils tell us about the origin and development of culture among the Indian tribes.
Anthroponyms refer to onomastic realities. They include: names of historical figures, public figures, scientists, writers, artists, characters of fiction and folklore.
When reading the poem, readers are greatly interested in the unusual names of the heroes, among which we have highlighted:
a) the names of historical figures
Hiawatha is the main character of the work
Wenonah - his mother, a famous face of mythological literature
Mudjekeewis is the father of Hiawatha, whom, according to legend, the Indians know
as the West-Wind
friends of Hiawatha singer Chibiabos, Strong man Kwasind
b) the names of people related to folklore
Nawadaha, musician
Yenadizze, the dancer
lagoo - the story-teller
c) the names of the heroes to whom the Indians gave nicknames reflecting their actions
Soan- getaha. Strong - Heart
Mahn-go-taysee, Loon Heart
Yenadizze, whom the people called
the Storm - Fool
In the process of linguistic and cultural analysis, we identified the following main types of realities that are most often used in the poem:
- geographical ;
- ethnographic ;
- religious and mystical ;
- the realities of everyday life ;
- anthroponyms
During the research in the second chapter, the aim was to study the work of Longfellow " The song of Hiawatha ", to identify national realities and their classification. After reviewing the poem, we came to the conclusion that the author makes extensive use of Indian realities, reflecting the way of life and way of life, religion, culture and history of the people, and the reader has a feeling of being present at all the events described. This is largely achieved by the variety of ways of semantizing realities and the art with which Longfellow combines the Indian word with English explanations¹⁸.
As part of a comprehensive study, the work carried out a translation and structural-grammatical and linguistic and cultural analysis of realities. Having analyzed the realities from the point of view of translation classification , we have identified three main ways:
1) transcription + explanation or translation using an equivalent or analogue ;2) tracing + explanation ;
3) descriptive translation.
The sound composition of Indian words, which is unusual for the English language, is reproduced using letter combinations not typical for English spelling, such as -dji-, -ee-, -ai-, -awk-, -aha-, -ah-, -ia-, - djoo-. Moreover, realities, being, as a rule, names are given with a capital letter. Unusual sound composition and spelling of reality with a capital letter helps the reader to understand what reality is in front of him.