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The included introduction argues that poetic art in America is rooted in natural environment, national ideals, and the inseparability of words, melody, and movement, where songs carry magic power for tribal occasions and sacred 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2006, is an unabridged republication of The Path on the Rainbow: An Anthology of Songs and Chants from the Indians of North America originally published by Boni and Liveright, Inc., New York, in 1918.  \nInternational Standard Book Number: 0-486-45207-7 9780486120980  \nManufactured in the United States of America  \nDover Publications, Inc., 31 East 2nd Street, Mineola, N.Y. 11501  \nTable of Contents  \nTitle Page  \nCopyright Page  \nEARLY MOON  \nINTRODUCTION  \nSONGS FROM THE EASTERN WOODLANDS  \nSONGS FROM THE SOUTHEAST  \nSONGS FROM THE GREAT PLAINS  \nSONGS FROM THE SOUTHWEST  \nSONGS FROM CALIFORNIA  \nSONGS FROM THE NORTHWEST COAST  \nSONGS FROM THE FAR NORTH  \nINTERPRETATIONS  \nSONGS FROM THE HAKO: A PAWNEE CEREMONY  \nA CATALOG OF SELECTED DOVER BOOKS IN ALL FIELDS OF  \nINTEREST  \nEARLY MOON  \nThe baby moon, a canoe, a silver papoose canoe, sails and sails in the Indian West.  \nA ring of silver foxes, a mist of silver foxes, sit and sit around the Indian moon.  \nOne yellow star for a runner, and rows of blue stars for more runners, keep a line of watchers.  \nO foxes, baby moon, runners, you are the panel of memory, fire-white writing tonight of the Red Man’s dreams.  \nWho squats, legs crossed, and arms folded, matching its look against the moon-face, the star-faces, of the West?  \nWho are the Mississippi Valley ghosts, of copper foreheads, riding wiry ponies in the night?—no bridles, love arms on the pony necks, riding in the night, a long old trail?  \nWhy do they always come back when the silver foxes sit around the early moon, a silver papoose, in the Indian West?  \nINTRODUCTION  \nThe poetic faculty is, of all man’s modes, the most responsive to natural environment, the most sensitive and the truest record of his reactions to its skyey influences, its floods, forests, morning colors. It is the first to register the rise of his spirits to the stimulus of new national ideals. If this were not so there would be no such thing as nationality in art, and it is only by establishing some continuity with the earliest instances of such reaction that we can be at all sure that American poetic genius has struck its native note. Therefore it becomes appropriate and important that this collection of American Indian verse should be brought to public notice at a time when the whole instinctive movement of the American people is for a deeper footing in their native soil. It is the certificate of our adoption, that the young genius of our time should strike all unconsciously on this ancient track to the High Places.  \nPoetic 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. Both were accompanied by appropriate bodily movement, so that an Indian will say indifferently, I cannot sing that dance, or I cannot dance that song. Words, melody and movement were as much mixed as the water of a river with its own ripples and its rate of flowing. Hum a few bars of a plainsman’s familiar song, and he will say, puzzled,“It ought to be a war song,” but without the words he will scarcely identify it. Words may become obsolete so that the song is untranslatable, but so long as enough of it remains to hold together the primary emotional impulse out of which it sprang, the Indian finds it worthy to be sung. He is, indeed, of the opinion that “Whiteman’s songs, they talk too much.”  \nThis partly explains why most Indian songs are songs for occasions. Therest of the explanation lies in the fact that songs have magic power. Tiráwa, Wokonda, The Friend of the Soul of Man, is in eve","cbCaieIFkAhJUdLJ","https://ap.wps.com/l/cbCaieIFkAhJUdLJ","pdf",1271916,307,"English","# Table of Contents\n## Early Moon\n## Introduction\n## Songs from the Eastern Woodlands\n## Songs from the Southeast\n## Songs from the Great Plains\n## Songs from the Southwest\n## Songs from California\n## Songs from the Northwest Coast\n## Songs from the Far North\n## Interpretations\n## Songs from the Hako: A Pawnee Ceremony","[{\"question\":\"What is the book’s publishing and republication background mentioned in the text?\",\"answer\":\"The Dover edition is described as an unabridged republication first published in 2006, based on an earlier 1918 publication titled The Path on the Rainbow.\"},{\"question\":\"How is the anthology organized according to the table of contents?\",\"answer\":\"It is organized into multiple regional song groupings (e.g., Eastern Woodlands, Great Plains, Southwest), followed by sections such as “Interpretations” and a ceremonial piece: “Songs from the Hako: A Pawnee Ceremony.”\"},{\"question\":\"What central idea does the introduction present about American Indian poetry and songs?\",\"answer\":\"The introduction emphasizes that poetic response is deeply shaped by natural environment, and that songs function with magic power tied to occasions, sacred practices, and the unity of words, melody, and movement.\"}]","Native American Poetry by Cronyn, George William | PDF",1789943357,473]