55 pages • 1 hour read
Henry Wadsworth LongfellowA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.
Kwasind’s fame spreads throughout the tribes. The Puk-Wudjies, the Little People, are afraid of Kwasind’s strength and fear he will crush them by accident. The Puk-Wudjies are the only ones who know Kwasind’s weakness: The top of his head is vulnerable to the cones that grow on the fir tree. They gather together on the ledges above the river and wait for Kwasind to pass by. As he floats down the river in his canoe, the summer air makes him drowsy. When he falls asleep, the Puk-Wudjies rain down fir cones on his head. Kwasind tips over into the water and is never seen again. His stories, however, live on.
Hiawatha has endured hardship in the loss of his friends, but his trials are only beginning. One day, while Nokomis and Minnehaha wait for Hiawatha to return from hunting, two women arrive and sit in a corner of their home. When Hiawatha returns, they prepare a meal and allow the silent guests to take the best parts. For several days, Hiawatha, Nokomis, and Minnehaha allow the strangers to stay as the law of sacred hospitality dictates. One night, Hiawatha wakes to hear the strangers crying. They’ve been sent from the land of the dead to warn him that the dead can hear the mourning cries of the living. The women thank him for his hospitality and caution him against the struggle to come.
The winter that follows is one of the cruelest in memory. The snow is almost too deep to walk through, and no birds or animals can be found in the forest. The corn becomes depleted, and everyone is hungry. The spirits of Famine and Fever arrive at Hiawatha’s home and go to Minnehaha, who falls ill. Hiawatha prays for food for her, but receives no answer. He goes out hunting, remembering the day he brought Minnehaha home. While he is out, the spirits crowd closer to Minnehaha. She begins to hallucinate, and Nokomis tries to guide her back. However, Minnehaha sees Death. She calls out for Hiawatha, but by the time he hears her call and returns, she is gone. He stays by her bedside for seven days and nights before finally burying her. They light a fire for four days so that Minnehaha can find her way to the afterlife. Hiawatha promises to follow her soon.
In a lodge an old man sits while winter rages outside. A young man with a bouquet of wildflowers arrives to sit with him and smoke the peace pipe. The old man says that whenever he blows, the water becomes hard as stone. The young man says that when he blows, flowers rise. When the sun rises, the old man melts away into nothing, and a flower blooms in the hearth. It is spring, and Iagoo returns from his travels with stories. He tells the tribes about a great water and a huge canoe full of warriors, with white wings and sounds like thunder and lightning. The men don’t believe him, but Hiawatha has seen the same vision in a dream. He advises his people to welcome the new men, but cautions them not to fight with each other or they will be scattered until they are gone forever.
Hiawatha no longer lives in sorrow, facing a brighter future. The ship of visitors arrives, led by a man wearing a black robe and a cross. Hiawatha welcomes them as friends. He brings them to his home to share food and smoke the peace pipe, and the other men of Hiawatha’s tribe join them. The leader of the visitors tells them stories from the Bible, and the men consider their words. That evening, Hiawatha tells Nokomis that he is going away. He leaves the care of the visitors to her, and then he says goodbye to his people. Hiawatha gets into his canoe and sails away towards the setting sun. All of the tribes and everything in the forest wishes him farewell.
The death of Chibiabos and the mischief of Pau-Puk-Keewis presaged the poem’s final, darkest cantos. Just as they destroyed the artist Chibiabos, vengeful spirits destroy the strong warrior Kwasind, who, like many powerful epic figures, has a very specific, exploitable weakness. In the canto’s final lines we see that the memory of Kwasind lives on, but only as a story explaining natural phenomena:
And whenever through the forest
Raged and roared the wintry tempest,
And the branches, tossed and troubled,
Creaked and groaned and split asunder,
"Kwasind!" cried they; "that is Kwasind!
He is gathering in his fire-wood" (19.115-120)!
In the canto “The Ghosts,” readers get an echo of Chibiabos as the ruler of the Land of the Dead, as two compassionate spirits do their best to warn Hiawatha about the coming devastation. Their eerie and discomfiting presence in Hiawatha’s house begins a series of increasingly damaging guests that the hero and his family nevertheless must accommodate according to the customs of hospitality. First, the miseries of Famine and Fever lead Minnehaha to her death, and then the white European missionaries arrive to signal the end of traditional existence for Hiawatha’s tribes and the coming colonization and genocide. Fittingly, the poem adopts a melancholic, gothic tone as the tribes face deprivation and loss. Until this moment Hiawatha has only faced specific supernatural adversaries; however, he and the tribes are powerless against these new enemies.
Because Longfellow is writing from the viewpoint of a white Christian man, and his own beliefs and experiences color the Indigenous source mythology, he does not present the intrusion of the Europeans as a world-ending event. Instead, the poem is eager to suggest that their arrival marks a new dawn. The mythic figure of the young man of spring replaces the bitter old man of winter, and the world literally passes from darkness to light, into a period of rejuvenation. When Iagoo returns with news of white men and Hiawatha confirms this tale, he advises his people not to fight, but to accept the colonizers in the spirit of progress. The poem assumes that a peaceful reception will guarantee Hiawatha’s tribes freedom from cultural obliteration, though of course this is fantasy on Longfellow’s behalf.
The final canto, “Hiawatha’s Departure,” is the most didactic and overtly religious of the poem. Though the poem offers it as a natural progression, to modern readers, Hiawatha’s decision to leave his people in their care of white invaders seems ill-advised at best. From a mythological standpoint, however, this is a natural place for Hiawatha’s story to come to a close. He has protected his people, helped them grow, and brought them together. Now, he lays that responsibility aside to possibly reunite with Minnehaha in the afterlife.
By Henry Wadsworth Longfellow
American Literature
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