Myths and Legends of the Sioux — Text and Context
Edition facts
Myths and Legends of the Sioux — Text and Context can be approached with a clearer sense of reading commitment from its source measurements: 48,149 words, 3 hr 30 min estimated reading time, and 6 detected text sections.
The text analysis averages about 19.6 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Mdewakanton Indians -- Folklore,” connecting these edition facts with the source record’s subject description.
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- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
Read the Text
When she grew up she married and there were born to her twin sons. This caused great rejoicing in her father’s camp, and all the village women came to see the babes. She was very happy.
As the babes grew older, their grandmother made for them two saddle bags and brought out a donkey.
“My two grandchildren,” said the old lady, “shall ride as is becoming to children having so many relations. Here is this donkey. He is patient and surefooted. He shall carry the babes in the saddle bags, one on either side of his back.”
It happened one day that the chief’s daughter and her husband were making ready to go on a camping journey. The father, who was quite proud of his children, brought out his finest pony, and put the saddle bags on the pony’s back.
“There,” he said, “my sons shall ride on the pony, not on a donkey; let the donkey carry the pots and kettles.”
So his wife loaded the donkey with the household things. She tied the tepee poles into two great bundles, one on either side of the donkey’s back; across them she put the travois net and threw into it the pots and kettles and laid the skin tent across the donkey’s back.
But no sooner done than the donkey began to rear and bray and kick. He broke the tent poles and kicked the pots and kettles into bits and tore the skin tent. The more he was beaten the more he kicked.
At last they told the grandmother. She laughed. “Did I not tell you the donkey was for the children,” she cried. “He knows the babies are the chief’s children. Think you he will be dishonored with pots and kettles?” and she fetched the children and slung them over the donkey’s back, when he became at once quiet again.
The camping party left the village and went on their journey. But the next day as they passed by a place overgrown with bushes, a band of enemies rushed out, lashing their ponies and sounding their war whoop. All was excitement. The men bent their bows and seized their lances. After a long battle the enemy fled. But when the camping party came together again--where were the donkey and the two babes? No one knew. For a long time they searched, but in vain. At last they turned to go back to the village, the father mournful, the mother wailing. When they came to the grandmother’s tepee, there stood the good donkey with the two babes in the saddle bags.
THE RABBIT AND THE ELK
The little rabbit lived with his old grandmother, who needed a new dress. “I will go out and trap a deer or an elk for you,” he said. “Then you shall have a new dress.”
When he went out hunting he laid down his bow in the path while he looked at his snares. An elk coming by saw the bow.
“I will play a joke on the rabbit,” said the elk to himself. “I will make him think I have been caught in his bow string.” He then put one foot on the string and lay down as if dead.
By and by the rabbit returned. When he saw the elk he was filled with joy and ran home crying: “Grandmother, I have trapped a fine elk. You shall have a new dress from his skin. Throw the old one in the fire!”
This the old grandmother did.
The elk now sprang to his feet laughing. “Ho, friend rabbit,” he called, “You thought to trap me; now I have mocked you.” And he ran away into the thicket.
The rabbit who had come back to skin the elk now ran home again. “Grandmother, don’t throw your dress in the fire,” he cried. But it was too late. The old dress was burned.
THE RABBIT AND THE GROUSE GIRLS
The rabbit once went out on the prairie in winter time. On the side of a hill away from the wind he found a great company of girls all with grey and speckled blankets over their backs. They were the grouse girls and they were coasting down hill on a board. When the rabbit saw them, he called out:
Marie L. McLaughlin, born in 1842 to a Scotch father and a Mdewakanton Sioux mother, frames this collection as a personal inheritance: the stories were told to her “at the knee” of her mother, Mary Graham Buisson. The foreword establishes McLaughlin’s mixed heritage and her connection to the fur trade and early Minnesota settlements, grounding the tales in a specific cultural and familial context. The book’s table of contents lists over thirty narratives, many featuring rabbits, bears, and the trickster Unktomi (Spider), alongside stories of human bravery, love, and supernatural encounters.
Friendship and Sacrifice in “Pretty Feather”
In the excerpt from “Story of Pretty Feather,” two friends, Chaske and Hake, navigate a love triangle. Chaske discovers that Pretty Feather loves Hake, not him. Rather than resent his friend, Chaske declares, “I will be content to continue through life a lonely bachelor,” and delivers an antelope to Pretty Feather’s door as a marriage offering. The narrative emphasizes the ideal of brotherly loyalty: “Such is the love between two friends, who claim to be as brothers among the Indians.” Hake, however, insists he must first go on the warpath to prove himself. The story then shifts to a journey westward, where the friends are warned of a haunted creek—a “ghost who is Wakan (holy)”—that has doomed previous travelers. This blend of personal sacrifice, martial obligation, and supernatural peril illustrates how individual emotions are woven into communal and spiritual frameworks.
The Trickster and the Natural World
Several titles in the collection point to animal characters with human traits: “The Rabbit and the Elk,” “The Rabbit and the Bear with the Flint Body,” “How the Rabbit Lost His Tail,” and “Unktomi and the Arrowheads.” The rabbit appears frequently, often as a clever but vulnerable figure. The presence of Unktomi (Spider) signals the trickster tradition common to many Plains tribes. These stories likely explain natural phenomena (the rabbit’s short tail) or illustrate moral lessons through the misadventures of boastful or greedy animals. The excerpts do not reveal the full plots, but the pattern of animal encounters suggests a worldview where humans and animals share a landscape of negotiation, danger, and humor.
Ritual and Generosity in Courtship
In “Pretty Feather,” the act of depositing a kill at a woman’s door carries specific meaning. Pretty Feather’s mother hesitates to accept the antelope, but her daughter recognizes it as a sign that “her most cherished wish was to be granted.” The mother then cooks the meat and invites “the old women of the camp to a feast in honor of the son-in-law who was soon to keep them furnished with plenty of meat.” This sequence reveals a formalized courtship process: the offering of game, the mother’s acceptance, and a public feast that cements the betrothal. The emphasis on provisioning—the son-in-law’s duty to provide meat—ties marriage to economic reciprocity. The old warriors’ advice about the haunted creek also shows how knowledge is passed down through elders, blending practical survival tips with spiritual warnings.
Readers should approach these stories as oral narratives transcribed by a cultural intermediary. McLaughlin’s position—part insider, part outsider—shapes the collection’s tone and selection. The tales reward attention to recurring motifs: the rabbit’s cunning, the spider’s trickery, and the importance of keeping promises. Because the excerpts are incomplete, the full arc of each story remains unknown, but the patterns of loyalty, sacrifice, and supernatural intervention offer a coherent entry point into Sioux storytelling traditions.
I’ve often sat with Myths and Legends of the Sioux, feeling the quiet patience of its animal tricksters, and it reminds me of another shelf’s old friend, Tales from the Arabic — Complete — Themes and Context, where cunning foxes and patient wanderers share that same unhurried wisdom—stories that breathe, not race, across centuries.
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