THE FIRST FIRE In the beginning there was no fire, and the world was cold, until the Thunders (Ani′-Hyûñ′tĭkwălâ′skĭ), who lived up in Gălûñ′lătĭ, sent their lightning and put fire into the bottom of a hollow sycamore tree which grew on an island.
The animals knew it was there, because they could see the smoke coming out at the top, but they could not get to it on account of the water, so they held a council to decide what to do.
This was a long time ago.
Every animal that could fly or swim was anxious to go after the fire.
The Raven offered, and because he was so large and strong they thought he could surely do the work, so he was sent first.
He flew high and far across the water and alighted on the sycamore tree, but while he was wondering what to do next, the heat had scorched all his feathers black, and he was frightened and came back without the fire.
The little Screech-owl ( Wa′huhu′ ) volunteered to go, and reached the place safely, but while he was looking down into the hollow tree a blast of hot air came up and nearly burned out his eyes.
He managed to fly home as best he could, but it was a long time before he could see well, and his eyes are red to this day.
Then the Hooting Owl ( U′guku′ ) and the Horned Owl ( Tskĭlĭ′ ) went, but by the time they got to the hollow tree the fire was burning so fiercely that the smoke nearly blinded them, and the ashes carried up by the wind made white rings about their eyes.
They had to come home again without the fire, but with all their rubbing they were never able to get rid of the white rings.
Now no more of the birds would venture, and so the little Uksu′hĭ snake, the black racer, said he would go through the water and bring back some fire.
He swam across to the island and crawled through the grass to the tree, and went in by a small hole at the bottom.
The heat and smoke were too much for him, too, and after dodging about blindly over the hot ashes until he was almost on fire himself he managed by good luck to get out again at the same hole, but his body had been scorched black, and he has ever since had the habit of darting and doubling on his track as if trying to escape from close quarters.
He came back, and the great blacksnake, Gûle′gĭ, “The Climber,” offered to go for fire.
He swam over to the island and climbed up the tree on the outside, as the blacksnake always does, but when he put his head down into the hole the smoke choked him so that he fell into the burning stump, and before he could climb out again he was as black as the Uksu′hĭ.
Now they held another council, for still there was no fire, and the world was cold, but birds, snakes, and four-footed animals, all had some excuse for not going, because they were all afraid to venture near the burning sycamore, until at last Kănăne′skĭ Amai′yĕhĭ (the Water Spider) said she would go.
This is not the water spider that looks like a mosquito, but the other one, with black downy hair and red stripes on her body.
She can run on top of the water or dive to the bottom, so there would be no trouble to get over to the island, but the question was, How could she bring back the fire?
The doctrine and worldview that natural phenomena, places, and objects possess inherent spirit, soul, or personality — and that the cosmos is populated by countless local, plural, embodied divine agents: kami in mountain and tree, sidhe in cairn and well, landwights in field and stone, nymphs in spring and grove, haltija in forest and lake, lares and penates in household and threshold, Iamblichean daemons in element and place. Distinct from monotheism (single transcendent God), pantheism (one underlying substance), and emanation_hierarchy (cascading single source); animism's signature is the plurality, locality, and embodied-in-landscape character of the divine.
The text depicts a worldview where animals and natural forces (Thunders) possess agency, hold councils, and interact directly with the cosmos as spiritual agents.
Narratives or doctrines of cosmic origin — how heaven, earth, and the primordial deities first came into being. The Kojiki's deities born alone on the Plain of High Heaven, Voluspo's Ginnungagap, Genesis's tohu wa-bohu, the Timaeus's Demiurge fashioning the Receptacle, the Hesiodic Theogony, the Kalevala's egg-cosmogony, Egyptian Nun-and-Atum. Distinct from emanation_hierarchy (structural-ontological cascade), letters_of_creation (mechanism of creation), and apocatastasis/frashokereti (end-state restoration); cosmogony is temporally-narrative beginning.
The passage is a foundational origin narrative explaining how fire was first introduced to the world and how various animals acquired their physical characteristics.