THE KATYDID’S WARNING Two hunters camping in the woods were preparing supper one night when a Katydid began singing near them.
One of them said sneeringly, “ Kû!
It sings and don’t know that it will die before the season ends.” The Katydid answered: “ Kû!
niwĭ (onomatope); O, so you say; but you need not boast.
You will die before to-morrow night.” The next day they were surprised by the enemy and the hunter who had sneered at the Katydid was killed.
Wonder Stories 63.
ÛÑTSAIYĬ′, THE GAMBLER Thunder lives in the west, or a little to the south of west, near the place where the sun goes down behind the water.
In the old times he sometimes made a journey to the east, and once after he had come back from one of these journeys a child was born in the east who, the people said, was his son.
As the boy grew up it was found that he had scrofula sores all over his body, so one day his mother said to him, “Your father, Thunder, is a great doctor.
He lives far in the west, but if you can find him he can cure you.” So the boy set out to find his father and be cured.
He traveled long toward the west, asking of every one he met where Thunder lived, until at last they began to tell him that it was only a little way ahead.
He went on and came to Ûñtiguhĭ′, on Tennessee, where lived Ûñtsaiyĭ′ “Brass.” Now Ûñtsaiyĭ′ was a great gambler, and made his living that way.
It was he who invented the gatayûstĭ game that we play with a stone wheel and a stick.
He lived on the south side of the river, and everybody who came that way he challenged to play against him.
The large flat rock, with the lines and grooves where they used to roll the wheel, is still there, with the wheels themselves and the stick turned to stone.
He won almost every time, because he was so tricky, so that he had his house filled with all kinds of fine things.
Sometimes he would lose, and then he would bet all that he had, even to his own life, but the winner got nothing for his trouble, for Ûñtsaiyĭ′ knew how to take on different shapes, so that he always got away.
As soon as Ûñtsaiyĭ′ saw him he asked him to stop and play a while, but the boy said he was looking for his father, Thunder, and had no time to wait.
“Well,” said Ûñtsaiyĭ′, “he lives in the next house; you can hear him grumbling over there all the time”—he meant the Thunder—“so we may as well have a game or two before you go on.” The boy said he had nothing to bet.
“That’s all right,” said the gambler, “we’ll play for your pretty spots.” He said this to make the boy angry so that he would play, but still the boy said he must go first and find his father, and would come back afterwards.
He went on, and soon the news came to Thunder that a boy was looking for him who claimed to be his son.
Said Thunder, “I have traveled in many lands and have many children.
Bring him here and we shall soon know.” So they brought in the boy, and Thunder showed him a seat and told him to sit down.
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 passage is a quintessential example of animism, depicting natural phenomena (the Katydid) and cosmic forces (Thunder) as possessing inherent spirit, personality, and the ability to communicate directly with humans.
Attributing human characteristics, emotions, or form to the divine; embodied divine imagery.
The text attributes human characteristics to divine and natural entities, such as the Katydid speaking and boasting, and Thunder having a house, family, and the ability to grumble.
The divine conceived as active, present, and dynamic—not an abstract principle but a personal responsive reality.
Thunder is portrayed not as an abstract principle but as a personal, responsive deity who lives in a specific location, travels, has children, and acts as a healer.
Form-mutability as a constitutional property of divine and preternatural beings — gods, heroes, spirits, and their human practitioners possessing inherent capacity to alter form across human, animal, plant, or elemental states. Loki and Odin's transformations in Norse, Math's pigs and Blodeuwedd's owl-shape and Pwyll's exchange with Arawn in the Mabinogion, the Greek Proteus, the Indian dasavatara, Vainamoinen's bird-flight in the Kalevala, Ovid's metamorphoses, the shamanic and witch's capacity for ritual form-change. Distinct from anthropomorphism (divine taking specific human form, single embodiment) in that anthropomorphism establishes a stable form whereas this concept establishes form's plurality and instability.
The character Ûñtsaiyĭ′ is explicitly described as knowing how to take on different shapes to escape defeat, illustrating the concept of form-mutability in preternatural beings.