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Myths of the Cherokee · 94 of 220

Myth 62b

Under the blanket on the seat were long, sharp thorns of the honey locust, with the points all sticking up, but when the boy sat down they did not hurt him, and then Thunder knew that it was his son. He asked the boy why he had come. “I have sores all over my body, and my mother told me you were my father and a great doctor, and if I came here you would cure me.” “Yes,” said his father, “I am a great doctor, and I’ll soon fix you.” There was a large pot in the corner and he told his wife to fill it with water and put it over the fire. When it was boiling, he put in some roots, then took the boy and put him in with them. He let it boil a long time until one would have thought that the flesh was boiled from the poor boy’s bones, and then told his wife to take the pot and throw it into the river, boy and all. She did as she was told, and threw it into the water, and ever since there is an eddy there that we call Ûñ′tiguhĭ′, “Pot-in-the-water.” A service tree and a calico bush grew on the bank above. A great cloud of steam came up and made streaks and blotches on their bark, and it has been so to this day. When the steam cleared away she looked over and saw the boy clinging to the roots of the service tree where they hung down into the water, but now his skin was all clean. She helped him up the bank, and they went back to the house. On the way she told him, “When we go in, your father will put a new dress on you, but when he opens his box and tells you to pick out your ornaments be sure to take them from the bottom. Then he will send for his other sons to play ball against you. There is a honey-locust tree in front of the house, and as soon as you begin to get tired strike at that and your father will stop the play, because he does not want to lose the tree.” When they went into the house, the old man was pleased to see the boy looking so clean, and said, “I knew I could soon cure those spots. Now we must dress you.” He brought out a fine suit of buckskin, with belt and headdress, and had the boy put them on. Then he opened a box and said, “Now pick out your necklace and bracelets.” The boy looked, and the box was full of all kinds of snakes gliding over each other with their heads up. He was not afraid, but remembered what the woman had told him, and plunged his hand to the bottom and drew out a great rattlesnake and put it around his neck for a necklace. He put down his hand again four times and drew up four copperheads and twisted them around his wrists and ankles. Then his father gave him a war club and said, “Now you must play a ball game with your two elder brothers. They live beyond here in the Darkening land, and I have sent for them.” He said a ball game, but he meant that the boy must fight for his life. The young men came, and they were both older and stronger than the boy, but he was not afraid and fought against them. The thunder rolled and the lightning flashed at every stroke, for they were the young Thunders, and the boy himself was Lightning. At last he was tired from defending himself alone against two, and pretended to aim a blow at the honey-locust tree. Then his father stopped the fight, because he was afraid the lightning would split the tree, and he saw that the boy was brave and strong.
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Themes
Alchemical Workpraxis

The transformation of base substance — outer matter or the inner soul — into a purified, perfected, or 'gold' state; the magnum opus as both laboratory practice and spiritual allegory.

The process of boiling the boy in a pot with roots to cure his sores and emerge 'clean' functions as a literal and symbolic alchemical purification, transforming a base, diseased state into a perfected one.

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Animismcosmology

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 Thunder as a personal deity living in a house, attributing agency to natural elements like the honey-locust tree and steam, and explaining landscape features (eddy, bark patterns) through the actions of these spirits.

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Anthropomorphismtheology

Attributing human characteristics, emotions, or form to the divine; embodied divine imagery.

The concept of Thunder is fully anthropomorphized, possessing a human family structure, domestic habits (cooking, dressing), and emotional responses like fear and pleasure.

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Living Godtheology

The divine conceived as active, present, and dynamic—not an abstract principle but a personal responsive reality.

Thunder is portrayed not as an abstract force but as a living, personal deity with a family, a home, a wife, and the ability to speak, heal, and intervene directly in human affairs.

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