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Myths of the Cherokee · 151 of 220

Myth 94b

It was the custom among the Cherokee to let two women say what should be done with captives. They decided that he should be tortured with fire, so he was tied to a tree, and the wood was piled around him. Hatcinoñdoñ gave himself up for lost, when a rain storm came up and the people concluded to wait until it was over. They went away and left him tied to the tree. Pretty soon an old woman came up to him, and said, “My grandson, you think you are going to die, but you are not. Try to stir your limbs.” He struggled and finally got his limbs free. Then she said, “Now you are free. I have come to repay your kindness. You remember that you once found a frog in the middle of a circle of fire and that you picked it up and put it into the water. I was that frog, and now I help you. I sent the rain storm, and now you must go down to the creek and follow the current.” When the rain was over the people came back, but Hatcinoñdoñ was gone. They trailed him down to the creek, but he had found a hollow tree lying in the water, with a hole on the upper side through which he could breathe, so he crawled into it and they could not find him. Once two of the Cherokee came and sat on the log and he could hear them talking about him, but they did not know that he was inside. When they were all gone, he came out and kept on down the stream. After dark he came to a place where three hunters had made a fire and gone to sleep for the night. Their hatchets and arms were hung up on a tree. Hatcinoñdoñ was naked. He listened until he was sure the men were asleep, then he took one of their hatchets and killed all three, one after another. He dressed himself in the clothes of one, and put on his belt, with the knife and hatchet. Then he washed himself at the creek and sat down by the fire and cooked his supper. After that he stretched and painted the three scalps and lay down by the fire to sleep. In the morning he took what provision he could carry and traveled in a great circle until he found the road by which he and his warriors had come. He found fresh tracks and followed them until he saw smoke ahead. He listened until he heard men speaking Seneca, and knew that it was his party. Then he gave the Seneca shout— Gowe′! —three times and his friends ran out to meet him. They had been afraid that he was killed, but were glad now that they had waited for him. They went home together. This is their story.—Arranged from Curtin, Seneca manuscript.
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Themes
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 centers on a frog possessing spirit and agency who transforms into an old woman to repay a kindness, exemplifying the worldview that natural entities possess inherent personality and divine power.

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Shapeshifting Transformationtheology

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 narrative explicitly depicts a frog transforming into an old woman to intervene in human affairs, illustrating the capacity of preternatural beings to alter their form.

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