The Sketch-Book of Geoffrey Crayon

do not show moderation and magnanimity towards those who have left them nothing but mere existence and wretchedness.
    We stigmatize the Indians, also, as cowardly and treacherous, because they use stratagem in warfare in preference to open force; but in this they are fully justified by their rude code of honor. They are early taught that stratagem is praiseworthy; the bravest warrior thinks it no disgrace to lurk in silence, and take every advantage of his foe: he triumphs in the superior craft and sagacity by which he has been enabled to surprise and destroy an enemy. Indeed, man is naturally more prone to subtilty than open valor, owing to his physical weakness in comparison with other animals. They are endowed with natural weapons of defence, with horns, with tusks, with hoofs, and talons; but man has to depend on his superior sagacity. In all his encounters with these, his proper enemies, he resorts to stratagem; and when he perversely turns his hostility against his fellow-man, he at first continues the same subtle mode of warfare.
    The natural principle of war is to do the most harm to our enemy with the least harm to ourselves; and this of course is to be effected by stratagem. That chivalrous courage which induces us to despise the suggestions of prudence and to rush in the face of certain danger is the offspring of society and produced by education. It is honorable, because it is in fact the triumph of lofty sentiment over an instinctive repugnance to pain, and over those yearnings after personal ease and security which society has condemned as ignoble. It is kept alive by pride and the fear of shame; and thus the dread of real evil is overcome by the superior dread of an evil which exists but in the imagination. It has been cherished and stimulated also by various means. It has been the theme of spirit-stirring song and chivalrous story. The poet and minstrel have delighted to shed round it the splendors of fiction, and even the historian has forgotten the sober gravity of narration and broken forth into enthusiasm and rhapsody in its praise. Triumphs and gorgeous pageants have been its reward: monuments, on which art has exhausted its skill and opulence its treasures, have been erected to perpetuate a nation's gratitude and admiration. Thus artificially excited, courage has risen to an extraordinary and factitious degree of heroism, and, arrayed in all the glorious "pomp and circumstance of war," this turbulent quality has even been able to eclipse many of those quiet but invaluable virtues which silently ennoble the human character and swell the tide of human happiness.
    But if courage intrinsically consists in the defiance of danger and pain, the life of the Indian is a continual exhibition of it. He lives in a state of perpetual hostility and risk. Peril and adventure are congenial to his nature, or rather seem necessary to arouse his faculties and to give an interest to his existence. Surrounded by hostile tribes, whose mode of warfare is by ambush and surprisal, he is always prepared for fight and lives with his weapons in his hands. As the ship careers in fearful singleness through the solitudes of ocean, as the bird mingles among clouds and storms, and wings its way, a mere speck, across the pathless fields of air, so the Indian holds his course, silent, solitary, but undaunted, through the boundless bosom of the wilderness. His expeditions may vie in distance and danger with the pilgrimage of the devotee or the crusade of the knight-errant. He traverses vast forests exposed to the hazards of lonely sickness, of lurking enemies, and pining famine. Stormy lakes, those great inland seas, are no obstacles to his wanderings: in his light canoe of bark he sports like a feather on their waves, and darts with the swiftness of an arrow down the roaring rapids of the rivers. His very subsistence is snatched from the midst of toil and peril. He gains his food by the hardships and dangers of the chase: he wraps himself in the spoils of the bear, the panther, and the buffalo, and sleeps among the thunders of the cataract.
    No hero of ancient or modern days can surpass the Indian in his lofty contempt of death and the fortitude with which he sustains his cruelest affliction. Indeed, we here behold him rising superior to the white man in consequence of his peculiar education. The latter rushes to glorious death at the cannon's mouth; the former calmly contemplates its approach, and triumphantly endures it amidst