Sketch of the Mythology of the North American Indians: First Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian Institution, 1879-80, Government Printing Office, Washington, 1881, pages 17-56

In Short

This study explores the development of human philosophy by examining the transition from "mythologic" interpretations of nature to scientific ones. Through the lens of North American indigenous traditions—specifically those of the Ute and Shoshoni—it categorizes how early societies personified natural forces and institutionalized these beliefs into elaborate cosmologies. The text argues that these mythologies are not mere curiosities but are, in fact, early attempts at a complete, logical system for explaining existence. It remains an essential document for understanding the nineteenth-century intellectual framework used to categorize and interpret the development of human culture.

The Story

The narrative arc begins with a fundamental premise: that all humanity, regardless of culture or era, is driven by the instinct for self-preservation to question the "how and why" of the universe. The text posits that "savagery" is not a lack of philosophy, but rather a state where every phenomenon is accounted for through the actions of gods or spirits. In this stage, the world is a closed system of absolute, albeit mythic, knowledge.

As the inquiry progresses, the reader is introduced to the "zooetheistic" stage, where animals serve as the primary prototypes for divine beings. Here, the wolf, the rattlesnake, and the eagle are not merely creatures of the field, but ancient progenitors who established the laws of the world and the social structures of humanity. These myths are not static; they are complex tales of adventure, betrayal, and creation. For instance, the story of the So'-kus Wai'-un-aets (the "One-Two") follows two brothers on a quest to defeat the tyrant Stone Shirt, a journey that tests their ingenuity and involves magical artifacts. This narrative illustrates how mythic tales function as both entertainment and didactic moral instruction.

The arc continues by detailing the evolution from these animal-centered gods to "physitheism," where the focus shifts to the heavens—the sun, moon, and storm. The text recounts the battle between the rabbit-god Ta-vwots' and the sun. Ta-vwots', insulted by the sun’s heat, initiates a war that culminates in a global conflagration, eventually extinguished by a flood of tears from the rabbit’s own bursting eyes. This tale serves as a bridge, demonstrating how myths explain cataclysmic events while providing a collection of moral apothegms regarding pride, vengeance, and the self-defeating nature of malice.

Finally, the study moves toward "psychotheism," where the gods lose their literal connection to physical objects and begin to embody moral qualities. The text concludes by asserting that the development of these systems is tied to the evolution of language and the capacity for abstract thought. The "primitive" philosophy of the past is not discarded; it is layered, leaving behind echoes and remnants in modern folk-lore and religious practice. By following this progression, the study reveals that the transition from a world governed by capricious, living deities to one governed by scientific law is a slow, methodical refinement of the human mind, moving from a philosophy that claims to know everything to one that understands the necessity of constant, doubting investigation.

How It Unfolds

The impulse of inquiry The text establishes that the need to understand nature—from the cycle of seasons to the cause of a cough—is a universal human trait. It argues that this instinct is rooted in the practical necessity of survival.

The stages of belief The author outlines a hierarchy of philosophical development: hecastotheism, where all things are sentient; zooetheism, where animal-gods rule; physitheism, where the heavens are deified; and psychotheism, where gods become moral agents. Each stage is characterized by how the society explains its own social and environmental reality.

The mythic narrative The text pivots to specific Ute legends, such as the epic struggle against Stone Shirt and the rabbit-god’s war with the sun. These stories serve as practical demonstrations of how mythic logic functions to explain geography, death, and social hierarchies.

The transition to science The author contrasts the "positive" certainty of the savage philosopher with the "doubting" nature of the modern scientist. The progression is presented not as a rejection of truth, but as a broadening of the horizon of the known.

The People

The central figures are not individuals in the traditional sense, but archetypal entities from Ute mythology. Cin-au-aev (the wolf) and To-go-aev (the rattlesnake) represent the supreme council of the animal gods. They are the architects of social order, embodying the "ancient" wisdom that the Ute people revere. Their interactions with the So'-kus Wai'-un-aets—the two brothers who possess magical insight—highlight the struggle between the established divine order and the necessity of human or heroic intervention in a world of suffering.

Ta-vwots', the little rabbit, stands out as a tragicomic figure who represents the dangers of unchecked pride and ego. In his quest to destroy the sun, he displays a human-like eagerness that leads to his own physical destruction, yet his suffering provides the world with new life and seeds. These figures serve as mirrors for the human condition; they are defined by their passions, their conflicts, and their roles in establishing the "laws" that govern the tribe’s existence. They are not distant abstractions but active participants in the daily life and landscape of the people.

In Its Own Voice

Regarding the difference between the savage and the scientific mind:

"The savage is a positive man; the scientist is a doubting man."

Regarding the nature of early mythology as a tool for explaining the world:

"In those stages of culture that we call savagery and barbarism, all things are known--supposed to be known; but when at last something is known, understood, explained, then to those who have that knowledge in full comprehension all other things become unknown."

Regarding the origin of social institutions within the mythological framework:

"The social organization of mythology is always found to be essentially identical with the social organization of the people who entertain the philosophy."

What It's Really About

The central theme is the growth of the human mind. The text argues that philosophy "grows" much like a living organism, evolving from a closed, myth-based system where every mystery is solved by spirit-action into an open-ended scientific system that acknowledges its own limitations. It explores the relationship between a people’s social structure and their theology, asserting that gods are modeled on human hierarchies. Ultimately, the work is an inquiry into the nature of "truth"—how it is manufactured, how it is held as sacred, and how it is eventually challenged by the discovery of natural law. It is a study of how humanity moves from being the subjects of a capricious, animate universe to being the observers of a governed, mechanical one.

Why Read It Today

Readers with an interest in the history of ideas, anthropology, or the roots of American mythology will find this text illuminating. It offers a rare window into the intellectual climate of 1879, providing a candid look at how the Bureau of Ethnology framed the "native mind" for a nineteenth-century audience. The writing is precise and authoritative, though it reflects the era's clinical, often detached view of indigenous cultures.

Readers should be prepared for the dense, scholarly prose of a late-Victorian government report, which can be challenging to navigate. However, the reward lies in the vivid, often startlingly creative myths presented alongside the analysis. The stories of Ta-vwots' and the Stone Shirt man are genuinely compelling, possessing a narrative rhythm that transcends the academic context in which they are embedded. The text is not a casual read; it is an analytical exercise that asks the reader to consider their own relationship to the "unknown." What remains with the reader is the poignant contrast between the savage’s comfort in a world where everything is explained by the gods and the modern individual’s struggle to find meaning in a world where we have discovered the laws of motion but, as the author wryly notes, "cannot tell what gravity is."