The Daughter of the Chieftain : the Story of an Indian Girl — A Closer Reading
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The source record for The Daughter of the Chieftain : the Story of an Indian Girl — A Closer Reading measures this digital text at 30,614 words, 2 hr 14 min estimated reading time, and 4 detected text sections.
The text analysis averages about 18.2 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Indians of North America -- Fiction,” connecting these edition facts with the source record’s subject description.
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Read the Text
She had been helping, so far as she was able, her mother in the house, until the parent told her to go outdoors and amuse herself. She was chubby, plump, healthy, with round pink cheeks, yellow hair tied in a coil at the back of her head, and her big eyes were as blue, and clear, and bright as they could be.
She wore a brown homespun dress--that is to say, the materials had been woven by the deft fingers of her mother, with the aid of the old spinning wheel, which in those days formed a part of every household. The dark stockings were knitted by the same busy fingers, with the help of the flashing needles; and the shoes, put together by Peleg Quintin, the humpbacked shoemaker, were heavy and coarse, and did not fit any too well.
The few simple articles of underwear were all homemade, clean, and comfortable, and the same could be said of the clothing of the brother and of the mother herself.
Alice came running out of the open front door, bounding off the big flat stone which served as a step with a single leap, and, running to a spot of green grass a few yards away, where there was not a bit of dirt or a speck of dust, she sat down and began the game of which I told you at the opening of this story.
Alice was left handed. So when she took position, she leaned over to the right, supporting her body with that arm, while with the other hand she tossed the little jagged pieces of stone aloft, snatching up the others, and letting the one that was going up and down in the air drop into her chubby palm.
She had been playing perhaps ten minutes, when she found someone was watching her.
She did not see him at first, but heard a low, deep "Huh!" partly at one side and partly behind her.
Instead of glancing around, she finished the turn of the game on which she was engaged just then. That done, she clasped all the Jack Stones in her hand, assumed the upright posture, and looked behind her.
"I thought it was you, Omas," she said with a merry laugh; "do you want to play Jack Stones with me?"
If you could have seen the person whom she thus addressed, you would have thought it a strange way of speaking.
He was an Indian warrior, belonging to the tribe of Delawares. Those who knew about him said he was one of the fiercest red men that ever went on the warpath. A few years before, there had been a massacre of the settlers, and Omas was foremost among the Indians who swung the tomahawk and fired his rifle at the white people.
He was tall, sinewy, active, and powerful. Three stained eagle feathers were fastened on his crown in the long black hair, and his hunting shirt, leggings, and moccasins were bright with different colored beads and fringes. In the red sash which passed around his waist were thrust a hunting knife and tomahawk, while one hand clasped a cumbersome rifle, which, like all firearms of those times, was used with ramrod and flintlock.
Omas would have had a rather pleasing face had he let it alone; but his people love bright colors, and he was never seen without a lot of paint daubed over it. This was made up of black, white, and yellow circles, lines, and streaks that made him look frightful.
But Alice was not scared at all. She and Omas were old friends. Nearly a year before, he stopped at their cabin one stormy night and asked for something to eat. Mrs. Ripley gave him plenty of coarse brown, well baked bread and cold meat, and allowed him to sleep on the floor until morning.
Benjamin was rather shy of the fierce looking Delaware, but Alice took to him at first. She brought him a basin of water, and asked him to please wash his face.
The startled mother gently reproved her; but Omas did that which an Indian rarely does--smiled. He spoke English unusually well, and knew why the child had proposed to him to use the water.
He told her that he had a little girl that he called Linna, about the same age as Alice. Upon hearing this, what did Alice do, but climb upon the warrior's knee and ask him to tell her all about Linna. Well, the result was, that an affection was formed between this wild warrior and the gentle little girl.
The novel opens not with a war party or a frontier crisis but with a detailed description of a game of Jack Stones. The narrator addresses young readers directly, explaining the rules and recalling older versions played with stones instead of iron prongs. This leisurely, instructional tone establishes a domestic frame before the narrative shifts to Alice Ripley, a girl playing the game outside her log home in the Wyoming Valley in July 1778. The contrast between the safe, familiar activity and the looming threat of conflict becomes the book's central structural device.
From Jack Stones to War Parties
The opening chapter moves from the game to a description of the valley's geography—its length, breadth, and the Susquehanna River—then to the arrival of Linna, a Delaware girl. This progression from play to place to character mirrors the novel's method of embedding danger within everyday life. The narrator's voice remains colloquial, using phrases like "I don't suppose there is any use in trying to find out" to create intimacy. The shift from the controlled rules of Jack Stones to the unpredictable rules of frontier survival is abrupt but deliberate, alerting readers to the fragility of the domestic sphere.
Recurring Images of Enclosure and Exposure
Throughout the excerpts, characters move between enclosed spaces—the log house, the campfire circle—and open, threatening woods. When Ben encounters Zitner and Burwink, the scene is set "by the camp fire" near a "fallen tree," a temporary shelter that feels precarious. The image of the "frightened group" climbing a ridge to meet the men underscores the constant negotiation between safety and exposure. Linna, the Delaware girl, is described as a "little sarpent" by Zitner, a label that dehumanizes her and signals the racial tensions that structure the plot. The novel repeatedly places its characters in such liminal spaces, where a campfire offers only illusory protection.
Movement Between Groups and Perspectives
The narrative frequently shifts between the Ripley family's perspective and that of other settlers like Zitner and Burwink. Ben's defense of Linna—"I will defend her with my life"—is set against Zitner's hostility, creating a dialogue about loyalty and prejudice. The author uses these encounters to advance the plot while also contrasting different responses to crisis. The movement is not just physical but moral: characters are defined by how they treat Linna. The excerpts show Ben walking back and forth between groups, literally bridging divides, while Zitner remains stationary, his suspicion fixed.
The Role of the Narrator's Voice
Ellis's narrator frequently breaks the fourth wall, addressing "my young friends" and explaining historical context. This technique, common in children's literature of the period, both educates and controls pacing. The description of the Wyoming Valley's dimensions—"twenty-one miles long, with an average breadth of three miles"—reads like a geography lesson inserted into the story. These interruptions create a rhythm of action and reflection, allowing readers to absorb the setting before the next crisis. The narrator's tone remains consistently patient, even when describing violence, which may distance modern readers but was intended to reassure a young audience.
Readers attentive to structure will notice how each chapter begins with a small, concrete detail—a game, a meeting, a campfire—before expanding into broader conflict. The novel's movement between intimate scenes and open danger mirrors the characters' own precarious journey. Pay attention to the spaces where characters pause: these are where the book's moral questions surface most clearly.
I’ve often sat with Ellis’s little tale of the Wyoming Valley, where play and peril intertwine so quietly. It made me think of another voice, equally aware of shadows brushing against daylight. There is a kinship in how both books hold a breath between safety and the unknown. Dracula's Guest — A Reader’s Guide carries that same patient, half-lit hush, like a door left ajar on a summer evening.
Theodore Hernandez
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