Indian Captive: The Story of Mary Jemison

Josiah Johnson is an English captive from Virginia who is brought to Genesee Town. After running the gauntlet, he is given the name Running Deer and is adopted by Earth Woman. In many ways, Josiah is a foil for Molly. Contrasted with this English newcomer, the changes to Molly’s character become more apparent. After being adopted by the Senecas, Josiah distrusts them; Molly defends them and “[believes] every word they say” (331). Josiah disdains his ornate outfit made by Earth Woman; Molly admires it. Josiah is increasingly restless with the Senecas, eager for a chance to escape; Molly, in contrast, tells him that she has become “much more contented living with them” since his arrival (348). After Josiah escapes, Molly worries about Earth Woman’s grief and wonders how to comfort her; Josiah, the source of Earth Woman’s grief, does not express any of the same concerns.

Josiah seems to be incapable of settling into life with the Senecas; Shagbark realizes this and helps him escape. Josiah’s escape triggers another shift in Molly’s character: she learns to love selflessly, feeling truly glad for Josiah and happy that he left her behind. 

Molly first meets Shagbark when she is taken captive, and he remains an important character throughout the novel. Immediately after her capture, Shagbark is a source of kindness on the harsh journey. In her suffering, Shagbark’s “friendly smile was a constant encouragement,” and Molly sees him as “trusty and dependable, like a strong, straight tree—a shagbark hickory” (81).

Although Shagbark is in proximity to brutal violence several times in the novel, this violence is not attached to his character. When the rest of the captives are taken into a swamp to be killed, it is Shagbark who takes Molly and Davy a distance away. This act separates him from the murder of her family members. Later in the novel, Shagbark is an active participant in the ritual of running the gauntlet. However, he expresses his disapproval of the practice by answering, when Molly asks what the gauntlet is: “Oh, may you never know!” (318). He firmly commands her to return to Red Bird’s lodge, and he affects the outcome of the ritual by holding Josiah back until “the crowd’s zeal had begun to slacken” (323), increasing Josiah’s chances of surviving the ordeal.

Similarly, Shagbark is an active participant in taking white captives, yet it is Shagbark who releases Josiah to escape by giving him the canoe. When Molly is faced with the decision to stay or leave, she sees Shagbark, “his brown eyes overflowing with kindness and understanding” (462). Rather than viewing her decision with possessiveness, Shagbark empathizes with Molly.

In the final chapter, Shagbark’s connection to Molly is an important factor that compels Molly to stay with the Senecas. Shagbark’s empathy and kindness is in stark contrast to Captain Morgan’s coldness, and Molly realizes that she belongs with the Senecas. 

Molly meets Little Turtle in Seneca Town. Little Turtle is drawn to her and becomes her first friend there. Immediately, his physical description hints at his kind nature and the bond he and Molly will share: “He had soft brown eyes and they made her think of Davy Wheelock” (148). In a strange place, with people she distrusts, Little Turtle reminds Molly of someone familiar.

Little Turtle is a dynamic character who develops and changes throughout the novel. By the end of the novel, he has earned the name “Turkey Feather” for his hunting skills. As Molly adapts to life with the Senecas, Little Turtle comes of age; by the end of the novel, he is on the brink of manhood and preparing for his first hunt.

While Little Turtle matures and becomes a young man, he remains a stable source of friendship for Molly. When she first arrives in Seneca Town, even before the two can communicate in the same language, Little Turtle perceives Molly’s grief and asks Chief Standing Pine if she can be returned to her people. At the end of the novel, it is Little Turtle—now Turkey Feather—who appeals to Chief Burning Sky to give Molly the choice to stay with the Senecas or to go with Captain Morgan. Turkey Feather, expecting Molly to decide to leave with Captain Morgan, tells her: “I’m glad you will always be happy, even if you won’t see me go off with the men” (451). His love for her is selfless; he wishes to see her happy, even if he must lose her.

Thomas Jemison is Molly’s father, described as having “great affection for his children,” particularly Molly, in spite of his “stern ways and blustering words” (40). When a neighbor is fearful of a possible attack, Thomas Jemison is proud: “I ain’t afeard of Injuns!” he boasts (37). Ignoring his wife’s concerns and his neighbor’s warning, Thomas refuses to leave his home and insists that he will spend the next day planting corn, as he has planned. His plans are disrupted, however, when a group of Indigenous men and French soldiers attack his home. Bound as a captive, Thomas is silent and detached. His characteristic pride is still evident, however, when he repeatedly refuses to eat.

While Molly is taken captive, Thomas is killed; this loss marks Molly for the rest of the novel. Before Molly is taken away, Thomas repeats his reassurance to her: “The Injuns’ll never hurt you, Molly-child! Why, when they see your pretty yaller hair a-shinin’ in the sun, they’ll think ‘tis only a corn-stalk in tassel!” (74)

These words come back to Molly later when she realizes the meaning of her Seneca name, Corn Tassel: “A corn-stalk in tassel! He must have known the Indians would treat her kindly. Corn Tassel—they had named her Corn Tassel because they loved the corn so much. How pleased her father would be if he knew!” (196). 

Jane Jemison is Molly’s mother. In the beginning of the novel, Jane is described as “a small, tired-looking woman, baffled by both work and worry” (33). This description seems to represent the life of English pioneer women; later in the novel, this life of dreary work is contrasted with the Indigenous way of life, which Fallenash describes as “a fine, free, open life” (303).

It is Jane who builds the sense of foreboding before the Jemison homestead is attacked. While Thomas Jemison sneers at the idea of fleeing, Jane is nervous and begs him to consider it: “‘What are we a-goin’ to do, Thomas?’ she asked, weakly” (36). In the decision-making process with her husband, Jane is portrayed as fearful and powerless. Her opinion is entirely discounted.

While Jane is terrified at the thought of “the Indians” attacking her home, when the attack occurs and the family is taken captive, Jane is calm and courageous. When Molly sees her mother for the last time, she sees “a look of not fear or pain, but only kindness” (73). Taken away from her family, Molly remembers “how great was her mother’s fear of the Indians before they came; and how, when they came, she met them with calm courage” (76), and this memory inspires Molly to show courage for Davy. Although Jane is initially portrayed as weak, she also models to Molly the virtue of courage.

When Jane recognizes that Molly is being taken captive, she sets aside her own fear of death and takes the opportunity to bid her daughter farewell. Although the words are difficult for Molly to grasp in the moment, Jane delivers an important speech. She urgently relays important information to her daughter; she instructs her not to run away and to remember her family, language, and religion.

Jane’s words return to Molly throughout the novel. In the beginning, Jane’s instructions cause Molly to feel guilty when she forms relationships with the Senecas. At the end of the novel, however, Jane’s words align in Molly’s mind with Seneca characters. When Chief Burning Sky gives Molly her new Seneca name, Little-Woman-of-Great-Courage, “Molly heard her mother’s voice speaking and the words sounded like an echo of Chief Burning Sky’s: ‘It don’t matter what happens, if you’re only strong and have great courage’” (466). 

“Old Fallenash,” as Molly calls him, is a white trader who visits the Senecas at Genesee Town. At first, Fallenash reminds Molly of her father, and she is overcome with emotion. Although Fallenash is not her father, Molly recognizes him as an acquaintance from her life in Marsh Creek Hollow.

When Molly first meets Fallenash, she is eager to escape the Senecas and return to English life. Fallenash becomes a symbol of hope—a possible avenue to return to Marsh Creek Hollow. Fallenash refuses to take Molly, crushing her hope, but he is also the first white character to point out to Molly the benefits of Seneca life. He tells her, “In fact, I think Indian life is not half bad myself. I like it” (303).

Rather than bringing her home, as Molly had hoped, Fallenash eventually erases all hope of Molly going home. After meeting Molly at Genesee Town, he goes through Marsh Creek Hollow and learns about the death of her parents, the destruction of her home, and the disappearance of her surviving brothers. Fallenash reappears near the end of the novel, going to Genesee Town briefly for the specific purpose of telling Molly the truth about her family. Although this news is devastating, it also releases Molly to fully commit to living with the Senecas. 

Shining Star is one of Red Bird’s daughters and part of Molly’s Seneca family. Shining Star and Squirrel Woman are the women who take Molly from Fort Duquesne and introduce her to Seneca Town. Immediately, Shining Star is described in contrast to her sister: “One was plain, the other beautiful to look upon. One was cross, the other kind” (107).

Shining Star demonstrates wisdom and patience in the way she treats Molly. She communicates thoughtfully, often without directly saying her intended message. When Shining Star describes how her son Blue Jay will learn from forest animals, she “[chooses] her words with care. She seemed to know that a conflict was going on in the white captive’s mind” (186).

Shining Star’s gentle kindness is one of the first factors to pull Molly toward building relationships with the Senecas. Molly recognizes this and fights it: “A voice in Molly’s heart kept crying out to make her hear: ‘You must not love Shining Star’” (186). By the end of the novel, Molly has embraced her relationship with Shining Star and has become part of her family.

Squirrel Woman is one of Red Bird’s daughters, and she is a foil to Shining Star’s character. In contrast to her sister, Squirrel Woman is described as “plain” with a face that has “more lines in it, lines either of age or ill nature” (108). Repeatedly, Squirrel Woman is the character who catches Molly speaking English or speaking with white people. Before Molly can communicate with the Senecas, Squirrel Woman uses kicks and blows to force her to learn the language. The first Seneca word Molly learns—the word for wood—“she learned […] because of a kick” (138).

Ironically, Squirrel Woman is harshly opposed to English culture, yet it is Squirrel Woman whom Molly compares to a white woman. After Squirrel Woman shakes her violently, Molly claims that “Squirrel Woman is the only Indian in the village who, like a pale-face, gives loud expression to hot anger!” (207). Many Seneca characters, such as Earth Woman and Chief Burning Sky, value traditional skills and are concerned that many Senecas are abandoning them. In contrast, Squirrel Woman does not value these skills. When other characters celebrate Molly’s first handmade cooking pot, Squirrel Woman sneers, “A brass kettle is more useful. Earthen pots are foolishness” (400).

Although Squirrel Woman remains a static character, Molly’s comfort with her increases. Near the end of the novel, when Captain Morgan wants to take Molly with him but Squirrel Woman intervenes, Molly feels “happy relief.” 

When Molly arrives in Genesee Town, exhausted and ill, it is Earth Woman who cares for her while she recovers. After returning to good health, Molly continues to spend time with Earth Woman.

Earth Woman is portrayed as very wise. She is described as “wiser than any Indian woman Molly had known before,” with a wisdom that “reached out through the endless forest, up to the changing skies and deep, deep down into the earth” (258). She understands Molly; when Molly is ill and exhausted, Earth Woman uses the challenge of making a cooking pot to motivate her. Earth Woman’s wisdom attracts Molly, and through the character of Earth Woman, Molly learns about the spiritual beliefs that shape Seneca culture. 

Red Bird is the mother of Squirrel Woman and Shining Star. She is the matriarch of the Seneca family Molly is adopted into; Molly’s home is referred to as “Red Bird’s lodge.”

As a character, Red Bird often reinforces the social norms of the Seneca community. Although she is not noted for her wisdom the same way that Earth Woman is, she is respected as an older member of the community and demonstrates wisdom in several ways. It is Red Bird who disciplines Molly in the most effective way—not by using force or violence or lecture, but by calmly enforcing the consequences of Molly’s actions. When Molly refuses to take part in planting the corn, and even spills corn seed, Red Bird denies Molly dinner that evening by quietly stating: “When one has worked hard and is hungry […] the succotash lies well on the tongue” (179). Molly accepts this punishment calmly but learns the intended lesson.

Shining Star and Squirrel Woman are often positioned in contrast to each other, and Red Bird frequently disapproves of Squirrel Woman’s approach. Red Bird’s opinion communicates that Squirrel Woman’s harshness is the exception in Seneca society. When Molly scolds Squirrel Woman for her violence, Red Bird agrees that “it is wrong to punish a child with a rod or a whip” (208). When Squirrel Woman urges Molly to watch Josiah run the gauntlet, Red Bird is appalled and rebukes her for her cruelty.

Blue Jay is Shining Star’s infant son. As part of the Seneca community and Red Bird’s lodge, one of Molly’s primary tasks is to help care for the baby. Blue Jay becomes a symbol for the passage of time, Molly’s changing relationship to the community, and Molly’s journey of grief. Upon arriving in Seneca Town, Molly can hardly stand to look at Blue Jay because he reminds her of the baby brother she lost. Her growing familiarity with Seneca customs is demonstrated by how she is able to adjust Blue Jay in the baby-board and accept the board as a different cultural approach to parenting. After four months with the Senecas, Molly realizes that “an Indian baby can be as lovable as a white one” (189). By the end of the novel, Blue Jay has grown from an infant to a child, and Molly’s relationship to the Senecas has also grown. Molly, driven by her love for the child, rescues Blue Jay from a dangerous snake. Molly demonstrates courage, putting herself in danger for the sake of a person she loves. 

Beaver Girl is a Seneca girl the same age as Molly. As her peer, Beaver Girl is the model for how a young Seneca woman should behave.

When Molly first arrives in Genesee Town, Beaver Girl’s skill at making a clay pot is a source of inspiration for her. Watching Beaver Girl work, Molly is challenged to learn the same skill, and this challenge helps pull her out of her grief. Later, Molly masters the skill; she makes clay pots alongside Beaver Girl. Molly also dresses like Beaver Girl, to her delight. The village children praise Molly’s broadcloth outfit: “Corn Tassel is dressed as fine as Beaver Girl!” (402).  

Although Beaver Girl acts as a type of measuring stick for how far Molly has come in her own role in the community, there is no evidence that there is competition between the two. In fact, Beaver Girl loves Molly. When they are traveling to the sugar camp, Molly is distracted by thoughts of Josiah leaving. Beaver Girl tries to walk alongside Molly, but Molly does not notice her; Molly is so preoccupied with the friend she might lose that she does not see the offer of loyal friendship in front of her.

Later, when Molly spills sap and tries to run away, Beaver Girl begs her to stay: “If you go back to the white people, I shall never be happy again. I will have no one to talk to, no one to work with, no friend to love. Stay with me, Corn Tassel, and be my friend” (377). Unlike the case of Josiah, who is content to leave Molly behind, Molly’s presence is important to Beaver Girl. 

Captain Morgan is the English officer who presents Molly with the opportunity to leave the Senecas. During his visits to Genesee Town, Captain Morgan brings news of the outside world, developing the historical context of the novel and signaling the advance of the English.

While part of Molly is drawn to Captain Morgan—she is particularly spellbound when he prompts her to recite the Lord’s Prayer in English—Molly also withdraws from him. After their first meeting, she is secretly relieved when Squirrel Woman ushers her away. When Captain Morgan later argues the reasons that Molly should return to Fort Niagara with him, and Molly is free to make her own decision, Molly compares her discomfort with Captain Morgan to the comfort she feels with the Senecas. She sees that “his lips were smiling, but his eyes of cold gray were hard” (462). Compared to Shagbark, Captain Morgan “would never, never understand” Molly (462). 

Chief Burning Sky is the Seneca leader of Genesee Town. He is a formal, authoritative figure who is treated by others with respect. Chief Burning Sky is portrayed as wise, and in many ways he is a voice for the perspective of Indigenous North Americans.

While many in the tribe are enamored with European goods, Chief Burning Sky expresses concern about the rapid changes taking place. Chief Burning Sky delivers important speeches in the book, particularly the speeches in the last chapter, when he reflects on Molly’s time with the Senecas and the relationships she has built. When Captain Morgan first wants to buy Molly, Chief Burning Sky demonstrates his integrity when he refuses. He is adamant that Molly is a member of the Senecas but later allows her the freedom to make her own decision. When Chief Burning Sky gives Molly her new name—Little-Woman-of-Great-Courage—his naming carries authority, and as the leader of the tribe, he cements her place in the community.