THE OJIBWA. (continued 3)

Tē´-ti-wâ´-tshi-wi-mō´ a-ni´-me-ga´-si. (As sung.) Tē´-ti-wâ´-tshŏ-tâg´ ni-mī´-gĭ-sĭm. He will tell you (—inform you) [of] my migis. tē´-ti-wa´-tshĭ-mo-ta´ âg. He it is who will tell you. [The reference is to a superior spirit as indicated by the presence of horns, and the zigzag line upon the breast. The words signify that Ki´tshi Man´idō will make known to the candidate the presence within his body of the mī´gis, when the proper time arrives.]

Rest, or pause, in the song.

During this interval another smoke offering is made, in which the Midē´ priest is joined by the candidate.

Hĭu´-a-me´-da-ma´ ki´-a-wēn´-da-mag man´-i-dō´-wĭt hĭu´-a-wen´-da-mag. (As sung.) Ki-wĭn´-da-mag´-ū-nan man´-i-dō´-wid. He tells us he is [one] of the man´idōs. [This ma´nidō is the same as that referred to in the above-named phrase. This form is different, the four spots denoting the four sacred mī´gis points upon his body, the short radiating lines referring to the abundance of magic powers with which it is filled.]

Wa´-sa-wa´-dī, hē´, wen´-da-na-ma´, mĭ-tē´-wiⁿ. (As sung.) Wa´-sa-wa´-dŭn´-da-na-ma´ I get it from afar mi-dē´-wi-wĭn´. The “grand medicine.” [The character represents a leg, with a magic line drawn across the middle, to signify that the distance is accomplished only through the medium of supernatural powers. The place “from afar” refers to the abode of Ki´tshi Man´idō.]

Ki-go´-na-bi-hiⁿ ē´-ni-na mi-tē´. (As sung.) Kiⁿ-do´-na-bī-in´ mi-dē´-wi-wĭn-ni-ni´ I place you there “in the grand medicine” (among the “Midē´ people”) a-bit´-da-win´. Half way (in the Midē´wigân). [The Midē´ priest informs the candidate that the second initiation will advance the candidate half way into the secrets of the Midē´wigân. The candidate is then placed so that his body will have more magic influence and power as indicated by the zigzag lines radiating from it toward the sky.]

Hi´-sha-we-ne´-me-go´, hē´, nē´. Ni-go´-tshi-mi, hē´. (As sung.) Ni´-sha-we´-ni-mi-go´ ĕ´-ne-mâ´-bi-dzhĭk. They have pity on me those who are sitting here. [This request is made to the invisible man´idōs who congregate in the Mide´wigân during the ceremonies, and the statement implies that they approve of the candidate’s advancement.]

Another smoke offering is made upon the completion of this song, after which both individuals retire to their respective habitations. Upon the following day, that being the one immediately preceding the day of ceremony, the candidate again repairs to the sudatory to take a last vapor bath, after the completion of which he awaits the coming of his preceptor for final conversation and communion with man´idōs respecting the step he is prepared to take upon the morrow.

The preceptor’s visit is merely for the purpose of singing to the candidate, and impressing him with the importance of the rites of the Midē´wigân. After making the usual offering of tobacco smoke the preceptor becomes inspired and sings a song, the following being a reproduction of the one employed by him at this stage of the preparatory instruction. (See Pl. XIII, B.)

Plate XIII.b. Mnemonic Song.

Man´-i-dō´, hē´, nē, man´-i-dō´, hē´, nē´. Spirit, spirit, Ni´-man-i-dō´ win´-da-bi-an´. I am a spirit (is) the reason why I am here. [The zigzag lines extending downward and outward from the mouth indicate singing. He has reached the power of a man´idō, and is therefore empowered to sit within the sacred inclosure of the Midē´wigân, to which he alludes.]

Da´-bī-wā-ni´, ha´, hē´, Aⁿ´-nĭn, e-kō´-wē-an´. Drifting snow, why do I sing. [The first line is sung, but no interpretation of the words could be obtained, and it was alleged that the second line contained the idea to be expressed. The horizontal curve denotes the sky, the vertical zigzag lines indicating falling snow—though being exactly like the lines employed to denote rain. The drifting snow is likened to a shower of delicate mī´gis shells or spots, and inquiry is made of it to account for the feeling of inspiration experienced by the singer, as this shower of mī´gis descends from the abode of Ki´tshi Man´idō and is therefore, in this instance, looked upon as sacred.]

Rest, or pause.

Gi-man´-i-dō´-wē, ni´-me-ne´-ki-nan´ wan-da. Gi´-a-wĭngk, gi-man´-i-dō´-a-ni-min´, Your body, I believe it is a spirit. Gi-a-wĭngk. your body. [The first line is sung, but the last word could not be satisfactorily explained. The first word, as now pronounced, is Ki´tshi Man´idō, and the song is addressed to him. The curved line, from which the arm protrudes, is the Midē´wigân and the arm itself is that of the speaker in the attitude of adoration: reaching upward in worship and supplication.]

Pi-nē´-si ne´-pi-mi´-a niⁿ´-ge-gē´-kwe-aⁿ The bird as I promise the falcon mi-we´-tshi-man´-i-dō´-wid. the reason he is a spirit. [The second word is of archaic form and no agreement concerning its correct signification could be reached by the Midē´. The meaning of the phrase appears to be that Ki´tshi Man´idō promised to create the Thunder-bird, one of the man´idōs. The falcon is here taken as a representative of that deity, the entire group of Thunderers being termed a-ni´-mi-ki´.]

Zhīn´-gwe mi´-shi-ma-kwa´ Makes a great noise the bear. weⁿ´-dzhi-wa-ba-mok-kwēd´ kŭn-nēt´. the reason I am of flame. [The character of the bear represents the great bear spirit of the malevolent type, a band about his body indicating his spirit form. By means of his power and influence the singer has become endowed with the ability of changing his form into that of the bear, and in this guise accomplishing good or evil. The reference to flame (fire) denotes the class of conjurers or Shamans to which this power is granted, i.e., the Wâbĕnō´, and in the second degree this power is reached as will be referred to further on.]

Ni´-a-wen´-din-da-sa´, ha´, sa´, man´-i-dō´-wid. Gi´-a-wĭngk in´-do-sa man´-i-dō´-wid. In your body I put it the spirit. [The first line is sung, and is not of the modern style of spoken language. The second line signifies that the arm of Ki´tshi Man´idō, through the intermediary of the Midē´ priest, will put the spirit, i.e., the mī´gis, into the body of the candidate.]

The singer accompanies his song either by using a short baton of wood, termed “singing stick” or the Midē´ drum. After the song is completed another present of tobacco is given to the preceptor, and after making an offering of smoke both persons return to their respective wig´iwams. Later in the evening the preceptor calls upon the candidate, when both, with the assistance of friends, carry the presents to the Midē´wigân, where they are suspended from the rafters,

INITIATION OF CANDIDATE.

The candidate proceeds early on the morning of the day of initiation to take possession of the sweat-lodge, where he awaits the coming of his preceptor and the eight officiating priests. He has an abundance of tobacco with which to supply all the active participants, so that they may appease any feeling of opposition of the man´idōs toward the admission of a new candidate, and to make offerings of tobacco to the guardian spirit of the second degree of the Midē´wiwin. After the usual ceremony of smoking individual songs are indulged in by the Midē´ priests until such time as they may deem it necessary to proceed to the Midē´wigân, where the members of the society have long since gathered and around which is scattered the usual crowd of spectators. The candidate leads the procession from the sweat-lodge to the eastern entrance of the Midē´wigân, carrying an ample supply of tobacco and followed by the priests who chant. When the head of the procession arrives at the door of the sacred inclosure a halt is made, the priests going forward and entering. The drummer, stationed within, begins to drum and sing, while the preceptor and chief officiating priest continue their line of march around the inclosure, going by way of the south or left hand. Eight circuits are made, the last terminating at the main or eastern entrance. The drumming then ceases and the candidate is taken to the inner side of the door, when all the members rise and stand in their places. The officiating priests approach and stand near the middle of the inclosure, facing the candidate, when one of them says to the Midē´ priest beside the latter: O-da´-pin a-sē´-ma—“Take it, the tobacco,” whereupon the Midē´ spoken to relieves the candidate of the tobacco and carries it to the middle of the inclosure, where it is laid upon a blanket spread upon the ground. The preceptor then takes from the cross-poles some of the blankets or robes and gives them to the candidate to hold. One of the malevolent spirits which oppose the entrance of a stranger is still supposed to remain with the Midē´wigân, its body being that of a serpent, like flames of fire, reaching from the earth to the sky. He is called I´-shi-ga-nē´-bĭ-gŏg—“Big-Snake.” To appease his anger the candidate must make a present; so the preceptor says for the candidate:

Ka-wī´ⁿ-nĭ-na-ga´ wa´-ba-ma´-si-ba´-shĭ-gi´-ne-gēt´?

Do you not see how he carries the goods?

This being assented to by the Midē´ priests the preceptor takes the blankets and deposits them near the tobacco upon the ground. Slight taps upon the Midē´ drum are heard and the candidate is led Pl. XIII, C). A song is part of the ritual, though it is not necessary that the candidate should sing it, as the preceptor may do so for him. In the instance under my observation the song was an old one (which had been taught the candidate), as the archaic form of pronunciation indicates. Each of the lines is repeated as often as the singer may desire, the prolongation of the song being governed by his inspired condition. The same peculiarity governs the insertion, between words and at the end of lines, of apparently meaningless vowel sounds, to reproduce and prolong the last notes sounded. This may be done ad libitum, rythmical accentuation being maintained by gently tapping upon the Midē´ drum.

Plate XIII.c. Mnemonic Song.

Hĭa´-ni-de hĕn´-da man´-i-dō, hō´, ni´-sha-bon´-de man´-i-dō´-en-dât. Where is the spirit lodge? I go through it. [The oblong structure represents the Midē´wigân, the arm upon the left indicating the course of the path leading through it, the latter being shown by a zigzag line.]

Nin-gō´-sa mĭ-dē´-kwe ni-ka´ na´-ska-wa´. I am afraid of the “grand medicine” woman; I go to her. A leg is shown to signify locomotion. The singer fears the opposition of a Midē´ priestess and will conciliate her.

Ka-ni-sa´ hi´-a-tshi´-mĭn-dē´ man´-ski-kī´, dē´, hē´, hē´. Kinsmen who speak of me, they see the striped sky. A person of superior power, as designated by the horns attached to the head. The lines from the mouth signify voice or speech, while the horizontal lines denote the stratus clouds, the height above the earth of which illustrates the direction of the abode of the spirit whose conversation, referring to the singer, is observed crossing them as short vertical zigzag lines; i.e., voice lines.

Ke´-na-nan´-do-mē´ ko-nō´-ne-nak ka-ne-hē´ nin-ko´-tshi nan´-no-me´. The cloud looks to me for medicine. [The speaker has become so endowed with the power of magic influence that he has preference with the superior Man´idōs. The magic influence is shown descending to the hand which reaches beyond the cloud indicated by the oblong square upon the forearm.]

Rest, after which dancing begins.

Wa-tshu´-a-nē´ ke´-ba-bing´-e-on´, wa-dzhū. Going into the mountains. The singer’s thoughts go to the summit to commune with Ki´tshi Man´idō. He is shown upon the summit.

Hi´-mĕ-de´-wa hen´-dĕ-a he´-na. The grand medicine affects me. In his condition he appeals to Ki´tshi Man´idō for aid. The arms represent the act of supplication.

Hai´-an-go ho´-ya o´-gĕ-ma, ha´. The chief goes out. The arms grasp a bear—the Bear Man´idō—and the singer intimates that he desires the aid of that powerful spirit, who is one of the guardians of the Midē´wigân.

Nish´-o-wē´ ni-mē´-hi-gō´, hē´, ni-gō´-tshi-mi´-go-we, hē´. Have pity on me wherever I have medicine. The speaker is filled with magic influence, upon the strength of which he asks the Bear to pity and to aid him.

Wi´-so-mi´-ko-wē´ hĕ-a-za-we´-ne-ne-gō´, hō´. I am the beaver; have pity on me. This is said to indicate that the original maker of the mnemonic song was of the Beaver totem or gens.

Hēn´-ta-no-wik´-ko-we´ de-wĕn´-da ĕn-da-â´-dân. I wish to know what is the matter with me. The singer feels peculiarly impressed by his surroundings in the Midē´wigân, because the sacred man´idōs have filled his body with magic powers. These are shown by the zigzag or waving lines descending to the earth.

As each of the preceding lines or verses is sung in such a protracted manner as to appear like a distinct song, the dancers, during the intervals of rest, always retire to their places and sit down.

As the dancing ceases, and all are in their proper seats, the preceptor, acting for the candidate, approaches the pile of tobacco and distributes a small quantity to each one present, when smoking is indulged in, preceded by the usual offering to the east, the south, the west, the north, the sky and the earth.

After the completion of this ceremonial an attendant carries the Midē´ drum to the southeast angle of the inclosure, where it is delivered to the drummer; then the officiating priests rise and approach within two or three paces of the candidate as he gets upon his knees. The preceptor and the assistant who is called upon by him take their places immediately behind and to either side of the candidate, and the Midē´ priest lowest in order of precedence begins to utter quick, deep tones, resembling the sound hŏ´, hŏ´, hŏ´, hŏ´, hŏ´, at the same time grasping his midē´ sack with both hands, as if it were a gun, and moving it in a serpentine and interrupted manner toward one of the large joints of the candidate’s arms or legs. At the last utterance of this sound he produces a quick puff with the breath and thrusts the bag forward as if shooting, which he pretends to do, the missile being supposed to be the invisible sacred mī´gis. The other priests follow in order from the lowest to the highest, each selecting a different joint, during which ordeal the candidate trembles more and more violently until at last he is overcome with the magic influence and falls forward upon the ground unconscious. The Midē´ priests then lay their sacks upon his back, when the candidate begins to recover and spit out the mī´gis shell which he had previously hidden within his mouth. Then the chief Midē´ takes it up between the tips of the forefinger and thumb and goes through the ceremony described in connection with the initiation into the first degree, of holding it toward the east, south, west, north, and the sky, and finally to the mouth of the candidate, when the latter, who has partly recovered from his apparently insensible condition, again relapses into that state. The eight priests then place their sacks to the respective joints at which they previously directed them, which fully infuses the body with the magic influence as desired. Upon this the candidate recovers, takes up the mī´gis shell and, placing it upon his left palm, holds it forward and swings it from side to side, saying he!

Mi-gwĕtsh´ ga-shi-tō´-win bi-mâ´-dĭ-si-wĭn,

Thanks for giving to me life,

after which he retreats a step, and clasping his hands and bowing toward the priest, says:

Ni-ka´-ni ni-ka´ni ni-ka´-ni ka-nia´,

fellow midē´ fellow midē´ fellow midē´,

to which each responds hau´, ēⁿ. The word hau´ is a term of approbation, ēⁿ signifying yes, or affirmation, the two thus used together serving to intensify the expression. Those of the Midē´ present who are of the second, or even some higher degree, then indulge in the ceremony of passing around to the eastern part of the inclosure, where they feign coughing and gagging, so as to produce from the mouth the mī´gis shell, as already narrated in connection with the first degree, p. 192.

This manner of thanking the officiating Midē´ for their services in initiating the candidate into a higher degree is extended also to those members of the Midē´wiwin who are of the first degree only, in acknowledgment of the favor of their presence at the ceremony, they being eligible to attend ceremonial rites of any degree higher than the class to which they belong, because such men are neither benefited nor influenced in any way by merely witnessing such initiation, but they must themselves take the principal part in it to receive the favor of a renewed life and to become possessed of higher power and increased magic influence.

Various members of the society indulge in short harangues, recounting personal exploits in the performance of magic and exorcism, to which the auditors respond in terms of gratification and exclamations of approval. During these recitals the ushers, appointed for the purpose, leave the inclosure by the western door to return in a short time with kettles of food prepared for the midē´ feast. The ushers make four circuits of the interior, giving to each person present a quantity of the contents of the several vessels, so that all receive sufficient to gratify their desires. When the last of the food has been consumed, or removed, the midē´ drum is heard, and soon a song is started, in which all who desire join. After the first two or three verses of the song are recited, a short interval of

The ushers, assisted by the chief Midē´, then remove the sacred post from the inclosure and arrange the interior for new initiations, either of a lower or higher class, if candidates have prepared and presented themselves. In case there is no further need of meeting again at once, the members of the society and visitors return upon the following day to their respective homes.

DESCRIPTIVE NOTES.

The mī´gis shell employed in the second degree initiation is of the same species as those before mentioned. At White Earth, however, some of the priests claim an additional shell as characteristic of this advanced degree, and insist that this should be as nearly round as possible, having a perforation through it by which it may be secured with a strand or sinew. In the absence of a rounded white shell a bead may be used as a substitute. On Pl. XI, No. 4, is presented an illustration of the bead (the second-degree mī´gis) presented to me on the occasion of my initiation.

With reference to the style of facial decoration resorted to in this degree nearly all of the members now paint the face according to their own individual tastes, though a few old men still adhere to the traditional method previously described (pp. 180, 181). The candidate usually adopts the style practiced by his preceptor, to which he is officially entitled; but if the preceptor employed in the preparatory instruction for the second degree be not the same individual whose services were retained for the first time, then the candidate has the privilege of painting his face according to the style of the preceding degree. If he follow his last preceptor it is regarded as an exceptional token of respect, and the student is not expected to follow the method in his further advancement.

A Midē´ of the second degree is also governed by his tutelary daimon; e.g., if during the first fast and vision he saw a bear, he now prepares a necklace of bear-claws, which is worn about the neck and crosses the middle of the breast. He now has the power of changing his form into that of a bear; and during that term of his disguise he wreaks vengeance upon his detractors and upon victims for whose destruction he has been liberally rewarded. Immediately upon the accomplishment of such an act he resumes his human form and thus escapes identification and detection. Such persons are termed by many “bad medicine men,” and the practice of thus debasing the sacred teachings of the Midē´wiwin is discountenanced by members of the society generally. Such pretensions are firmly believed in

In his history15 Rev. Mr. Jones says:

As the powwows always unite witchcraft with the application of their medicines I shall here give a short account of this curious art.

Witches and wizards are persons supposed to possess the agency of familiar spirits from whom they receive power to inflict diseases on their enemies, prevent good luck of the hunter and the success of the warrior. They are believed to fly invisibly at pleasure from place to place; to turn themselves into bears, wolves, foxes, owls, bats, and snakes. Such metamorphoses they pretend to accomplish by putting on the skins of these animals, at the same time crying and howling in imitation of the creature they wish to represent. Several of our people have informed me that they have seen and heard witches in the shape of these animals, especially the bear and the fox. They say that when a witch in the shape of a bear is being chased all at once she will run round a tree or a hill, so as to be lost sight of for a time by her pursuers, and then, instead of seeing a bear they behold an old woman walking quietly along or digging up roots, and looking as innocent as a lamb. The fox witches are known by the flame of fire which proceeds out of their mouths every time they bark.

Many receive the name of witches without making any pretensions to the art, merely because they are deformed or ill-looking. Persons esteemed witches or wizards are generally eccentric characters, remarkably wicked, of a ragged appearance and forbidding countenance. The way in which they are made is either by direct communication with the familiar spirit during the days of their fasting, or by being instructed by those skilled in the art.

A Midē´ of the second degree has the reputation of superior powers on account of having had the mī´gis placed upon all of his joints, and especially because his heart is filled with magic power, as is shown in Pl. III, No. 48. In this drawing the disk upon the breast denotes where the mī´gis has been “shot” into the figure, the enlarged size of the circle signifying “greater abundance,” in contradistinction to the common designation of a mī´gis shown only by a simple spot or small point. One of this class is enabled to hear and see what is transpiring at a remote distance, the lines from the hands indicating that he is enabled to grasp objects which are beyond the reach of a common person, and the lines extending from the feet signifying that he can traverse space and transport himself to the most distant points. Therefore he is sought after by hunters for aid in the discovery and capture of game, for success in war, and for the destruction of enemies, however remote may be their residence.

When an enemy or a rival is to be dealt with a course is pursued similar to that followed when preparing hunting charts, though more powerful magic medicines are used. In the following description of a pictograph recording such an occurrence the Midē´, or rather the Wâbĕnō´, was of the fourth degree of the Midē´wiwin. The indication of the grade of the operator is not a necessary part of the record, but in this instance appears to have been prompted Fig. 24 is a reproduction, was drawn upon birch-bark by a Midē´, in 1884, and the ceremony detailed actually occurred at White Earth, Minnesota. By a strange coincidence the person against whom vengeance was aimed died of pneumonia the following spring, the disease having resulted from cold contracted during the preceding winter. The victim resided at a camp more than a hundred miles east of the locality above named, and his death was attributed to the Midē´’s power, a reputation naturally procuring for him many new adherents and disciples. The following is the explanation as furnished by a Midē´ familiar with the circumstances:

Fig. 24.—Midē´ destroying an enemy.

No. 1 is the author of the chart, a Midē´ who was called upon to take the life of a man living at a distant camp. The line extending from the midē´ to the figure at No. 9, signifies that his influence will reach to that distance.

No. 2, the applicant for assistance.

Nos. 3, 4, 5, and 6, represent the four degrees of the Midē´wiwin (of which the operator, in this instance, was a member). The degrees are furthermore specifically designated by short vertical strokes.

No. 7 is the midē´ drum used during the ceremony of preparing the charm.

No. 8 represents the body of the intended victim. The heart is indicated, and upon this spot was rubbed a small quantity of vermilion.

No. 9 is the outline of a lake, where the subject operated upon resided.

War parties are not formed at this time, but mnemonic charts of songs used by priests to encourage war parties, are still extant, and a reproduction of one is given on Pl. XIII, D. This song was used by the Midē´ priest to insure success to the parties. The members who intended participating in the exhibition would meet on the evening preceding their departure, and while listening to the words, some would join in the singing while others would dance. The lines may be repeated ad libitum so as to lengthen the entire series of phrases according to the prevalent enthusiasm and the time at the disposal of the performers. The war drum was used, and there were always five or six drummers so as to produce sufficient noise to accord with the loud and animated singing of a large body of excited men. This drum is, in size, like that employed for dancing. It is made by covering with rawhide an old kettle, or wooden vessel, from 2 to 3 feet in diameter. The drum is then attached to four sticks, or short posts, so as to prevent its touching the ground, thus affording every advantage for producing full and resonant sounds, when struck. The drumsticks are strong withes, at the end of each of which is fastened a ball of buckskin thongs. The following lines are repeated ad libitum:

Plate XIII.d. Mnemonic Song.

Hu´-na-wa´-na ha´-wā, un-do´-dzhe-na´ ha-we´-nĕ. I am looking [feeling] for my paint. [The Midē’s hands are at his medicine sack searching for his war paint.]

Hĭa´-dzhi-mĭn-de´ non´-da-kō´, hō´, They hear me speak of legs. Refers to speed in the expedition. To the left of the leg is the arm of a spirit, which is supposed to infuse magic influence so as to give speed and strength.

Hu´-wa-ke´, na´, ha´, He said, The Turtle Man´idō will lend his aid in speed. The turtle was one of the swiftest man´idōs, until through some misconduct, Min´abō´zho deprived him of his speed.

Wa´-tshe, ha´, hwē, wa´-ka-te´, hē´, wa´-tshe, ha´, hwē´. Powder, he said. [The modern form of Wa´-ka-te´, he´, hwā´, is ma´-ka-dē´-hwa; other archaic words occur also in other portions of this song. The phrase signifies that the Midē´ Man´idō favors good results from the use of powder. His form projects from the top of the Midē´ structure.]

Rest. A smoke is indulged in after which the song is resumed, accompanied with dancing.

Sin-go´-na wa-kī´ na-ha´-ka I made him cry. The figure is that of a turkey buzzard which the speaker shot.

Te-wa´-tshi-me-kwe´-na, ha´, na-ke´-nan. They tell of my powers. The people speak highly of the singer’s magic powers; a charmed arrow is shown which terminates above with feather-web ornament, enlarged to signify its greater power.

He´-wĕ-ne-nis´-sa ma-he´-ka-nĕn´-na. What have I killed, it is a wolf. By aid of his magic influence the speaker has destroyed a bad man´idō which had assumed the form of a wolf.

Sun´-gu-we´-wa, ha´, nīn-dēn´, tshi´-man-da´-kwa ha´na-nĭn-dēn´. I am as strong as the bear. The Midē´ likens his powers to those of the Bear Man´idō, one of the most powerful spirits; his figure protrudes from the top of the Midē´wigân while his spirit form is indicated by the short lines upon the back.

Wa´-ka-na´-ni, hē´, wa´-ka-na´-ni. I wish to smoke. The pipe used is that furnished by the promoter or originator of the war party, termed a “partisan.” The Midē´ is in full accord with the work undertaken and desires to join, signifying his wish by desiring to smoke with the braves.

He´-wa-hō´-a hai´-a-nē´ I even use a wooden image. Effigies made to represent one who is to be destroyed. The heart is punctured, vermilion or other magic powder is applied, and the death of the victim is encompassed.

Pa-kwa´ ma-ko-nē´ ā´, ō´, hē´, ōsh-ke´-na-ko-nē´-a. The bear goes round angry. [The Bear Man´idō is angry because the braves are dilatory in going to war. The sooner they decide upon this course, the better it will be for the Midē´ as to his fee, and the chances of success are greater while the braves are infused with enthusiasm, than if they should become sluggish and their ardor become subdued.]

THIRD DEGREE.

Fig. 25.—Diagram of Midē´wigân of the third degree.

The structure in which the third degree of the Midē´wiwin is conferred resembles that of the two preceding, and an outline is presented in Fig. 25. In this degree three posts are erected, the first one resembling that of the first degree, being painted red with a band of green around the top. (Pl. XV, No. 1.) This is planted a short distance to the east of the middle of the floor. The second post is also painted red, but has scattered over its entire surface spots of white clay, each of about the size of a silver quarter of a dollar, symbolical of the mī´gis shell. Upon the top of this post is placed the stuffed body of an owl—Kŏ-kó-kŏ-ō´. (Pl. XV, No. 2.) This post is planted a short distance west of the first one and about midway between it and the third, which last is erected within about 6 or 8 feet from the western door, and is painted black. (Pl. XV, No. 3.) The sacred stone against which patients are placed, and which has the alleged virtue of removing or expelling the demons that cause disease, is placed upon the ground at the usual spot near the eastern entrance (Fig. 25, No. 1). The Makwá Man´idō—bear spirit—is the tutelary guardian of this degree. Cedar trees are planted at each of the outer angles of the structure (Fig. 25, Nos. 6, 7, 8, 9). The sudatory is erected about 100 yards due east of the main entrance of the Midē´wigân, and is of the same size and for the same purpose as that for the second degree.

Plate XV. Sacred Posts Of Midē´wigân.

PREPARATION OF CANDIDATE.

It is customary for the period of one year to elapse before a second-degree Midē´ can be promoted, even if he be provided with enough presents for such advancement. As the exacted fee consists of goods and tobacco thrice the value of the fee for the first degree, few present themselves. This degree is not held in as high estimation, relatively, as the preceding one; but it is alleged that a Midē´’s powers are intensified by again subjecting himself to the ceremony of being “shot with the sacred mī´gis,” and he is also elevated to that rank by means of which he may be enabled the better to invoke the assistance of the tutelary guardian of this degree.

A Midē´ who has in all respects complied with the preliminaries of announcing to the chief Midē´ his purpose, gaining satisfactory evidence of his resources and ability to present the necessary presents, and of his proficiency in the practice of medical magic, etc., selects a preceptor of at least the third degree and one who is held in high repute and influence in the Midē´wiwin. After procuring the services of such a person and making a satisfactory agreement with him, he may be enabled to purchase from him some special formulæ for which he is distinguished. The instruction embraces a résumé of the traditions previously given, the various uses and properties of magic plants and compounds with which the preceptor is familiar, and conversations relative to exploits performed in medication, incantation, and exorcism. Sometimes the candidate is enabled to acquire new “medicines” to add to his list, and the following is a translation of the tradition relating to the origin of ginseng (Aralia quinquefolia, Gr.), the so-called “man root,” held in high estimation as of divine origin. In Fig. 3 is presented a pictorial representation of the story, made by Ojibwa, a Midē´ priest of White Earth, Minnesota. The tradition purports to be an account of a visit of the spirit of a boy to the abode of Dzhibai´Man´idō, “the chief spirit of the place of souls,” called Ne´-ba-gi´-zis, “the land of the sleeping sun.”

Fig. 3.—Origin of Ginseng.

Larger Figure

There appears to be some similarity between this tradition and that given in connection with Pl. V, in which the Sun Spirit restored to life a boy, by which act he exemplified a portion of the ritual of the Midē´wiwin. It is probable therefore that the following tradition is a corruption of the former and made to account for the origin of “man root,” as ginseng is designated, this root, or certain portions of it, being so extensively employed in various painful complaints.

Once an old Midē´, with his wife and son, started out on a hunting trip, and, as the autumn was changing into winter, the three erected a substantial wig´iwam. The snow began to fall and the cold increased, so they decided to remain and eat of their stores, game having been abundant and a good supply having been procured.

When the woman informed her father of the death of her son, her brother, who was present, immediately set out in advance to render assistance. The chief priest then summoned three assistant Midē´, and they accompanied his daughter to the place where the body of his dead grandson lay upon the floor of the wig´iwam, covered with robes.

The chief Midē´ placed himself at the left shoulder of the dead boy, the next in rank at the right, while the two other assistants stationed themselves at the feet. Then the youngest Midē´—he at the right foot of the deceased—began to chant a midē´ song, which he repeated a second, a third, and a fourth time.

When he had finished, the Midē´ at the left foot sang a midē´ song four times; then the Midē´ at the right shoulder of the body did the same, after which the chief Midē´ priest sang his song four times, whereupon there was a perceptible movement under the blanket, and as the limbs began to move the blanket was taken off, when the boy sat up. Being unable to speak, he made signs that he desired water, which was given to him.

The four Midē´ priests then chanted medicine songs, each preparing charmed remedies which were given to the boy to complete his recovery. The youngest Midē´, standing at the foot of the patient, gave him four pinches of powder, which he was made to swallow; the Midē´ at the left foot did the same; then the Midē´ at the right shoulder did likewise, and he, in turn, was followed by the chief priest standing at the left shoulder of the boy; whereupon the convalescent immediately recovered his speech and said that during the time that his body had been in a trance his spirit had been in the “spirit land,” and had learned of the “grand medicine.”

The boy then narrated what his spirit had experienced during the trance, as follows: “Gi´-gi-min´-ĕ-go´-min mi-dē´-wi-wĭn mi-dē´ man´-i-dō´ B’n-gi-gĭn´-o-a-mâk ban-dzhi´-ge´-o-we´-ân ta´-zi-ne´-zho-wak´ ni-zha´-nĕ-zak, kĭ-wi´-de-gĕt´ mi´-o-pi´-ke´-ne-bŭi´-yan ka-ki´-nĕ ka-we´-dĕ-ge´ mi´-o-wŏk-pi´ i-kan´-o-a-mag´-ĭ-na mi-dē´ man´i-dō wi-we´-ni-tshi mi-dē´-wi-wĭn, ki´-mi-mâ´-dĭ-si-win´-in-ân´ ki-mi´-nĭ-go-nan´ ge-on´-dĕ-na-mŏngk ki´-mi-mâ´-di-si´-wa-in-an´; ki´-ki-no´-a-mag´-wi-nan´ mash´-kĭ-ki o-gi´-mi-ni´-go-wan´ o-dzhi-bi´-gân gi-me´-ni-na-gŭk´ mash´-kĭ-ki-wa´-boⁿ shtĭk-wan´-a-ko-se´-an o-ma´-mâsh´-kĭ-ki ma´-gi-ga´-to ki´-ka-ya-tōn.”

The following is a translation:

“He, the chief spirit of the Midē´ Society, gave us the “grand medicine,” and he has taught us how to use it. I have come back from the spirit land. There will be twelve, all of whom will take wives; when the last of these is no longer without a wife, then will I die. That is the time. The Midē´ spirit taught us to do right. He gave us life and told us how to prolong it. These things he taught us, and gave us roots for medicine. I give to you medicine; if your head is sick, this medicine put upon it, you will put it on.”

The revelation received by the boy was in the above manner imparted to the Indians. The reference to twelve—three times the sacred number four—signifies that twelve chief priests shall succeed each other before death will come to the narrator. It is observed, also, that a number of the words are archaic, which fact appears to be an indication of some antiquity, at least, of the tradition.

The following are the principal forms in which a Midē´ will utilize Aralia quinquefolia, Gr., ginseng—Shtĕ´-na-bi-o´-dzhi-bik:

1. Small quantities of powdered root are swallowed to relieve stomachic pains.

2. A person complaining with acute pains in any specific part of the body is given that part of the root corresponding to the part affected; e.g., for pleurisy, the side of the root is cut out, and an infusion given to relieve such pains; if one has pains in the lower extremities, the bifurcations of the root are employed; should the pains be in the thorax, the upper part of the root—corresponding to the chest—is used in a similar manner.

INITIATION OF CANDIDATE.

As the candidate for promotion has acquired from his Midē´ friends such new information as they choose to impart, and from his instructor all that was practicable, he has only to await the day of ceremony to be publicly acknowledged as a third-degree Midē´. As this time approaches the invitation sticks are sent to the various members and to such non-resident Midē´ as the officiating priests may wish to honor. On or before the fifth day previous to the meeting the candidate moves to the vicinity of the Midē´wigân. On that day the first sweat bath is taken, and one also upon each succeeding day until four baths, as a ceremony of purification, have been indulged in. On the evening of the day before the meeting his preceptor visits him at his own wig´iwam when, with the assistance of friends, the presents are collected and carried to the Midē´-wigân and suspended from the transverse poles near the roof. The officiating priests may subsequently join him, when smoking and singing form the chief entertainment of the evening.

By this time numerous visitors have gathered together and are encamped throughout the adjacent timber, and the sound of the drum, where dancing is going on, may be heard far into the night.

Early on the morning of the day of the ceremonies the candidate goes to the sudatory where he first awaits the coming of his preceptor and later the arrival of the Midē´ priests by whom he is escorted to the Midē´wigân. With the assistance of the preceptor he arranges his gift of tobacco which he takes with him to the sacred inclosure, after which a smoke offering is made, and later Midē´ songs are chanted. These may be of his own composition as he has been a professor of magic a sufficient lapse of time to have composed them, but to give evidence of superior powers the chief, or some other of the officiating priests, will perhaps be sufficiently inspired to sing. The following was prepared and chanted by one of the Midē´ priests at the third-degree meeting at White Earth, Minnesota, and the illustration in Pl. XIV, A, is a reproduction of the original. The words, with translation, are as follows:

Plate XIVa. Mnemonic Song.

Ni-ka´-ni-na man´-do-na-mō´-a. My friend I am shooting into you in trying to hit the mark. [The two arms are grasping the mī´gis, which he the Midē´ is going to shoot into the body of the candidate. The last word means, literally, trying to hit the mark at random.]

Me-kwa´-me-sha-kwak´, mi-tē´-wi-da´. While it is clear let us have it, the “grand medicine.” The Midē´ arm, signified by the magic zigzag lines at the lower end of the picture, reaches up into the sky to keep it clear; the rain is descending elsewhere as indicated by the lines descending from the sky at the right and left.

Rest. During this interval a smoke offering is made.

Mi-sha´-kwi-tō-nĭ mī´-gĭs-sĭm´. As clear as the sky [is] my mī´gis. The figure represents the sacred mī´gis, as indicated by the short lines radiating from the periphery. The mī´gis is white and the clear sky is compared to it.

Sōn´-gi-mi-dē´ wi-ka´-ne, hē´, Wi-nō´-a man´-i-dō´-wi-dzhī´-id-e´-zhi-wât. Take the “grand medicine” strong, as they, together with the “Great Spirit,” tell me. [The candidate is enjoined to persevere in his purpose. The associate Midē´ are alluded to, as also Ki´tshi Man´idō, who urge his continuance and advancement in the sacred society. The arm reaches down to search for the sacred mī´gis of the fourth degree—designated by four vertical lines—which is, as yet, hidden from the person addressed.]

Hwa´-ba-mi-dē´, hwa´-ba-mi-dē´, Na´-wa-kin-tē´. He who sees me, he who sees me, stands on the middle of the earth. [The human figure symbolizes Ki´tshi Man´idō; the magic lines cross his body, while his legs rest upon the outline of the Midē´wigân. His realm, the sky, reaches from the zenith to the earth, and he beholds the Midē´ while chanting and conducting the Midē´wiwin.]

Man´-i-dō´ wi´-ka-ni´ ni-mi-dē´. To the spirit be a friend, my Midē´. The speaker enjoins the candidate to be faithful to his charge, and thus a friend to Ki´tshi Man´idō, who in return will always assist him. The figure holds a mī´gis in its right hand, and the Midē´ drum in its left.

The greater number of words in the preceding text are of an archaic form, and are presented as they were chanted. The several lines may be repeated ad libitum to accord with the feeling of inspiration which the singer experiences, or the amount of interest manifested by his hearers.

All the members of the society not officially inducting the candidate have ere this entered the Midē´wigân and deposited their invitation sticks near the sacred stone, or, in the event of their inability

The drummers, who are seated in the southwestern angle of the inclosure, begin to drum and sing, while the candidate is led slowly around the exterior, going by the south, thus following the course of the sun. Upon the completion of the fourth circuit he is halted directly opposite the main entrance, to which his attention is then directed. The drumming and singing cease; the candidate beholds two Midē´ near the outer entrance and either side of it. These Midē´ represent two malevolent man´idō and guard the door against the entrance of those not duly prepared. The one upon the northern side of the entrance then addresses his companion in the following words: I´-ku-tan ka´-wi-nad´-gĭ wa´-na-mâ´-sĭ ē´-zhĭ-gĭ´-nĭ-gĕd—“Do you not see how he is formed?” To which the other responds: O-da´-pĭ-nŏ´ ke´-no-wĭn-dŭng shkwan´-dĭm—“Take care of it, the door;” [i.e., guard the entrance.] The former then again speaks to his companion, and says: Ka-wīn´-nĭ-na-ga´ wâ´-ba-ma´-si-ba´-shĭ-gi´-ne-gēt´—“Do you not see how he carries the goods?” The Midē´ spoken to assents to this, when the preceptor takes several pieces of tobacco which he presents to the two guards, whereupon they permit the candidate to advance to the inner entrance, where he is again stopped by two other guardian man´idō, who turn upon him as if to inquire the reason of his intrusion. The candidate then holds out two parcels of tobacco and says to them: O-da´-pin a-sē´-ma—“Take it, the tobacco,” whereupon they receive the gift and stand aside, saying: Kun´-da-dan—“Go down;” [i.e., enter and follow the path.] As the candidate is taken a few steps forward and toward the sacred stone, four of the eight officiating priests receive him, one replacing the preceptor who goes to the extreme western end there to stand and face the east, where another joins him, while the remaining two place themselves side by side so as to face the west.

It is believed that there are five powerful man´idōs who abide within the third-degree Midē´wigân, one of whom is the Midē´ man´idō—Ki´tshi Man´idō—one being present at the sacred stone, the second at that part of the ground between the sacred stone and the first part where the gifts are deposited, the remaining three at the three degree posts.

As the candidate starts and continues upon his walk around the interior of the inclosure the musicians begin to sing and drum, while all those remaining are led toward the left, and when opposite the

Mĭs-sa´-a-shi´-gwa wi-kan´-da´-we-an´, mĭs-sa´-a-shi´-gwa

Now is the time [I am] telling [—advising,] now is the time

wī´-di-wa´-mŏk wi-un´-o-bē-ŏg.

to be observed [I am] ready to make him sit down.

Then one of the Midē´ priests standing beside the candidate leads him to the spot between the sacred stone and the first-degree post where the blankets and other goods have been deposited, and here he is seated. This priest then walks slowly around him singing in a tremulous manner wa´, hĕ´, hĕ´, hĕ´, hĕ´, hĕ´, hĕ´, hĕ´, returning to a position so as to face him, when he addresses him as follows: Mĭs-sa´-a-shi´-gwa pŏ´-gŭ-sĕ-ni´mi-nan´ au´-u-sa´ za-a´-da-win´ man´-i-dō mī´-gis. Na´-pish-gatsh di-mâ´-gĭ-sĭ ĕ-nĕ´-nĭ-mi-an pi´-sha-gâ-an-da-i´ na´-pish-gatsh tshi-skwa´-di-na-wâd´ dzhi-ma´-dzhi-a-ka´-ma-da-mân bi-mâ´-dĭs-si´-an.

The following is a free translation:

The time has arrived for you to ask of the Great Spirit this “reverence” i.e., the sanctity of this degree. I am interceding in your behalf, but you think my powers are feeble; I am asking him to confer upon you the sacred powers. He may cause many to die, but I shall henceforth watch your course of success in life, and learn if he will heed your prayers and recognize your magic power.

At the conclusion of these remarks three others of the officiating Midē´ advance and seat themselves, with their chief, before the candidate. The Midē´ drum is handed to the chief priest, and after a short prelude of drumming he becomes more and more inspired, and sings the following Midē´ song, represented pictorially, also on Pl. XIV, B.

Plate XIV.b. Mnemonic Song.

Man´-i-dō´ we-da´, man´-i-dō´ gi-dō´ we-do´-nĭng. Let us be a spirit, let the spirit come from the mouth. The head is said to signify that of a Midē´, who is about to sing.

Nin´-de-wen´-don zha´-bon-dĕsh´-kâⁿ-mân´. I own this lodge, through which I pass. The speaker claims that he has been received into the degree of the Midē´wiwin to which he refers. The objects on the outer side of the oblong square character represent spirits, those of the bear.

Ân´-dzhe-ho ĭ´-a-ni´ o-gēn´, hwe´-ō-ke´, hwe´-ō-ke´. Mother is having it over again. The reference is to the earth, as having the ceremony of the “grand medicine” again.

Ni´-ka-nan ni´-go-sân, ni´-go-sân´ ni-ka´-ni-san´, man´-i-dō´ wi-dzhig´ nin-go-sân´ an-i-wa´-bi-dzhig ni-ka´. Friends I am afraid, I am afraid, friends, of the spirits sitting around me. [The speaker reaches his hand toward the sky, i.e., places his faith in Ki´tshi Man´idō who abides above.]

Ya´-ki-no´-sha-me´-wa, ya´-ki-no´-sha-me´-wa, ya-ki-no-si-ka-ne, ya-ki-no-si-ka-ne, hē´, ki´-no-sha´-we-wa´. I am going, with medicine bag, to the lodge. [The object represents an otter skin Midē´ sack, the property of the speaker.]

Ya´-be-kai´-a-bi, ya´-be-kai´-a-bi, hē´-ā´, hē´-ā´, ya´-be-kai´-a-bi, ya´-be-kai´-a-bi, hē´-ā´, hē´ā´, wa´-na-he´-ni´-o-ni´, ya´-be-kai´-o-bik´. We are still sitting in a circle. [A Midē´ sitting within the Midē´wigân; the circle is shown.]

A-ya´-a-bi-ta´ pa´-ke-zhĭk´, ū´, hū´, a´, Half the sky The hand is shown reaching toward the sky, imploring the assistance of Ki´tshi Man´idō that the candidate may receive advancement in power. He has only two degrees, one-half of the number desired.

Ba´-be-ke´ o´-gi-mân nish´-a-we, hē´, ne´-me-ke-hē´, nish´-a-we´-ni-mĭk o´-gi-mân. The spirit has pity on me now, [The “Great Spirit” is descending upon the Midē´wigân, to be present during the ceremony.]

Nin-dai´-a, nin-dai´-a, ha´, we´-ki-ma´, ha´, wâ-no-kwe´. In my heart, in my heart, I have the spirit. [The hand is holding the mī´gis, to which reference is made.]

I-ke´-u-ha´-ma man-ta-na´-ki-na ni-ka´-ni I take the earth, my Midē´ friends. The earth furnishes the resources necessary to the maintenance of life, both food and medicines.

Wi´-a-ya´-din shin-da´, hān´, man-da´-ha-ni´, o-hō´ ni-bĭ´. Let us get him to take this water. [The figure sees medicine in the earth, as the lines from the eyes to the horizontal strokes indicate.]

Hŭe´-shĭ-shi-kwa´-ni-an nin-ga´-ga-mūn´. I take this rattle. The rattle is used when administering medicine.

Wi-wa´-ba-mi´na hē´-na ko´-ni-a´-ni, ka´, ko´-ni-a´-ho-nā´, nī´, kā´. See how I shine in making medicine. [The speaker likens himself to the Makwa´ Man´idō, one of the most powerful Midē´ spirits. His body shines as if it were ablaze with light—due to magic power.]

This song is sung ad libitum according to the inspired condition of the person singing it. Many of the words are archaic, and differ from the modern forms.

Then the officiating priests arise and the one lowest in rank grasps his Midē´ sack and goes through the gestures, described in connection with the previous degrees, of shooting into the joints and forehead of the candidate the sacred mī´gis. At the attempt made by the chief priest the candidate falls forward apparently unconscious. The priests then touch his joints and forehead with the upper end of their Midē´ sacks whereupon he recovers and rises to a standing posture. The chief then addresses him and enjoins him to conduct himself with propriety and in accordance with the dignity of his profession. The following is the text, viz: Gi-gan´-bis-sĭn dau´-gē-in´-ni-nân´ kish-bin´-bish-in dau´-o-ân-nĭn da´-ki-ka-wa´-bi-kwe ga´-kĭ-ne ke-ke´-wi-bi´-na-mōn ki-ma´-dzhĭ-zhi we´-bĭ-zi-wĭn´.

The translation is as follows: “You heed to what I say to you; if you are listening and will do what is right you will live to have white hair. That is all; you will do away with all bad actions.”

The Midē´ priest second in rank then says to the candidate: Ke´-go-wi´-ka-za´-gi-to-wa´-kin ki-da´-no-ka´tshĭ-gân kai-ē´-gi-gīt´ a-sē´-ma, kai´-e-mī´-dzĭm, which signifies: “Never begrudge your goods, neither your tobacco, nor your provisions.” To this the candidate responds ēⁿ´—yes, by this signifying that he will never regret what he has given the Midē´ for their services. The candidate remains standing while the members of the society take seats, after which he goes to the pile of blankets, skins, and other presents, and upon selecting appropriate ones for the officiating priests he carries them to those persons, after which he makes presents of less value to all other Midē´ present. Tobacco is then distributed, and while all are preparing to make an offering to Ki´tshi Man´idō of tobacco, the

Mi-gwĕtsh´ ga´shi-tō´-win bi-ma´-dĭ-si-wīn´,

Thanks for giving to me life,

then, stepping back, he clasps his hands and bows toward the Midē´, adding: Ni-ka´-ni, ni-ka´-ni, ni-ka´-ni, ka-na´,—“My Midē´ friend, my Midē´ friend, my Midē´ friend, friend.” To this the Midē´ responds in affirmation, hau´, ēⁿ´—yes.

The new member then finds a seat on the southern side of the inclosure, whereupon the ushers—Midē´ appointed to attend to outside duties—retire and bring in the vessels of food which are carried around to various persons present, four distinct times.

The feast continues for a considerable length of time, after which the kettles and dishes are again carried outside the Midē´wi-gân, when all who desire indulge in smoking. Midē´ songs are chanted by one of the priests, the accompanying, reproduced pictorially in Pl. XIV C, being an example. The lines, as usual, are repeated ad libitum, the music being limited to but few notes, and in a minor key. The following are the words with translation:

Plate XIV.c. Mnemonic Song.

He´-ne-wi´-a ni´-na mi´-si-man´-i-dē-ge´ Their bodies shine over the world he-wa´-we-a´-ne-kan´. unto me as unto you, my Midē´ friend. This refers to the sun, and moon, whose bodies are united in the drawing.

Ma´-na-wi-na´ hai´-e-ne-hā´ be-wa´-bik-kun Your eyes see them both eyes made of iron, kan-din´-a-we. piercing eyes. The figure is that of the crane, whose loud, far-reaching voice is indicated by the short lines radiating from the mouth. The eyes of the crane Man´idō are equally penetrating.

Ta-be´-nĕ-wa´ he-shi-wa´, hā´ ma´-si-ni´-ni-he´-shi-wa´, hā´. Calm it leads you to guides you to your food. Knowledge of superior powers gained through familiarity with the rites of the Midē´wiwin is here referred to. The figure points to the abode of Ki´tshi Man´idō; three short lines indicating three degrees in the Midē´wiwin, which the candidate has taken.

Ha-nin´-di he-bik´-kĭn-he´ man´-i-dō ni-kan´ Whence does he rise spirit Midē´ friend wa-ba-nŭnk´, mi-dē´-man´-i-dō wa-ba-nŭnk´. from the east, midē´ man´idō from the east. [The hand reaches up as in making the gesture for rising sun or day, the “sky lines” leaning to the left, or east; one making signs is always presumed to face the south, and signs referring to periods of day, sun, sunrise, etc., are made from the left side of the body.]

Rest.

Wa-dzhi-wan´, wa-dzhi-wan´-na, Wa-dahi-wan´ ni-ka´-na-hē´. There is a mountain, there is a mountain, There is a mountain, my friends. [The upright outline represents a mountain upon which a powerful Midē´ is seated, symbolical of the distinction attainable by a Midē´.]

Wa´-bĕ-ku´ĕ-be-a´, wa´-bĕ-ku´-ĕ-be-a´, Shot it was, shot it was na´-bĕ-ku´-ĕ-be-a´ man´-i-dō´-´a nĭn-dē´. and it hit body, your man´ido your heart. man´-i-dō´-a nin-dē´. man´ido your heart. [The Mī´gis is represented in the illustration by the small rings; the arrow indicating that it was “shot” with velocity.]

Hwe´-kwo-nin´-na-ta, ki-wī´-kash´-ka-man; En-do´-ge-mā´ wesh´-in-ē´. What am I going around? I am going around the Midē´wigân. [The oblong structure represents the Midē´wigân. The otter-skin Midē´ sack is taken around it, as is shown by the outline of that animal and the line or course indicated. The Makwa´ Man´idō (bear spirit) is shown at the left, resting upon the horizontal line, the earth, below which are magic lines showing his power, as also the lines upon the back of the bear. The speaker compares himself to the bear spirit.]

Nen´-do-ne´-ha-mān-ni´ nī´-ŏ, What am I looking at. The figure denotes a leg, signifying powers of transporting one’s self to remote places; the magic power is indicated by the three transverse lines and the small spots, the mī´gis, upon it.

Ba´bin-ke´-en non´-do-wa-wē´, hī´, I soon heard him, the one who did not listen to them. [The Midē´, as a superior personage, is shown by having the horns attached to the head. The line of hearing has small rings, at intervals, indicating that something is heard.]

Hin´-ta-na´-wi ni-ka´-na-gi´, ē´, hē´, pī´-na-nī´, hin´-ta-na´-wi ni-ka´-na-ga´ na´-ge-ka-na´ ē´, hē´. The Nika´ni are finding fault with me, inside of my lodge. [The arm at the side of the Midē´wigân points to the interior, the place spoken of.]

Oⁿsh´-koⁿsh-na-nā´ pi-na´-wa niⁿ-bosh´-i-na´-na. With the bear’s claws I almost hit him. The Midē´ used the bear’s claw to work a charm, or exorcism, and would seem to indicate that he claimed the powers of a Wâbĕnō´. The one spoken of is an evil man´idō, referred to in the preceding line, in which he speaks of having heard him.

At the conclusion of this protracted ceremony a few speeches may be made by a Midē´, recounting the benefits to be enjoyed and the powers wielded by the knowledge thus acquired, after which the chief priest intimates to his colleagues the advisability of adjourning. They then leave the Midē´wigân by the western door, and before night all movable accessories are taken away from the structure.

The remainder of the evening is spent in visiting friends, dancing, etc., and upon the following day they all return to their respective homes.

DESCRIPTIVE NOTES.

Although the mī´gis shell of the several degrees is generally of the same species, some of the older Midē´ priests claim that there were formerly specific shells, each being characteristic and pertaining specially to each individual grade. The objects claimed by Sika´s-sigĕ as referring to the third degree are, in addition to the Cypræa monata, L., a piece of purple wampum, and one shell of elongated form, both shown on Pl. XI, Nos. 3 and 5, respectively.

The fact of a Midē´ having been subjected to “mī´gis shooting” for the third time is an all-sufficient reason to the Indian why his powers are in a corresponding manner augmented. His powers of exorcism and incantation are greater; his knowledge and use of magic medicines more extended and certain of effect; and his ability to do harm, as in the capacity of a Wâbĕnō´, is more and more lauded and feared. He becomes possessed of a greater power in prophecy and prevision, and in this state enters the class of personages known as the Jĕs´sakkīd´, or jugglers. His power over darkness and obscurity is indicated on Pl. III, A, No. 77, upon which the head, chest, and arms are represented as being covered with lines to designate obscurity, the extended arms with outstretched hands denoting ability to grasp and control that which is hidden to the eye.

Fig. 26.—Jĕs´sakkân´ or juggler’s lodge.

The Jĕs´sakkīd´ and his manner of performing have already been mentioned. This class of sorcerers were met with by the Jesuit Fathers early in the seventeenth century, and referred to under various designations, such as jongleur, magicien, consulteur du manitou, etc. Their influence in the tribe was recognized, and formed one of the greatest obstacles encountered in the Christianization of the Indians. Although the Jĕs´sakkīd´ may be a seer and prophet as well as a practitioner of exorcism without becoming a Fig. 26.

Fig. 27.—Jĕs´sakkân´, or juggler’s lodge. Fig. 28.—Jĕs´sakkân´, or juggler’s lodge.

Fig. 29.—Jĕs´sakkân´, juggler’s lodge.

The accompanying illustrations, Figs. 27, 28, and 29, reproduced from birch-bark etchings, were the property of Jĕs´sakkīd´, who were also Midē´ of the third and fourth degrees. It will be noticed that the structure used by them is in the form of the ordinary wig´iwam, as their profession of medical magic is apparently held in higher esteem than the art of prophecy; their status and claims as Jĕs´sakkīd´ being indicated by the great number of ma´nidōs which they have the power of invoking. These man´idōs, or spirits, are indicated by the outline of their material forms, the heart being indicated and connected with the interior of the structure to show the power of the Jĕs´sakkīd´ over the life of the respective spirits. The Thunder-bird usually occupies the highest position in his estimation, and for this reason is drawn directly over the wig´iwam. The Turtle is claimed to be the man´idō who acts as intermediary between the Jĕs´sakkīd´ and the other man´idōs, and is therefore not found among the characters on the outside of the wig´iwam, but his presence is indicated within, either at the spot marking the convergence of the “life lines,” or immediately below it. Fig. 30.— Jĕs´sakkân´ or juggler’s lodge. Fig. 30 is a reproducton of an Pl. XIV, D. It is a reproduction of one made by a Jĕs´sakkīd´ who was also a Midē´ of the third degree. Each line is chanted as often as may be desired, or according to the effect which it may be desirable to produce or the inspired state of the singer.

Plate XIV.d. Mnemonic Song.

Me-we´-yan, ha´, ha´, ha´, I go into the Jĕs´sakkan´ to see the medicine. The circle represents the Jĕs´sakkīd´ as viewed from above; the short lines denote the magic character of the structure, and the central ring, or spot, the magic stone used by the prophet who appears entering from the side.

Tschi-nun´-dōn´, he´, he´, he´, he´, I was the one who dug up life. The Otter Man´idō emerging from the Midē´wigân; he received it from Ki´tshi Mani´dō.

Ni´ka-nī´ we-do-koⁿ´-a, ha´, ha´, The spirit put down medicine on earth to grow. The sacred or magic lines descending to the earth denote supernatural origin of the mī´gis, which is shown by the four small rings. The short lines at the bottom represent the ascending sprouts of magic plants.

Te-ti-ba´-tshi mŭt´-â-wit´, tē´, hē´, hē´, I am the one that dug up the medicine. The otter shown emerging from the jugglery. The speaker represents himself “like unto the Otter Man´idō.”

Ki´waⁿ-win´-da ma´-kwa-nan´, na´, ha´, I answer my brother spirit. The Otter Man´idō responds to the invocation of the speaker. The diagonal line across the body signifies the “spirit character” of the animal.

Rest or pause.

Wa´-a-so´-at wĕn´-ti´-na-man, ha´, ha, The spirit has put life into my body. The speaker is represented as being in the Midē´-wigân, where Ki´tshi Man´idō placed magic power into his body; the arms denote this act of putting into his sides the mī´gis. The line crossing the body denotes the person to be possessed of supernatural power.

Ki-to´-na-bi´-in, nē´, hē´, hē´, This is what the medicine has given us. The Midē´wigân, showing on the upper line the guardian man´idōs.

Ni´-sha-we´-ni-bĭ-ku´, hū´, hū´, hē´, I took with two hands what was thrown down to us. The speaker grasped life, i.e., the migīs´, to secure the mysterious power which he professes.

In addition to the practice of medical magic, the Jĕs´sakkīd´ sometimes resorts to a curious process to extract from the patient’s body the malevolent beings or man´idōs which cause disease. The method of procedure is as follows: The Jĕs´sakkīd´ is provided with four or more tubular bones, consisting of the leg bones of large birds, each of the thickness of a finger and 4 or 5 inches in length. After the priest has fasted and chanted prayers for success, he gets down upon all fours close to the patient and with his mouth near the affected part. After using the rattle and singing most vociferously to cause the evil man´idō to take shelter at some particular spot, so that it may be detected and located by him, he suddenly touches that place with the end of one of the bones and immediately thereafter putting the other end into his mouth, as if it were a cigar, strikes it with the flat hand and sends it apparently down his throat. Then the second bone is treated in the same manner, as also the third and fourth, the last one being permitted to protrude from the mouth, when the end is put against the affected part and sucking is indulged in amid the most violent writhings and contortions in his endeavors to extract the man´idō. As this object is supposed to have been reached and swallowed by the Jĕs´sakkīd´ he crawls away to a short distance from the patient and relieves himself of the demon with violent Pl. XVIII.

The above manner of disposing of the hollow bones is a clever trick and not readily detected, and it is only by such acts of jugglery and other delusions that he maintains his influence and importance among the credulous.

Fig. 31.—Jĕs´sakkīd´ curing woman. Fig. 32.—Jĕs´sakkīd´ curing man.

Fig. 31 represents a Jĕs´sakkīd´ curing a sick woman by sucking the demon through a bone tube. The pictograph was drawn upon a piece of birch bark which was carried in the owner’s Midē´ sack, and was intended to record an event of importance.

No. 1 represents the actor, holding a rattle in hand. Around his head is an additional circle, denoting quantity (literally, more than an ordinary amount of knowledge), the short line projecting to the right indicating the tube used.

No. 2 is the woman operated upon.

Fig. 32 represents an exhibition by a Jĕs´sakkīd´, a resident of White Earth, Minnesota. The priest is shown in No. 1 holding his rattle, the line extending from his eye to the patient’s abdomen signifying that he has located the demon and is about to begin his exorcism. No. 2 is the patient lying before the operator.

FOURTH DEGREE.

Fig. 33.—Diagram of Midē´wigân of the fourth degree.

The Midē´wigân, in which this degree is conferred, differs from the preceding structures by having open doorways in both the northern and southern walls, about midway between the eastern and western extremities and opposite to one another. Fig. 33 represents a ground plan, in which may also be observed the location of each of the four Midē´ posts. Fig. 34 shows general view of same structure. A short distance from the eastern entrance is deposited the sacred stone, beyond which is an area reserved for the presents to be deposited by an applicant for initiation. The remaining two-thirds of the space toward the western door is occupied at regular intervals by four posts, the first being painted red with a band of green around the top. (Pl. XV, No. 1.) The second post is red, and has scattered over its surface spots of white clay to symbolize Pl. XV, No. 2.) The third post is black; but instead of being round is cut square. (Pl. XV, No. 3.) The fourth post, that nearest the western extremity, is in the shape of a cross, painted white, with red spots, excepting the lower half of the trunk, which is squared, the colors upon the four sides being white on the east, green on the south, red on the west, and black on the north. (Pl. XV, No. 4.)

Fig. 34.—General view of Midē´wigân.

About 10 paces east of the main entrance, in a direct line between it and the sweat lodge, is planted a piece of thin board 3 feet high and 6 inches broad, the top of which is cut so as to present a three-lobed apex, as shown in Fig. 4. The eastern side of this board is painted green; that facing the Midē´wigân red. Near the top is a small opening, through which the Midē´ are enabled to peep into the interior of the sacred structure to observe the angry man´idōs occupying the structure and opposing the intrusion of anyone not of the fourth degree.

A cedar tree is planted at each of the outer corners of the Midē´wigân, and about 6 paces away from the northern, western, and southern entrances a small brush structure is erected, sufficiently large to admit the body. These structures are termed bears´ nests, supposed to be points where the Bear Man´idō rested during the struggle he passed through while fighting with the malevolent man´idōs within to gain entrance and receive the fourth-degree initiation. Immediately within and to either side of the east and west entrances is planted a short post, 5 feet high and 8 inches thick, painted red upon the side facing the interior and black upon the reverse, at the base of each being laid a stone about as large as a human head. These four posts represent the four limbs and feet of the Bear Man´idō, who made the four entrances and forcibly entered and expelled the evil beings who had opposed him. The fourth-degree Midē´ post—

PREPARATION OF CANDIDATE.

Under ordinary circumstances it requires at least one year before a Midē´ of the third grade is considered eligible for promotion, and it is seldom that a candidate can procure the necessary presents within that period, so that frequently a number of years elapse before any intimation by a candidate is made to the chief priest that the necessary requirements can be complied with. The chief reason of this delay is attributed to the fact that the fee to the officiating priests alone must equal in value and quantity four times the amount paid at the first initiation, and as the success in gathering the robes, skins, blankets, etc., depends upon the candidate’s own exertions it will readily appear why so few ever attain the distinction sought. Should one be so fortunate, however, as to possess the required articles, he has only to make known the fact to the chief and assistant Midē´ priests, when a meeting is held at the wig´iwam of one of the members and the merits of the candidate discussed. For this purpose tobacco is furnished by the candidate. The more valuable and more numerous the presents the more rapidly will his application be disposed of, and the more certainly will favorable consideration on it be had. It becomes necessary, as in former instances of preparation, for the candidate to procure the service of a renowned Midē´, in order to acquire new or specially celebrated remedies or charms. The candidate may also give evidence of his own proficiency in magic without revealing the secrets of his success or the course pursued to attain it. The greater the mystery the higher he is held in esteem even by his jealous confrères.

There is not much to be gained by preparatory instruction for the fourth degree, the chief claims being a renewal of the ceremony of “shooting the mī´gis” into the body of the candidate, and enacting or dramatizing the traditional efforts of the Bear Man´idō in his endeavor to receive from the Otter the secrets of this grade. One who succeeds becomes correspondingly powerful in his profession and therefore more feared by the credulous. His sources of income are accordingly increased by the greater number of Indians who require his assistance. Hunters, warriors, and lovers have occasion to call upon him, and sometimes antidoting charms are sought, when the evil effects of an enemy’s work are to be counteracted.

The instructor receives the visit of the candidate, and upon coming to a satisfactory agreement concerning the fee to be paid for the service he prepares his pupil by prompting him as to the part he is to enact during the initiation and the reasons therefor. The preparation and the merits of magic compounds are discussed, and 16 as follows:

There is a particular kind of charm which they use when they wish to obtain the object of their affections. It is made of roots and red ocher. With this they paint their faces, believing it to possess a power so irresistible as to cause the object of their desire to love them. But the moment this medicine is taken away and the charm withdrawn the person who before was almost frantic with love hates with a perfect hatred.

It is necessary that the candidate take a sweat-bath once each day, for four successive days, at some time during the autumn months of the year preceding the year in which the initiation is to occur. This form of preparation is deemed agreeable to Ki´tshi Man´idō, whose favor is constantly invoked that the candidate may be favored with the powers supposed to be conferred in the last degree. As spring approaches the candidate makes occasional presents of tobacco to the chief priest and his assistants, and when the period of the annual ceremony approaches, they send out runners to members to solicit their presence, and, if of the fourth degree, their assistance.

INITIATION OF CANDIDATE.

The candidate removes to the vicinity of the Midē´wigân so as to be able to go through the ceremony of purgation four times before the day of initiation. The sudatory having been constructed on the usual site, east of the large structure, he enters it on the morning of the fifth day preceding the initiation and after taking a sweat-bath he is joined by the preceptor, when both proceed to the four entrances of the Midē´wigân and deposit at each a small offering of tobacco. This procedure is followed on the second and third days, also, but upon the fourth the presents are also carried along and deposited at the entrances, where they are received by assistants and suspended from the rafters of the interior. On the evening of the last day, the chief and officiating priests visit the candidate and his preceptor, Pl. XVI, A) is a reproduction of the chant taught to and recited by the candidate. The original was obtained from an old mnemonic chart in use at Mille Lacs, Minnesota, in the year 1825, which in turn had been copied from a record in the possession of a Midē´ priest at La Pointe, Wisconsin. Many of the words are of an older form than those in use at the present day. Each line may be repeated ad libitum.

Plate XVI.a. Mnemonic Song.

Ni-ka´-ni-na´, ni-ka´-ni-na´, ni-ka´-ni-na´, I am the Nika´ni, I am the Nika´ni, I am the Nika´ni, man´-i-dō wig´-i-wam win´-di-ge´-un. I am going into the sacred lodge. [The speaker compares himself to the Bear Man´ido, and as such is represented at the entrance of the Midē´wigân.]

Ni-ka´-ni-na´, ni-ka´-ni-na´, ni-ka´-ni-na´, I am the Nika´ni, I am the Nika´ni, I am the Nika´ni, ni-kan´-gi-nun´-da wé-mĭ-dŭk´. I “suppose” you hear me. [The lines from the ear denotes hearing; the words are addressed to his auditors.]

Wâ´, he-wa´-ke-wa ke-wâ´, he-wa´-ke-wâ´, wâ´. He said, he said. Signifies that Ki´tshi Man´idō, who is seen with the voice lines issuing from the mouth, and who promised the Ani´shinâ´bēg “life,” that they might always live.

Rest. A ceremonial smoke is now indulged in.

We´-shki-nun´-do-ni-ne´, ke-nosh´-ki-nun´-do-ni-ne´. This is the first time you hear it. [The lines of hearing are again shown; the words refer to the first time this is chanted as it is an intimation that the singer is to be advanced to the higher grade of the Midē´wiwin.]

Hwe´-na-ni-ka he-na´, he-nō´ mi-tē´-wiⁿ-wiⁿ´ gi´-ga-wa´-pi-no-dōn´. You laugh, you laugh at the “grand medicine.” [The arms are directed towards Ki´tshi Man´idō, the creator of the sacred rite; the words refer to those who are ignorant of the Midē´wiwin and its teachings.]

Nun-te´-ma-ne´, hē´, wi´-na-nun´-te-ma-ne´ ki´-pi-nan´. I hear, but they hear it not. [The speaker intimates that he realizes the importance of the Midē´ rite, but the uninitiated do not.]

Pe´-ne-sŭi´-a ke´-ke-kwi´-yan. I am sitting like a sparrow-hawk. The singer is sitting upright, and is watchful, like a hawk watching for its prey. He is ready to observe, and to acquire, everything that may transpire in the Midē´ structure.

Upon the conclusion of the chant, the assembled Midē´ smoke and review the manner of procedure for the morrow’s ceremony, and when these details have been settled they disperse, to return to their wig´iwams, or to visit Midē´ who may have come from distant settlements.

Early on the day of his initiation the candidate returns to the sudatory to await the coming of his preceptor. The gifts of tobacco are divided into parcels which may thus be easily distributed at the proper time, and as soon as the officiating priests have arrived, and seated themselves, the candidate produces some tobacco of which all present take a pipeful, when a ceremonial smoke-offering is made to Ki´tshi Man´idō. The candidate then takes his midē´ drum and sings a song of his own composition, or one which he may have purchased from his preceptor, or some Midē´ priest. The following is a reproduction of an old mnemonic song which the owner, Sikas´sigĕ, had received from his father who in turn had obtained it at La Pointe, Wisconsin, about the year 1800. The words are archaic to a great extent, and they furthermore differ from the modern language on account of the manner in which they are pronounced in chanting, which peculiarity has been faithfully followed below. The pictographic characters are reproduced in Pl. XVI, B. As usual, the several lines are sung ad libitum, repetition depending entirely upon the feelings of the singer.

Plate XVI.b. Mnemonic Song.

Hin´-to-nâ-ga-ne´ o-sa-ga-tshī´-wēd o-do´-zhi-tōn´. The sun is coming up, that makes my dish. The dish signifies the feast to be made by the singer. The zigzag lines across the dish denote the sacred character of the feast. The upper lines are the arm holding the vessel.

Man´-i-dō i´-ya-nē´, ish´-ko-te´-wi-wa´-we-yan´. My spirit is on fire. The horizontal lines across the leg signify magic power of traversing space. The short lines below the foot denote flames, i.e., magic influence obtained by swiftness of communication with the man´idōs.

Ko´tshi-hâ-ya-nē´, nē´, ish´-ki-to´-ya-ni´, nin-do´-we-hē´, wi´-a-we-yan´. I want to try you, I am of fire. [The zigzag lines diverging from the mouth signify voice, singing; the apex upon the head superior knowledge, by means of which the singer wishes to try his Midē´ sack upon his hearer, to give evidence of the power of his influence.]

A pause. Ceremonial smoking is indulged in, after which the chant is continued.

Ni-mī´-ga-sim´-ma man´-i-dō, sa-ko´-tshi-na´. My mī´gis spirit, that is why I am stronger than you. The three spots denote the three times the singer has received the mī´gis by being shot; it is because this spirit is within him that he is more powerful than those upon the outside of the wigiwam who hear him.

Mī´-ga-ye´-nin en´-dy-ân, ya´, hō´, ya´, man´-i-dō´-ya. That is the way I feel, spirit. The speaker is filled with joy at his power, the mī´gis within him, shown by the spot upon the body, making him confident.

Ya-gō´-sha-hī´, nâ´, ha´, ha´, Ya-gō´-sha-hi´, man´-i-dō-wī´-yĭn. I am stronger than you, spirit that you are. [He feels more powerful, from having received three times the mī´gis, than the evil spirit who antagonizes his progress in advancement.]

Upon the completion of this preliminary by the candidate, the priests emerge from the wig´iwam and fall in line according to their official status, when the candidate and preceptor gather up the parcels of tobacco and place themselves at the head of the column and start toward the eastern entrance of the Midē´wigân. As they approach the lone post, or board, the candidate halts, when the priests continue to chant and drum upon the Midē´ drum. The chief Midē´ then advances to the board and peeps through the orifice near the top to view malevolent man´idōs occupying the interior, who are antagonistic to the entrance of a stranger. This spot is assumed to represent the resting place or “nest,” from which the Bear Man´idō viewed the evil spirits during the time of his initiation by the Otter. The evil spirits within are crouching upon the floor, one behind the other and facing the east, the first being Mi-shi´-bi-shi´—the panther; the second, Me-shi´-kĕ—the turtle; the third, kwin´-go-â´-gĭ—the big wolverine; the fourth, wâ´-gŭsh—the fox; the fifth, ma-in´-gŭn—the wolf; and the sixth, ma-kwa´—the bear. They are the ones who endeavor to counteract or destroy the good wrought by the rites of the Midē´wiwin, and only by the aid of the good man´idōs can they be driven from the Midē´wigân so as to permit a candidate to enter and receive the benefits of the degree. The second Midē´ then views the group of malevolent beings, after which the third, and lastly the fourth priest looks through the orifice. They then advise

It is asserted that all of the malevolent man´idōs who occupied and surrounded the preceding degree structures have now assembled about this fourth degree of the Midē´wigân to make a final effort against the admission and advancement of the candidate: therefore he impersonates the good Bear Man´idō, and is obliged to follow a similar course in approaching from his present position the entrance of the structure. Upon hands and knees he slowly crawls toward the main entrance, when a wailing voice is heard in the east which sounds like the word hāⁿ´, prolonged in a monotone. This is ge´-gi-si´-bi-ga´-ne-dât man´idō. His bones are heard rattling as he approaches; he wields his bow and arrow; his long hair streaming in the air, and his body, covered with mī´gis shells from the salt sea, from which he has emerged to aid in the expulsion of the opposing spirits. This being the information given to the candidate he assumes and personates the character of the man´idō referred to, and being given a bow and four arrows, and under the guidance of his preceptor, he proceeds toward the main entrance of the structure while the officiating priests enter and station themselves within the door facing the west. The preceptor carries the remaining parcels of tobacco, and when the candidate arrives near the door he makes four movements with his bow and arrow toward the interior, as if shooting, the last time sending an arrow within, upon which the grinning spirits are forced to retreat toward the other end of the inclosure. The candidate then rushes in at the main entrance, and upon emerging at the south suddenly turns and again employs his bow and arrow four times toward the crowd of evil man´idōs, who have rushed toward him during the interval that he was within. At the last gesture of shooting into the inclosure, he sends forward an arrow, deposits a parcel of tobacco and crouches to rest at the so-called “bear’s nest.” During this period of repose the Midē´ priests continue to drum and sing. Then the candidate approaches the southern door again, on all fours, and the moment he arrives there he rises and is hurried through the inclosure to emerge at the west, where he turns suddenly, and imitating the manner of shooting arrows into the group of angry man´idōs within, he at the fourth movement lets fly an arrow and gets down into the western “bear’s nest.” After a short interval he again approaches the door, crawling forward on his hands and knees until he reaches the entrance, where he leaves a present of tobacco and is hastened through the inclosure to emerge at the northern door, where he again turns suddenly upon the angry spirits, and after making threatening movements toward them, at the fourth menace he sends an arrow among them. The spirits are now greatly annoyed by the magic power possessed by the candidate and the assistance rendered by the Midē´

The chief Midē´ priest then takes charge of the candidate, saying:

Mi´-a-shi´-gwa wi-ka´-we-a´-kwa-mŭs-sin´-nŭk. Mī´-a-shi´-gwa

Now is the time [to take] the path that has no end Now is the time

wi-kan´-do-we-ân´ mi´-ga-ī´-zhid wen´- dzhi-bi-mâ´-dis.

I shall inform you [of] that which I was told the reason I live.

To this the second Midē´ priest remarks to the candidate, Wa´-shi-gân´-do-we-an´ mi-gai´-i-nŏk´ wa´-ka-no´-shi-dzin—which freely translated signifies: “The reason I now advise you is that you may heed him when he speaks to you.” The candidate is then led around the interior of the inclosure, the assistant Midē´ fall in line of march and are followed by all the others present, excepting the musicians. During the circuit, which is performed slowly, the chief Midē´ drums upon the Midē´ drum and chants. The following, reproduced from the original, on Pl. XVII, B, consists of a number of archaic words, some of which are furthermore different from the spoken language on account of their being chanted, and meaningless syllables introduced to prolong certain accentuated notes. Each line and stanza may be repeated ad libitum.

Plate XVII.b. Mnemonic Song.

Man´-i-dō, hē´, nē´-yē´, man´-i-dō, hē´, nē´, yē´, ēn´-da-na´-bi-yĕn wen´-dō-bi´-yĕn. A spirit, a spirit, you who sit there, who sit there. [The singer makes a spirit of the candidate by thus giving him new life, by again shooting into his body the sacred mīgis. The disk is the dish for feast of spirits in the dzhibai´ midē´wigân—“Ghost Lodge,” the arms reaching towards it denoting the spirits who take food therefrom. The signification is that the candidate will be enabled to invoke and commune with the spirits of departed Midē´, and to learn of hidden powers.]

He´-ha-wa´-ni, yē´, he´-ha-wa´-ni, yē´, na´-bi-nesh´-ga-na´-bi, hī´, hē´. These words were chanted, while the following are those as spoken, apart from the music. Â-wan´-ō-de´-no-wĭn nī´-bi-dĕsh´-ka-wĭn un´-de-no´-wĭn. The fog wind goes from place to place whence the wind blows. [The reason of the representation of a human form was not satisfactorily explained. The preceptor felt confident, however, that it signified a man´īdō who controls the fog, one different from one of the a-na´-mi-ki´, or Thunderers, who would be shown by the figure of an eagle, or a hawk, when it would also denote the thunder, and perhaps lightning, neither of which occurs in connection with the fog.]

Rest.

Man´-i-dō´-we ni´-mi-nan´ ku-ni´-ne man-to´-ke ni´-mi-ne´. I who acknowledge you to be a spirit, and am dying. The figure is an outline of the Midē´wigân with the sacred Midē´ stone indicated within, as also another spot to signify the place occupied by a sick person. The waving lines above and beneath the oblong square are magic lines, and indicate magic or supernatural power. The singer compares the candidate to a sick man who is seeking life by having shot into his body the mī´gis.

Ga-kwe´-in-nân´ tshi-ha´-gĕ-nâ´ ma-kwa´ ni-go´-tshi-ni´. I am trying you who are the bear. The Midē´ who is chanting is shown in the figure; his eyes are looking into the candidate’s heart. The lines from the mouth are also shown as denoting speech, directed to his hearer. The horns are a representation of the manner of indicating superior powers.

Pĭ-nē´-si ka´-ka-gī´-wai-yan´ wen´-dzhi man´-i-dō´wid. The bird, the crow bird’s skin is the reason why I am a spirit. Although the crow is mentioned, the Thunder-bird (eagle) is delineated. The signification of the phrase is, that the speaker is equal in power to a man´idō, at the time of using the Midē´ sack—which is of such a skin.

Tshin-gwe´-wi-he´-na nē´, kaⁿ´, tshi-wâ´-ba-ku-nēt´. The sound of the Thunder is the white bear of fire. The head is, in this instance, symbolical of the white bear man´idō; the short lines below it denoting flame radiating from the body, the eyes also looking with penetrating gaze, as indicated by the double waving lines from each eye. The white bear man´idō is one of the most powerful man´idōs, and is so recognized.

By the time this chant is completed the head of the procession reaches the point of departure, just within the eastern door, and all of the members return to their seats, only the four officiating Midē´ remaining with the candidate and his preceptor. To search further

The Midē´ priest of the fourth rank or place in order of precedence approaches the kneeling candidate and in a manner similar to that which has already been described shoots into his breast the mī´gis; the third, second and first Midē´ follow in like manner, the last named alone shooting his mī´gis into the candidate’s forehead, upon which he falls forward, spits out a mī´gis shell which he had previously secreted in his mouth, and upon the priests rubbing upon his back and limbs their Midē´ sacks he recovers and resumes his sitting posture.

The officiating priests retire to either side of the inclosure to find seats, when the newly received member arises and with the assistance of the preceptor distributes the remaining parcels of tobacco, and lastly the blankets, robes, and other gifts. He then begins at the southeastern angle of the inclosure to return thanks for admission, places both hands upon the first person, and as he moves them downward over his hair says: Mi-gwĕtsh´ ga-o´-shi-tō´-ĭn bi-mâ´-dĭ-sĭ-win—“Thanks, for giving to me life.” The Midē´ addressed bows his head and responds, hau´, ēⁿ´,—yes when the newly admitted member steps back one pace, clasps his hands and inclines his head to the front. This movement is continued until all present have been thanked, after which he takes a seat in the southeastern corner of the inclosure.

A curious ceremony then takes place in which all the Midē´ on one side of the inclosure arise and approach those upon the other, each grasping his Midē´ sack and selecting a victim pretends to shoot into his body the mī´gis, whereupon the Midē´ so shot falls over, and after a brief attack of gagging and retching pretends to gain relief by spitting out of his mouth a mī´gis shell. This is held upon the left palm, and as the opposing party retreat to their seats, the side which has just been subjected to the attack moves rapidly around among one another as if dancing, but simply giving rapid utterance to the word hŏ´, hŏ´, hŏ´, hŏ´, hŏ´, hŏ´, and showing the mī´gis to everybody present, after which they place the flat hands quickly to the mouth and pretend again to swallow their respective shells. The members of this party then similarly attack their opponents, who Pl. XVII, A, and the musical notation, which is also presented, was obtained during the period of my preliminary instruction. The phraseology of the chant, of which each line and verse is repeated ad libitum as the singer may be inspired, is as follows:

Plate XVII.a. Mnemonic Song.

Do-nâ´-ga-nī´, Na´-wa-kwe´ in-do´-shi-tōn´, do-nâ´-ga-nī´. My dish, At noon I make it, my dish. The singer refers to the feast which he gives to the Midē´ for admitting him into the Midē´wiwin.

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Man´-ī-dō´ i-yan-nī´, Esh-ko´-te nin´-do-we´-yo-wĭn´, I am such a spirit, My body is made of fire. His power reaches to the sky, i.e., he has power to invoke the aid of Ki´tshi Man´idō. The four degrees which he has received are indicated by the four short lines at the tip of the hand.

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Kŏ´-tshi-hai´-o-nī´, Esh-ko´-te wa-ni´-yō. I have tried it, My body is of fire. He likens himself to the Bear Man´idō, and has like power by virtue of his mī´gis, which is shown below the lines running downward from the mouth. He is represented as standing in the Midē´wigân—where his feet rest.

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Pause. An offering of smoke is made to Ki´tshi Man´idō.

Ni-mī´-gi-sĭm´ man´-i-dō´-we, hwē´, hē´, Sha´-go-dzhĭ´-hi-na´. My mī´gis spirit, I overpower death with. [His body is covered with mī´gis as shown by the short lines radiating from the sides, and by this power he is enabled to overcome death.]

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Ni´-ka-ni´ nin-man´-e-dō´-we-ya´. Ya´-ho-ya´ man´-i-dō´-wa nin-da´-ho-ha´. That is the way with me, spirit that I am. [The hand shows how he casts the mī´gis forward into the person requiring life. He has fourfold power, i.e., he has received the mī´gis four times himself and is thus enabled to infuse into the person requiring it.]

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Ē-kotsh´-i-na´-ha, Ē-kotsh´-ha man´-i-dō´ hwe-do´-wī. I hang it, I hang up the Spirit sack. [After using his Midē´ sack he hangs it against the wall of the Midē´wigân, as is usually done during the ceremonial of initiation.]

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He´-a-wi-non´-dam-a´-ni, Man´-i-dō´ mi-de´-wi-he´ ne´-ma-da´-wi-dzig´. Let them hear, Midē´ spirit, those who are sitting around. [He invokes Ki´tshi Man´idō to make his auditors understand his power.]

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He´-a-we-na´ ni´-we-dō´, Man´-i-dō´ we-a-nī´ Ni´-ka-nā´ ni´-na-nā´. He who is sleeping, The Spirit, I bring him, a kinsman. [In the employment of his powers he resorts to the help of Ki´tshi Man´idō—his kinsman or Midē´ colleague.]

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Man´-i-dō´ we-a-nī´ Esh-ke´-ta we´-a-nĭ´ man´-i-dō´ we´-a-nĭ´. I am a spirit, Fire is my spirit body. [The hand reaches to the earth to grasp fire, showing his ability to do so without injury and illustrating in this manner his supernatural power.]

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Ai-ya´-swa-kĭt-te´, hē´, he´, He´-ā´ se-wī´-kit-te´, hē´, hē´ Na-se´-ma-gŏt´ nin-dē´. It is leaning, My heart breathes. [The phrase refers to the mī´gis within his heart. The short radiating lines indicate the magic power of the shell.]

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Rest, or pause, after which dancing accompanies the remainder of the song.

Ni-ka´-nin-ko´-tshi´-ha ni´-ka-na Ni-ka´-na-nin-ko´-tshi-ha. Midē´ friends, I am trying, Midē´ friends, Midē´ friends, I am trying. [His hand and arm crossed by lines to denote magic power, in reaching to grasp more than four degrees have given him; he has in view a fifth, or its equivalent.]

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Hi´-ne-na-wa´ ni-be´-i-dōn´ ni-di´-na. I hold that which I brought, and told him. The singer is holding the mī´gis and refers to his having its power, which he desires Ki´tshi Man´idō to augment.

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Ye´-we-ni´-mi-dē´, hwa´, da´, Ke-wa´-shi-mi-dē´, hĭ-a, hwē´, Ye´-we-ni´-mi-dē? Who is this grand Midē´? You have not much grand medicine. Who is the Midē´? [The first line, when used with the music, is a´-we-nin-o´-au-midē´. The whole phrase refers to boasters, who have not received the proper initiations which they profess. The figure is covered with mī´gis shells, as shown by the short lines attached to the body.]

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Nai´-a-na-wi´ na-ma´, ha´, Wa-na´-he-ne-ni-wa´, ha´, O´-ta-be-we-ni´, mē´, hē´. I can not reach it, Only when I go round the Mide´wigân; I can not reach it from where I sit. [The mī´gis attached to the arrow signifies its swift and certain power and effect. The first line of the phrase, when spoken, is nin-na´-na-wi-nan´.]

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Ai-yā´ ha´-na-wi´-na-ma´. I can not strike him. The speaker is weeping because he can not see immediate prospects for further advancement in the acquisition of power. The broken ring upon his breast is the place upon which he was shot with the mī´gis.

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The following musical notation presents accurately the range of notes employed by the preceptor. The peculiarity of Midē´ songs lies in the fact that each person has his own individual series of notes which correspond to the number of syllables in the phrase and add thereto meaningless words to prolong the effect. When a song is taught, the words are the chief and most important part, the musical rendering of a second person may be so different from that of the person from whom he learns it as to be unrecognizable without

In some of the songs presented in this paper the bars have been omitted for the reasons presented above. The peculiarity of the songs as rendered by the preceptor is thus more plainly indicated.