Fig. 1. 2. 3. 4. 5.
Fig. 1. 2. 3. 4. 5.
Fig. 1. Shi-e-gwuh ne-no-no-nen-dum ah-me, Me-tai we-nin-ne-wug, ne-kau-nug ane-mub-be-un-neh.[59]
Now I hear it, my friends, of the Metai, who are sitting about me.
This, and the three following, are sung by the principal chief of the Metai, to the beat of his bwoin ah-keek, or drum. The lines from the sides of the head of the figure indicate hearing.
2. O-wa-nain ba-me-je-waun-ga? Man-i-to O-ba-me-je-wa-un-ga.
Who makes this river flow? The Spirit, he makes this river flow.
The second figure is intended to represent a river, and a beaver swimming down it.
3. Ka-weh-whau-bo-me-tai, ka-weh-whau-bo-me-tai neh-kau-nuk neej-huh nish-a-nau-ba ka-ke-ka-ne-me-kwain neh-kau-nuk.
Look at me well, my friends; examine me, and let us understand that we are all companions.
This translation is by no means literal. The words expressthe boastful claims of a man, who sets himself up for the best and most skilful in the fraternity.
4. O-wa-nain ba-bah-mis-sa-haht, weej-huh nish-a-nau-ba? Be-nais-se-wah ba-bah-mo-sa-haht, weej-huh nish-a-nau-ba.
Who maketh to walk about, the social people? A bird maketh to walk about the social people.
By the bird, the medicine man means himself; he says, that his voice has called the people together. Weej-huh nish-a-nau-ba, or weej-a nish-a-nau-ba, seems to have the first syllable from the verb, which means, to accompany. The two lines drawn across, between this figure and the next, indicate that here the dancing is to commence.
5. Neen ba-pah-mis-sa-gahn ne-goche ah-wes-sie neen-gah-kwa-tin ah-waw.
I fly about, and if any where I see an animal, I can shoot him.
This figure of a bird, (probably an eagle or hawk,) seems intended to indicate the wakefulness of the senses, and the activity required to ensure success in hunting. The figure of the moose, which immediately follows, reminding the singer of the cunning and extreme shyness of that animal, the most difficult of all to kill.
6. 7. 8. 9.
6. 7. 8. 9.
6. Neen-go-te-naun ke-da-ne,[60]ne-miz-zho-taun ke-da-ne, ah-wis-sie ke-da-ne, ne-miz-zho-taun ke-da-ne.
I shoot your heart; I hit your heart, oh animal, your heart, I hit your heart.
This apostrophe is mere boasting, and is sung with much gesticulation and grimace.
7. A-zhe-nahng gwit-to iah-na ish-ko-tang a-zhe-nahng gwit-to iah-na.
I make myself look like fire.
This is a medicine man, disguised in the skin of a bear. The small parallelogram, under the bear, signifies fire, and they, by some composition of gunpowder, or other means, contrive to give the appearance of fire to the mouth and eyes of the bear skin, in which they go about the village late at night, bent on deeds of mischief, oftentimes of blood. We learn how mischievous are these superstitions, when we are informed, that they are the principal men of the Metai, who thus wander about the villages, in the disguise of a bear, to wreak their hatred on a sleeping rival, or their malice on an unsuspecting adversary. But the customs of the Indians require of any one who may see a medicine man on one of these excursions, to take his life immediately, and whoever does so is accounted guiltless.
8. Ga-tah e-no-tum mau-na ne-be-way me-ze-ween, ne-be-way neen-dai, gin-no-tah mau-na.
I am able to call water from above, from beneath, and from around.
Here the medicine man boasts of his power over the elements, and his ability to do injury or benefit. The segment of a circle with dots in it, represents the water, and the two short lines touching the head of the figure, indicate that he can draw it to him.
9. Yah-nah-we nah-gwe-hah-ga e-nai-ne-wah, kin-ne-nah.
Yah-nah-we nah-gwe-hah-ga ma-tai-mo-sah, kin-ne-nah.
Yah-nah-we nah-gwe-hah-ga o-ba-no-sah, kin-ne-nah.
I cause to look like the dead, a man I did.
I cause to look like the dead, a woman I did.
I cause to look like the dead, a child I did.
The lines drawn across the face of this figure, indicate poverty, distress, and sickness; the person is supposed to have suffered from the displeasure of the medicine man. Such is the religion of the Indians! Its boast is to put into the hands of the devout, supernatural means, by which he may wreakvengeance on his enemies, whether weak or powerful, whether they be found among the foes of his tribe, or the people of his own village. This Metai, so much valued and revered by them, seems to be only the instrument, in the hands of the crafty, for keeping in subjection the weak and the credulous, which may readily be supposed to be the greater part of the people.
10.
10.
10. Ain-de-aun, ain-de-aun, ne-kau-neh; ah-wes-sie, an-wes-sie, ne-kau-neh, ne-mah-meek ko-naw-waw, ne-kau-neh.
I am such, I am such, my friends; any animal, any animal, my friends, I hit him right, my friends.
This boast of certain success in hunting, is another method by which he hopes to elevate himself in the estimation of his hearers. Having told them that he has the power to put them all to death, he goes on to speak of his infallible success in hunting, which will always enable him to be a valuable friend to such as are careful to secure his good will.
Fig. 1. 2. 3.
Fig. 1. 2. 3.
Fig. 1. Nah-ne-bah o-sa aun neen-no ne-mah-che oos-sa ya-ah-ne-no. (Twice.)
I walk about in the night time.
This first figure represents the wild cat, to whom, on account of his vigilance, the medicines for the cure of diseases were committed. The meaning probably is, that to those who have the shrewdness, the watchfulness, and intelligence of the wild cat, is entrusted the knowledge of those powerful remedies, which, in the opinion of the Indians, not only control life, and avail to the restoration of health, but give an almost unlimited power over animals and birds.
2. Neen-none-da-aun ke-to-ne-a, ma-ni-to we-un-ne.
I hear your mouth, you are an ill (or evil) spirit.
The wild cat, (or the sensible and intelligent medicine man,) is always awake; or if he seems to sleep, by means of the supernatural powers of his medicine, he becomes acquainted with all that passes around him. If one man speaks evil of another, to bring sickness upon him, the wild cat hears and knows it; but confident in his own superior strength, he disregards it. At the bar they begin to dance. The lines from the mouth of the human figure, represent the speeches of the evil minded and malicious.
3. Shi-a ne-mo-kin-nuh-we, be-zhe-wa-wah[61]neah-wa. (Twice.)
Now I come up out of the ground; I am wild cat.
I am master of the wild cats; and having heard your talk, I come up out of the ground to see what you do. This man, it appears, claims superiority over the other medicine men, and now rouses himself to attend to what is passing. The bar across the neck of the figure representing the wild cat, indicates that he is just coming out of the earth.
4. 5. 6.
4. 5. 6.
4. Bin-nah! neen be-zhe-wa-wah ke-meen-waw-bum-me-na.
Behold! I am wild cat; I am glad to see you all wild cats.
This figure, with open eyes and erect ears, denotes earnestness and attention.
The word ke-meen-waw-bum-me-na, affords a strong instance of what has been called the synthetic character of this language;ke, the inseparable pronoun, in the accusative plural,meen, from ne-mee-noan-dun, (I love, or am pleased,) and waw-bum from ne-waw-bo-maw, (I see.)
5. Ne-man-i-to, o-wa-she-na a-ai-gah nee-na ketto-we goh-we-ke-na.
I am a spirit; what I have I give to you in your body.
This is the figure of a medicine man, with his pah-gah-ko-gua-un, or the instrument with which he beats his drum, in his hand. He appears to be boasting of his own powers.
6. Ah-ne ah-gah, kah-neen-na ke-taus-saw-wa-unna ke-nis-se-go-na.
Your own tongue kills you; you have too much tongue.
This is addressed to the malicious man, and the slanderer, one who speaks evil of others. His crooked and double speech goes out of his mouth, but is changed to an arrow in his hand, and turned against himself; his own body bears themarks of the injuries he would have inflicted on others. The lines across the chest are the traces of misfortune, brought on him by the indulgence of his own malicious disposition. In the songs and addresses of some of the most esteemed chiefs, or persons, who may be considered in some measure set apart for the Metai, are many attempts to convey and enforce moral instruction, or rather the inculcation of those opinions and actions which constitute the virtues of savage life.
Fig. 1. 2. 3. 4.
Fig. 1. 2. 3. 4.
Fig. 1. O-nub-be-tum-maun, Metai-we-gaun, Manito-we-ga-un.
I sit down in the lodge of the Metai, the lodge of the Spirit.
This figure is intended to represent the area of the Metai-we-gaun, or medicine lodge, which is called also the lodge of the Manito, and two men have taken their seats in it. The matter of the song seems to be merely introductory.
2. Neezh-o-go-na we-tah-bim mah-kum-ma ne-kaun; ne-o-go-na we-tah-bim mah-kum-ma ne-ka-un.
Two days must you sit fast, my friend; four days must you sit fast, my friend.
The two perpendicular lines on the breast of this figure, are read neo-gone, (two days,) but are understood to mean two years; so of the four lines drawn obliquely across the legs, these are four years. The heart must be given to this business for two years, and the constrained attitude of the legs indicates the rigid attention, and serious consideration, which the subject requires.
3. Wha-be-nia, Meen-de-mo-sah, ke-ko-nia wha-be-nia.
Throw off, woman, thy garments, throw off.
The power of their medicines, and the incantations of the Metai, are not confined in their effect to animals of the chase, to the lives and the health of men; they control, also, the minds of all, and overcome the modesty, as well asthe antipathies of women. The Indians firmly believe that many a woman, who has been unsuccessfully solicited by a man, is not only, by the power of the Metai, made to yield, but even in a state of madness, to tear off her garments, and pursue after the man she before despised. These charms have greater power than those in the times of superstition among the English, ascribed to the fairies, and they need not, like the plant used by Puck, be applied to the person of the unfortunate being who is to be transformed; they operate at a distance, through the medium of the Miz-zin-ne-neens.
4. Na-wy-o-kun-ne-nah wun-nah-he-nun-ne-wah ba-mo-sa keen-nah-na.
Who makes the people walk about? It is I that calls you.
This is in praise of the virtue of hospitality, that man being most esteemed among them, who most frequently calls his neighbours to his feast.
5. 6. 7. 8. 9.
5. 6. 7. 8. 9.
5. He-o-win-nah ha-ne-mo-we-tah neen-ge-te-mah-hah bo-che-ga-ha-ne Mo-e-tah neen-ge-te-mah hah-nah.
Any thing I can shoot with it, (this medicine,) even a dog I can kill with it.
6. Nin-goo-te-naun ke-ta-he, e-nah-ne-wah ke-ta-he.
I shoot thy heart, man, thy heart.
He means, perhaps, a buck moose by the word e-nah-ne-wah, or man.
7. Neen ne-na-sah waw-be-maung neen-ne-na-sah.
I can kill a white loon, I can kill.
The white loon,rara avis nigroque simillino cygno, is certainly a rare and most difficult bird to kill; so we may infer, that this boaster can kill any thing, which is theamount of the meaning intended in that part of his song, recorded by the five last figures. Success in hunting they look upon as a virtue of a higher character, if we may judge from this song, than the patience under suffering, or the rakishness among women, or even the hospitality recommended in the former part.
8. Ne-kau-nah-ga....
My friends....
This seems to be an attempt to delineate a man sitting with his hands raised to address his friends; but the remainder of his speech is not remembered. This is sufficient to show that the meaning of the characters in this kind of picture writing is not well settled, and requires a traditional interpretation to render it intelligible.
9. Shah bwo-ah-hah-mah ne-mow-why-waw-ne-no ah-buh-hah-mah ge-we-na-she-mah-ga.
I open my wolf skin, and the death struggle must follow.
This is a wolf skin, used as a medicine bag, and he boasts, that whenever he opens it, something must die in consequence.
Fig. 1. 2. 3. 4. 5. 6. 7. 8.
Fig. 1. 2. 3. 4. 5. 6. 7. 8.
Fig. 1. Waw-ne-ge-ah-na gah-ne-geah-na Manito-wah-ga gah-ge-zhe-hah-gwaw gah-ne-ge-ah-na.
I wished to be born, I was born, and after I was born I made all spirits.
2. Gee-she-hah-ga manito-whah-ga.
I created the spirits.
The figures in the commencement of this long and much esteemed religious song, represent Na-na-bush, the intercessor, the nephew of mankind. They seem designed to carry back the thoughts towards the beginning of time, and have a manifest allusion to a period when this mysterious and powerful being exercised a wish to assume the form of a man. In the second figure he is represented as holding a rattle snake in his hand, and he calls himself the creator of the mani-toge. The Indians calling invisible and spiritual beings by the same name which they give to the lowest class of reptiles, it is doubtful whether Na-na-bush here claims to have created intelligences superior to man, or only reptiles, insects, and other small creatures, which they commonly call Mani-toag.
3. Na-hah-be-ah-na na-nah-boo-shoo, o-tish-ko-tahn ma-jhe-ke-sha.
He sat down Na-na-bush; his fire burns forever.
This figure appears to be descriptive of the first assumption by Na-na-bush of his office, as the friend and patronof men. He is represented as taking a seat on the ground. Fire, with the northern Indians, is the emblem of peace, happiness, and abundance. When one band goes against another, they go, according to their language, to put out the fire of their enemies; therefore, it is probable that in speaking of the perpetual fire of Na-na-bush, it is only intended to allude to his great power, and the permanence of his independence and happiness.[62]
4. Tah-gwa ne-mah-go-so-me-go, ne-ah-ge-zhe-we ne-kaun, ne-kaun.
Notwithstanding you speak evil of me, from above are my friends, my friends.
The fourth figure, which, in the original, is a priapus, indicates that a man takes up the discourse. The circle about his head, but descending no lower than his shoulders, shows that his help and his protection are from above, and in the strength thus derived he is able to defy those who speak evil of him, or seek, by the power of their medicines, to break his life.
5. Chaw-gaw ko-no mau-na se-maun-duk waw-wan-o-sa-wah.
I can use many kinds of wood to make a bear unable to walk.
The business of hunting is one of the first importance to the Indians, consequently, it finds a place in his devotions; indeed, devotion itself having apparently no object beyond the wants and weaknesses of this life, relief in times of hunger, is one of the most important blessings they ever ask for in their prayers. Accordingly, their young men are directed never to use these songs, or to have recourse to the medicine hunt, except in times of the extremest need.
6. Ke-te-na-ne-me-na we-nis-ze-bug-go-na an-no-kau-tum-mau-na, ke-te-na-ne-me-na.
Of you I think, that you use the We-nis-ze-bug-gone, I think this of you.
The common spicy wintergreen, a stalk of which this figure is intended to represent, is much valued as a medicine by the Indians. It is calledwe-nis-se-bug-goon, fromwe-ne-sik, the spicy birch, andbug-goon, which in composition means leaf.
7. Ma-mo-yah-na, mis-kwe, ma-mo-yah-na.
That which I take (is) blood, that which I take.
Here is the figure of a bear lying dead on the ground, and a hand is thrust into the body, to take out some of the blood. The instruction communicated probably is, that when the prayers offered in the preparation for the medicine hunt have been answered, and an animal killed, offerings should be immediately made, by taking some of the blood in the hand, and pouring it on the ground; or, as is more commonly done, by throwing a handful of it towards each of the four cardinal points.
8. Hi-a-gwo ne-ma-nah-ho-gahn nah-we-he-a! whe-e-ya!
Now I have something to eat.
The two last words seem to have no very definite meaning; they are repeated at the end of some of the sentences, apparently only to lengthen out the sound. This figure is that of a lean and hungry man, who, having asked for food, has been heard, and is now proceeding to allay his hunger.
9. 10. 11. 12. 13. 14. 15.
9. 10. 11. 12. 13. 14. 15.
9. We-wah-kwa be-gah-na mani-to-ga.
I cover my head, sitting down to sleep, ye spirits.
The figure is that of a man, probably designed to be represented in a recumbent position, and drawing his blanket over him. His prayer having been answered, his wants supplied, he declares to the spirits his intention to take repose.
10. Moosh-kin a guh-wah man-i-to-whah, whah-he-yah! whe-ha-ya! etc.
I fill my kettle for the spirit.
This is the hunter’s lodge, and the kettle hanging in it contains the heart of the animal killed in the medicine hunt, of which none but a man and a hunter must venture to taste. Should a woman or a dog even touch this heart, or the blood of the animal, sudden death, or lingering sickness, would follow it. This effect, as well as the dark colour which the Indians say the skin of the females assumes, in instances of the violation of this rule, they attribute to the effect of the medicine applied by the hunter to the heart of the Me-ze-nin-ne-shah. They point out instances of women, formerly distinguished among them for beauty, and particularly for the fairness of the skin, who, by eating of the heart, or touching the blood of an animal killed in medicine hunting, have not only lost that enviable distinction, but have become disgusting and frightful objects, the skin being blackened and covered with ulcers.
11. Nah-nah-wa-kum-me-ga wa-nuk-ke-she nah-neh keen-o-wah man-i-to-whah.
Long ago, in the old time, since I laid myself down, ye are spirits.
This is the figure of a snake running over the ground; but some are of opinion that the delineation should be different, namely, an old woman lying down in the middle of the ground. A new speaker is here introduced, which is the mythological personage called Me-suk-kum-me-go-kwa, the grand mother of mankind, to whom Na-na-bush gave in keeping, for the use of his uncles and aunts, all roots and plants, and other medicines, derived from the earth. She received, at the same time, especial direction never to leave home, and always to surrender to men the treasures deposited in her bosom, when they should be, in a suitable manner, demanded of her. Hence it is, that the medicine men make an address to Me-suk-kum-me-go-kwa, whenever they take any thing from the earth, which is to be used as medicine.
12. Ne-mo-kin-nen-naun she-maun-duk kwun-ne-no nuh-pe-mo-ke-ne-naun.
I open you for a bear, I open you.
Me-suk-kum-me-go-kwa speaks to one of the medicines whose power she had just acknowledged, by calling them spirits, and says, I disclose, or reveal you for a bear, or to enable the hunter to kill a bear.
13. Me-too-ga man-i-to-too-ga, heo-yeo-yah-yoh! he-ge-tah-waw-kum-me-ga wy-oan do-sa-jeek me-to-ga-nah, whe-i-ah! whe-i-ah!
That is a Spirit which comes both from above and below. (Here they begin to dance.)
14. Whain-je-neen-da su-mah-ga chah-ge-mah-ni-to-whah-ga. (Twice.)
Neen-nis-sah ween-neen-dah so-mah-we-neen-nah chah-ga-to man-i-to whah-ga, yah-we-he-ya! whe-ge-a! (Twice.)
I am he that giveth success, because all spirits help me.
15. Me-ge-ne-nah me-ge-ne-nah me-gwun-nah-ga me-ge-ne-nah, WHE-HE-YA! (Twice.)
The feather, the feather; it is the thing, the feather.
It sometimes happens that the hunter has wandered far from his lodge, and has neither birch bark on which to delineate his Me-zen-ne-neens, nor o-num-nu, or other powerful medicine to apply to its heart. In these cases he takes some of the ashes of his fire, and spreading it on a smooth place, he traces in it the figure of the animal; he then takes a feather and sticks it in the heart, then applies fire until it is consumed to the surface of the ashes, and on this he places the same reliance as on the more common method of treating the Me-zen-ne-neens.
16. 17. 18. 19. 20.
16. 17. 18. 19. 20.
16. Wha o-man-i-to-whah? HE-AH-E-WHE-YA!ma-she-ge-na pe-po-sa-jeek wha-in-je man-i-to-whah, ah-keeng pa-mo-sah HAH-HE-WHE-YA!
Who is a spirit? He that walketh with the serpent, walking on the ground; he is a spirit.
This figure is nearly the same as is given to Nana-bush, in the beginning of the song, and an allusion is probably intended to the time when this interpreter between mankind and the Supreme Spirit, the Creator of all things, was driven from the presence of his father, to dwell with the meanest things of this world. The allusions in the traditionary fables of the Algonkins, to the quarrel between Na-na-bush and the Great Spirit, are frequent, and cannot fail to remind any one of the most important of the doctrines of the christian religion. It can scarce be doubted that, from some source or other, these people have derived some obscure conceptions of the incarnation and mediatorial office of the second person in the Divine Trinity.[63]
17. He-ah gut-tah wees-sene, wun-no-kwa neen-nah neen-de-kwa-wug-ge-ga ween-dum mah-wah neen-nah-hah neen-nah whe-he-ya!
Now they will eat something, my women; now I tell them they will eat.
This figure, with open mouth and distended belly, seems to speak the language of human thanksgiving, and gratitude for favours conferred by a superior power.
18. O-num-mun-nah nin-go-che-we-nah. (Twice.)
This yellow ochre, I will try it.
The o-num-mun, a yellowish earth, which they find in many places, and which is particularly abundant on one of the branches of the Illinois River, thence called O-num-mun-ne See-be, when roasted in the fire, becomes red, and is a medicine to which they attribute great power. It is a little sack of this which is disproportionately represented in the hand of the figure.
19. Yah-hah nin-go-che-we-nah whe-he-ya-ha! be-nais-se-waw yah-hah nin-go-tin-non-gay nin-go-che-hah-hah, yah-hah nin-go-te-non-ga.
Now I wish to try my bird; sometimes I used to try, and sometimes it used to be something.
The figure is that of a bird’s skin, in which his medicine is contained, and it is that, and not the skin itself, he wishes to try.
20. Ah-wes-sie nees-sah neen-no, ka-she-e-way ke-kaunne-nah;ah-wis-sie nees-sah neen-no, whe-he-ya! He-whe ya!
I can kill any animal, because the loudspeaking thunder helps me; I can kill any animal.
This large bird, whose open mouth indicates the power of his voice, is not one who inhabits the earth, or is ever seen; he lives in the clouds, and his voice is the thunder. He is more commonly called a-nim-me-kee, but here ke-kaun; our loud sounding medicine is strong to give us wind or rain, or whatever state of the air may be needful to ensure success in the hunt.
21. 22. 23. 24. 25.
21. 22. 23. 24. 25.
21. Mah-mo-yah-na hah-che-maun-duk hah-yo-ta-he mah-mo-yah-na.
I take a bear, his heart I take.
The allusion is here to the observances respecting the heart and blood of animals killed in medicine hunting, and the sacrifices to be made in the event of success.
22. O-she-she-gwa-waw-tun-wa-we-tun-ga neen-dah buh-zheen-ga tun-wa-we-tun-ga, whe-he-ya!
A rattle snake makes a noise on the poles of my lodge; he makes a noise.
The jealousy of rival hunters is a frequent cause of quarrels and troubles among the Indians. This man boasts that the rattle snake, which always gives notice when danger is near, is on the poles of his lodge, and no evil can come near him without his being informed of it. His life is guarded by a superior power, and he fears not what his enemies can do to him.
23. O-shaw-wah-no nah-o-bah-guh-he gun-nun-na,ho-kah-mik a-no-gweh, whe-he-ya! Neen-da-bwa-wa se-to nah-na, whe-he! ya-ha!
To a Shawnee, the four sticks used in this song belonged. When struck together they were heard all over the country.
This is the figure of a man holding in his left hand the four nah-o-bah-e-gun-nun, or sticks, on which this song was recorded, and the authorship is claimed by a Shawnee, from whom the Ojibbeways acknowledge to have received it; and here, it is probable, the performance originally concluded. The remaining figures appear to have been added from other songs.
24. Hi-ah shah-we mah-mo-ke-ah-na Man-i-to ne-whaw-baw-maw ah-mik-kwug ne-whaw-baw-maig, whe-ha-ya!
I come up from below; I come down from above; I see the spirit; I see beavers.
The design of this figure is to suggest to the mind, that the spirit, to whom the prayers in the medicine hunting are addressed, not only knows where animals are on the surface of the ground, but that so great is his power, he can create them where they did not before exist, to supply the wants of those that pray unto him, and can cause them to come up out of the earth.
25. We-waw-bun-o-kah-tawn neen-gah-beah no-kwa-nah we-waw-bun o-kah-tawn, we-he-ha-ya!
I can make an east wind come and pass over the ground.
This is sung four times, the north, the west, and the south winds being each, in turn, substituted for the east wind here spoken of. The meaning is, that the spirit has power to give a wind in any direction that may be necessary for the success of the hunter; that he controls all the changes of the atmosphere, and will overrule them in such a manner as to ensure the success of those whose medicine is strong; in other words, whose prayer is effectual. They must therefore neither regard the wind nor the sky, but go forward in confidence of success. The idea of the circle in this figure, into which the winds are represented as rushing, is derived from the apparent form of the visible horizon; the Indians neither know, nor will they believe that the form of the earth is globular.
26. 27.
26. 27.
26. Na-nah nub-be-gah-ne-na ha-ge-tah wah-kum-me-ga uk-ke-ko-no-dah go-na, neen-na-nah nah-be-yahn-ne-na, ke-na-nah nub-be-ah neen-na, whe-he-yah! we-he-ya!
Thus have I sat down, and the earth above and below has listened to me sitting here.
This is again the figure of Na-na-bush, sitting on the earth, in the same attitude in which he is represented in the first part of the performance. The meaning is, that all who join in these devotional exercises must, throughout their continuance, which is for the greater part of the night, retain immoveably the same attitude, and give a serious attention to the performer, who must observe the same rule; and when all is finished, he, without uttering a word to any of those about him, rises and walks out of the lodge.
27. Pa-mo-ta-yah-na che-maun duh-kwa pa-mo-ta-yah-ga, whe-he-ya-ha!
I make to crawl, a bear, I make to crawl.
Probably the meaning is, that by these observances and by this prayer, the hunter may cause to crawl (kill) a bear, or any animal. It is to be observed, that a bear is never, in these songs, called by the common name, but always che-mahn-duk.
It requires two years of attentive study, in the intervals of leisure that occur in the life of a hunter, to learn this song, and he must pay his instructor the value of many beaver skins. It was first introduced into the band to which Mr. Tanner belonged, by an Ojibbeway of the village of Was-waw-gun-nink. Our narrator, as well as his foster brother, Wa-me-gon-a-biew, had paid this man, whose name was Ke-zha-shoosh, great sums for his medicines, and it was a quarrel originating in this subject, which ended in his assassination by Wa-me-gon-a-biew, as related in the precedingnarrative. The Ojibbeways of Red River relate, andsome of them believe, that very wonderful effects have been produced by this song, and the medicine belonging to it, such as, that after using it for four days one man succeeded in bringing a live moose into the midst of the village at Was-waw-gun-nink in such a state of fatuity, that he made, though uninjured, no effort to escape. These extravagant fables remind us of the powers attributed by the ancients to the music of Orpheus, and others of the earliest poets.
One of the established customs of the Indians, in relation to hunting, though not immediately connected with the subject of the preceding song, may be here mentioned. As in the case of many other customs, its origin is unknown, but its tendency seems to be to encourage the spirit of generous hospitality, and to render the proceeds of the chase the common property of the band to which the hunter belongs. The custom is, that if any man, in returning from his hunt, no matter how long and laborious it may have been, or how great may be the necessities of his own family, meet another just starting out to hunt, or even a little boy walking from the camp or village, he is bound to throw down at his feet, and give him whatever he may have brought. It is partly to avoid the effect of this custom, that the men oftentimes leave their game on the spot where they killed it, and the women are sent to bring in the meat. In other instances the hunter carries the animal on his back as far as he thinks he can without the risk of meeting men, then conceals it, and goes home. No difference is said to be made when game is taken which is not needed in the village for food; beavers, otters, martins, or whatever the hunter may have taken, he is expected to relinquish to the person who meets him.
Iswara of India, the Saturn of Italy, the Nanabush of the Algonkins.[See Asiatic Researches, Vol. I. p. 249]
Iswara of India, the Saturn of Italy, the Nanabush of the Algonkins.
[See Asiatic Researches, Vol. I. p. 249]
Fig. 1. 2. 3. 4.
Fig. 1. 2. 3. 4.
Fig. 1. Che-mahn-duk-kwa ne-muh-kwi-o-sa ne-ah-hah-wa, ne-an-hah-wa, ne-muh-kwi-o-sa, HE-AH-WHE-HE-AH!
A bear, I walk like a bear myself; myself, I walk like a bear.
The medicine man here speaks in his disguise of a bear skin. Ne-muh-kwi-o-sa might be more literally translated “I walk a bear;” it is the compound of neen-muk-kwaw and pa-pah-mo-sa, or ba-bah-mo-sa. Che-mahn-duk is commonly used, in these songs, for a bear.
2. Ah-wes-sie hi-ah-wa-nah bah-twa-we-tahng-gah? Waw-wash-kesh e-wah bah-twa-we-tahng-gah.
A beast, what beast comes calling? It is a deer comes calling.
The word bah-twa-we-tahng-gah is expressive not only of the peculiar call of the male deer, at the rutting season, but also of the circumstance that the animal is approaching the speaker: were he going the other way, or even standing still, the word would be different.
3. O-num-mun-nah nin-go-che-we-nah. (Twice.)
This yellow ochre, I will try it.
This is the same, in all respects, as No. 18, in the preceding song to Na-na-bush.
4. Wun-ne ho-i-yahn, wun-ne ho-i-ah-na nah-we-he-a he-o-ge-mah-wah ka-be-waw-bum-me-kwain wun-ne-hoi-yah nah-we-ne-a.
I disguise myself to cheat you, so that only a chief, if he sees me, can know who I am.
The hunter, to deceive the animal he wishes to kill puts on the dress of a white man, or assumes the appearance of some harmless creature, and he boasts that his disguise is so perfect as to deceive any but a chief medicine man, or a great hunter. It should be remembered, that the language of these songs is commonly that of distant allusion, rather than direct figure; hence, though the words may seem unmeaning to us, they always convey much signification to the Indians. Thus, in this instance, though the hunter says he puts on the appearance of a white man, it is probable he means that he disguises himself as a bear, or some other animal, equally harmless with a man who wears a hat, or a white man. That the Indians should think little of the white man’s skill in hunting, is by no means surprising.
5. 6. 7. 8. 9.
5. 6. 7. 8. 9.
5. I-ah-ne-wah-ho go-mo-yaun, i-ah-ne-wah-ho go-mo-yaun! i-am-mik-gung-ga-nah; i-ah-ne-wah-ho go-mo-yaun.
Can any one remain longer under water than me? I am beaver, and I can remain longer than any under water.
This language, descriptive of the difficulties in taking beaver, is put into the mouth of the animal himself.
6. I-an-we-be-ah-ne ne-hub-be-ah-na be-ah-na. (Many times repeated.)
I am well loaded; I sit down to rest; I am loaded.
The hunter hears, but he regards not the boasting language of the beaver. The evidence of his skill and success is on his back, suspended by a strap passing round his forehead; and to signify that his load is heavy, he sits down to rest.
7. Mah-mo-ke-hea hi-ah-maung-wug-e-he-a man-i-to we-he-tah.
He must come up, even the loon, though he is Manito.
This is another answer of the hunter to the boast of the beaver. Are you a greater diver than the loon? Yet even he must rise to the surface after a certain time. The country of the Ojibbeways abounding in small lakes, which sometimes lie very near each other, without any visible communication, they have taken up the idea that communications exist under ground, and they believe a loon can dive down in one, and come up in another of them. They think, also, that the beaver can carry down so much air entangled in his coat, that if left undisturbed at the bottom, he can thrust his nose into his fur, and breathe for some time.
8. Whe-gah ween-ah-waw sah-ge-mah-tik-o-waw, hio-ge-mah-waw, sah-ge-mah-tik-o-waw.
I can cut down that chief tree, though it be the tree of a chief.
The beaver says he can cut down any tree. Though a great hunter, and a man of medicine, may claim the tree, though he may have placed it there, the beaver can cut it down. Sah-gem-ah-tik reminds us of the word Sa-chem, derived from some of the eastern dialects of the Algonkin.
9. Neen-dah no-je-ah we-ah-wing man-i-to-we-tah we-ah-wing, etc.
Though he is Manito, I can work to take his body.
This is the hunter, cutting open the ice, or breaking up the beaver’s lodge, in pursuit of him. (At the bar they begin to dance.)
10. 11. 12. 13. 14.
10. 11. 12. 13. 14.
10. N’whe-go-tin-no-waw a-zhe-un-na chaw-gaw-wais-sie a-zhe-un-na.
I would shoot, as you told me, any animal; as you told me.
This is addressed to Na-na-bush, and the hunter professes his desire to follow his advice in every thing, that he may be assured success in hunting. Na-na-bush is particularly the hunter’s god, and from him his best skill is derived.
11. Neen n’buh-we-hah he-na-ne-whaw, na-ne-buh-we-hah. Neen n’buh-we-hah meen-da-mo-sah, na-ne-buh-we-hah.
I make to stand, a man, I make him stand.
The words e-na-ne-wah and meen-da-mo-sah, mean here the male or female of the animals hunted; and as, at some seasons, only the males are fat, and at others only the females, the one line or the other is sung first, according to the season. The word n’buh-we-hah is more commonly spoken, particularly by the Mississippi Indians, n’po-we-ah.
12. Ne-ah-wa een-da-be-to-na ne-ah-how.
Myself, I do good to myself.
It is certainly politic for the medicine men, who receive extravagant fees not only for teaching their songs but for the medicines used conjointly with them, to remind their employers that all the expenditures they make are not unavailing. Here, then, is a figure which seems to be that of a female, covered profusely with the clothing purchased from the proceeds of the medicine hunts; over the head of thefigure are blankets and cloth, and around the waist is suspended an ample garment, belonging to a woman.
13. Ne-kaun-naw nin-go-che-hah ne-kaun-naw.
My friends, I will try, my friends.
Prosperity, as among other men, leads to insolence and the abuse of power. This man, who, in imagination, has been successful in his pursuits, whose medicine has made him rich, and clothed his family, now proposes to turn its power against his fellows. The victim of his malice lies on the ground, transfixed with an enormous arrow.
14. Na-wi-ahn, na-wi-ah-na, o-ho-o wun-nah he-na-ne-waw we-gah-be-waw bum-me-kwi-a-ne.
A moccasin snake; a moccasin snake’s skin is my medicine bag; let any man come to see me that will.
If any man is jealous of my success in hunting, let him know that a moccasin snake skin is my medicine bag; let him know that he cannot, without danger, come in my way.