During this interval another smoke offering is made, in which the Midē´ priest is joined by the candidate.line drawingHĭu´-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.]line drawingWa´-sa-wa´-dī, hē´, wen´-da-na-ma´, mĭ-tē´-win. (As sung.)Wa´-sa-wa´-dŭn´-da-na-ma´I get it from afarmi-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.]line drawingKi-go´-na-bi-hinē´-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.]line drawingHi´-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. (SeePl.XIII, B.)mnemonic songPlate XIII.b. Mnemonic Song.line drawingMan´-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.]line drawingDa´-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.]vertical linesRest, or pause.line drawingGi-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.]line drawingPi-nē´-si ne´-pi-mi´-anin´-ge-gē´-kwe-anThe bird as I promisethe falconmi-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´.]line drawingZhīn´-gwe mi´-shi-ma-kwa´Makes a great noise the bear.wen´-dzhi-wa-ba-mok-kwēd´kŭn-nēt´.the reason I am offlame.[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.]line drawingNi´-a-wen´-din-da-sa´, ha´, sa´, man´-i-dō´-wid.Gi´-a-wĭngk in´-do-saman´-i-dō´-wid.In your body I put itthe 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,to be ready for distribution after the initiation on the following day. Several friends of the candidate, who are Midē´, are stationed at the doors of the Midē´wigân to guard against the intrusion of the uninitiated, or the possible abstraction of the gifts by strangers.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 seehow 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 ledtoward the left on his march round the interior of the Midē´wigân, the officiating priests following and being followed in succession by all others present. The march continues until the eighth passage round, when the members begin to step back into their respective places, while the officiating Midē´ finally station themselves with their backs toward the westernmost degree post, and face the door at the end of the structure. The candidate continues round to the western end, faces the Midē´ priests, and all sit down. The following song is then sung, which may be the individual production of the candidate (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.mnemonic songPlate XIII.c. Mnemonic Song.line drawingHĭa´-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.]line drawingNin-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.line drawingKa-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.line drawingKe´-na-nan´-do-mē´ ko-nō´-ne-nakka-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.]vertical linesRest, after which dancing begins.line drawingWa-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.line drawingHi´-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.line drawingHai´-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.line drawingNish´-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.line drawingWi´-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.line drawingHēn´-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.The dancing is not so energetic as many of those commonly indulged in for amusement only. The steps consist of two treading movements made by each foot in succession. Keeping time with the drum-beats, at the same time there is a shuffling movement made by the dancer forward, around and among his companions, but getting back toward his place before the verse is ended. The attitude during these movements consists in bending the body forward, while the knees are bent, giving one the appearance of searching for a lost object. Those who do not sing give utterance to short, deep grunts, in accordance with the alternate heavier strokes upon the drum.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!he! he! he! he! and pretends to swallow it, this time only reeling from its effects. He is now restored to a new life for the second time; and as the priests go to seek seats he is left on the southern side and seats himself. After all those who have been occupied with the initiation have hung up their midē´ sacks on available projections against the wall or branches, the new member goes forward to the pile of tobacco, blankets, and other gifts and divides them among those present, giving the larger portions to the officiating priests. He then passes around once more, stopping before each one to pass his hands over the sides of the priests’ heads, and says:Mi-gwĕtsh´ga-shi-tō´-winbi-mâ´-dĭ-si-wĭn,Thanksfor giving to melife,after which he retreats a step, and clasping his hands and bowing toward the priest, says:Ni-ka´-nini-ka´nini-ka´-ni ka-nia´,fellow midē´fellow midē´fellow midē´,to which each responds hau´, ēn. The word hau´ is a term of approbation, ēnsignifying 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 ofrest is taken, but when it is resumed dancing begins and is continued to the end. In this manner they indulge in singing and dancing, interspersed with short speeches, until the approach of sunset, when the members retire to their own wig´iwams, leaving the Midē´-wigân by the western egress.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. OnPl.XI, No. 4, is presented an illustration of the bead (the second-degreemī´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 inand acknowledged by the credulous and are practiced by that class of Shamans here designated as the Wâbĕnō´.In his history129Rev. 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 inPl.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 promptedfrom motives of vanity. The original sketch, of whichFig. 24is 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:see textFig. 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 onPl.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:mnemonic songPlate XIII.d. Mnemonic Song.line drawingHu´-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.]line drawingHĭa´-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.line drawingHu´-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.line drawingWa´-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.]vertical linesRest. A smoke is indulged in after which the song is resumed, accompanied with dancing.line drawingSin-go´-na wa-kī´ na-ha´-kaI made him cry.The figure is that of a turkey buzzard which the speaker shot.line drawingTe-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.line drawingHe´-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.line drawingSun´-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.line drawingWa´-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.line drawingHe´-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.line drawingPa-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.see textFig. 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 inFig. 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.sacred postsPlate 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. InFig. 3is 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.”see textFig. 3.—Origin of Ginseng.Larger FigureThere appears to be some similarity between this tradition and that given in connection withPl.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.The son died; whereupon his mother immediately set out for the village to obtain help to restore him to life, as she believed her father, the chief priest of the Midē´-wiwin, able to accomplish this.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´-bonshtĭk-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 inPl.XIV, A, is a reproduction of the original. The words, with translation, are as follows:mnemonic songPlate XIVa. Mnemonic Song.line drawingNi-ka´-ni-naman´-do-na-mō´-a.My friend I am shootinginto 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.]line drawingMe-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.vertical linesRest.During this interval a smoke offering is made.line drawingMi-sha´-kwi-tō-nĭmī´-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.line drawingSōn´-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.]line drawingHwa´-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.]line drawingMan´-i-dō´wi´-ka-ni´ni-mi-dē´.To the spiritbe 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 inabilityto attend, have sent them with an explanation. The candidate, at the suggestion of the Midē´ priest, then prepares to leave the sudatory, gathers up the tobacco, and as he slowly advances toward the Midē´ inclosure his attendants fall into the procession according to their office. The priests sing as they go forward, until they reach the entrance of the Midē´wigân, where the candidate and his preceptor halt, while the remainder enter and take their stations just within the door, facing the west.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 thesacred stone he faces it and is turned round so that his back is not toward it in passing; the same is done at the second place where one of the spirits is supposed to abide; again at first, second, and third posts. By this time the candidate is at the western extremity of the structure, and as the second Midē´ receives him in charge, the other taking his station beside the preceptor, he continues his course toward the north and east to the point of departure, going through similar evolutions as before, as he passes the three posts, the place of gifts and the sacred stone. This is done as an act of reverence to the man´idōs and to acknowledge his gratitude for their presence and encouragement. When he again arrives at the eastern extremity of the inclosure he is placed between the two officiating Midē´, who have been awaiting his return, while his companion goes farther back, even to the door, from which point he addresses the other officiating Midē´ as follows:Mĭs-sa´-a-shi´-gwawi-kan´-da´-we-an´,mĭs-sa´-a-shi´-gwaNow is the time[I am] telling [—advising,]now is the timewī´-di-wa´-mŏkwi-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 onPl.XIV, B.mnemonic songPlate XIV.b. Mnemonic Song.line drawingMan´-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.line drawingNin´-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.line drawingÂn´-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.line drawingNi´-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.]line drawingYa´-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.]line drawingYa´-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.]line drawingA-ya´-a-bi-ta´ pa´-ke-zhĭk´, ū´, hū´, a´,Half the skyThe 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.line drawingBa´-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.]line drawingNin-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.]line drawingI-ke´-u-ha´-ma man-ta-na´-ki-na ni-ka´-niI take the earth, my Midē´ friends.The earth furnishes the resources necessary to the maintenance of life, both food and medicines.line drawingWi´-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.]line drawingHŭe´-shĭ-shi-kwa´-ni-an nin-ga´-ga-mūn´.I take this rattle.The rattle is used when administering medicine.line drawingWi-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, thenewly accepted member goes around to each, member present, passes his hands downward over the sides of the Midē’s head and says:Mi-gwĕtsh´ga´shi-tō´-winbi-ma´-dĭ-si-wīn´,Thanksfor giving to melife,
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-hinē´-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. (SeePl.XIII, B.)
mnemonic song
Plate XIII.b. Mnemonic Song.
[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.]
[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´.]
[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.
[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,to be ready for distribution after the initiation on the following day. Several friends of the candidate, who are Midē´, are stationed at the doors of the Midē´wigân to guard against the intrusion of the uninitiated, or the possible abstraction of the gifts by strangers.
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:
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 ledtoward the left on his march round the interior of the Midē´wigân, the officiating priests following and being followed in succession by all others present. The march continues until the eighth passage round, when the members begin to step back into their respective places, while the officiating Midē´ finally station themselves with their backs toward the westernmost degree post, and face the door at the end of the structure. The candidate continues round to the western end, faces the Midē´ priests, and all sit down. The following song is then sung, which may be the individual production of the candidate (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.
mnemonic song
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-nakka-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.The dancing is not so energetic as many of those commonly indulged in for amusement only. The steps consist of two treading movements made by each foot in succession. Keeping time with the drum-beats, at the same time there is a shuffling movement made by the dancer forward, around and among his companions, but getting back toward his place before the verse is ended. The attitude during these movements consists in bending the body forward, while the knees are bent, giving one the appearance of searching for a lost object. Those who do not sing give utterance to short, deep grunts, in accordance with the alternate heavier strokes upon the drum.
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!he! he! he! he! and pretends to swallow it, this time only reeling from its effects. He is now restored to a new life for the second time; and as the priests go to seek seats he is left on the southern side and seats himself. After all those who have been occupied with the initiation have hung up their midē´ sacks on available projections against the wall or branches, the new member goes forward to the pile of tobacco, blankets, and other gifts and divides them among those present, giving the larger portions to the officiating priests. He then passes around once more, stopping before each one to pass his hands over the sides of the priests’ heads, and says:
after which he retreats a step, and clasping his hands and bowing toward the priest, says:
to which each responds hau´, ēn. The word hau´ is a term of approbation, ēnsignifying 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 ofrest is taken, but when it is resumed dancing begins and is continued to the end. In this manner they indulge in singing and dancing, interspersed with short speeches, until the approach of sunset, when the members retire to their own wig´iwams, leaving the Midē´-wigân by the western egress.
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.
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. OnPl.XI, No. 4, is presented an illustration of the bead (the second-degreemī´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 inand acknowledged by the credulous and are practiced by that class of Shamans here designated as the Wâbĕnō´.
In his history129Rev. 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 inPl.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 promptedfrom motives of vanity. The original sketch, of whichFig. 24is 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:
see text
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 onPl.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:
mnemonic song
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.]
see text
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 inFig. 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.
sacred posts
Plate XV. Sacred Posts Of Midē´wigân.
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. InFig. 3is 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.”
see text
Fig. 3.—Origin of Ginseng.
Larger Figure
There appears to be some similarity between this tradition and that given in connection withPl.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.The son died; whereupon his mother immediately set out for the village to obtain help to restore him to life, as she believed her father, the chief priest of the Midē´-wiwin, able to accomplish this.
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´-bonshtĭk-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.
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 inPl.XIV, A, is a reproduction of the original. The words, with translation, are as follows:
mnemonic song
Plate XIVa. Mnemonic Song.
[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.]
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.
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.]
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 inabilityto attend, have sent them with an explanation. The candidate, at the suggestion of the Midē´ priest, then prepares to leave the sudatory, gathers up the tobacco, and as he slowly advances toward the Midē´ inclosure his attendants fall into the procession according to their office. The priests sing as they go forward, until they reach the entrance of the Midē´wigân, where the candidate and his preceptor halt, while the remainder enter and take their stations just within the door, facing the west.
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 thesacred stone he faces it and is turned round so that his back is not toward it in passing; the same is done at the second place where one of the spirits is supposed to abide; again at first, second, and third posts. By this time the candidate is at the western extremity of the structure, and as the second Midē´ receives him in charge, the other taking his station beside the preceptor, he continues his course toward the north and east to the point of departure, going through similar evolutions as before, as he passes the three posts, the place of gifts and the sacred stone. This is done as an act of reverence to the man´idōs and to acknowledge his gratitude for their presence and encouragement. When he again arrives at the eastern extremity of the inclosure he is placed between the two officiating Midē´, who have been awaiting his return, while his companion goes farther back, even to the door, from which point he addresses the other officiating Midē´ as follows:
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 onPl.XIV, B.
mnemonic song
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, thenewly accepted member goes around to each, member present, passes his hands downward over the sides of the Midē’s head and says: