then, stepping back, he clasps his hands and bows toward the Midē´, adding: Ni-ka´-ni, ni-ka´-ni, ni-ka´-ni, ka-na´,—“My Midē´ friend, my Midē´ friend, my Midē´ friend, friend.” To this the Midē´ responds in affirmation, hau´, ēn´—yes.The new member then finds a seat on the southern side of the inclosure, whereupon the ushers—Midē´ appointed to attend to outside duties—retire and bring in the vessels of food which are carried around to various persons present, four distinct times.The feast continues for a considerable length of time, after which the kettles and dishes are again carried outside the Midē´wi-gân, when all who desire indulge in smoking. Midē´ songs are chanted by one of the priests, the accompanying, reproduced pictorially in Pl.XIVC, being an example. The lines, as usual, are repeated ad libitum, the music being limited to but few notes, and in a minor key. The following are the words with translation:mnemonic songPlate XIV.c. Mnemonic Song.line drawingHe´-ne-wi´-ani´-nami´-si-man´-i-dē-ge´Their bodiesshine over the worldhe-wa´-we-a´-ne-kan´.unto me as unto you, my Midē´ friend.This refers to the sun, and moon, whose bodies are united in the drawing.line drawingMa´-na-wi-na´hai´-e-ne-hā´be-wa´-bik-kunYour eyessee them botheyes made of iron,kan-din´-a-we.piercing eyes.The figure is that of the crane, whose loud, far-reaching voice is indicated by the short lines radiating from the mouth. The eyes of the crane Man´idō are equally penetrating.line drawingTa-be´-nĕ-wa´he-shi-wa´, hā´ma´-si-ni´-ni-he´-shi-wa´, hā´.Calmit leads you toguides you to your food.Knowledge of superior powers gained through familiarity with the rites of the Midē´wiwin is here referred to. The figure points to the abode of Ki´tshi Man´idō; three short lines indicating three degrees in the Midē´wiwin, which the candidate has taken.line drawingHa-nin´-dihe-bik´-kĭn-he´man´-i-dōni-kan´Whencedoes he risespiritMidē´ friendwa-ba-nŭnk´,mi-dē´-man´-i-dōwa-ba-nŭnk´.from the east,midē´ man´idōfrom the east.[The hand reaches up as in making the gesture for rising sun or day, the “sky lines” leaning to the left, or east; one making signs is always presumed to face the south, and signs referring to periods of day, sun, sunrise, etc., are made from the left side of the body.]vertical linesRest.line drawingWa-dzhi-wan´, wa-dzhi-wan´-na,Wa-dahi-wan´ ni-ka´-na-hē´.There is a mountain, there is a mountain,There is a mountain, my friends.[The upright outline represents a mountain upon which a powerful Midē´ is seated, symbolical of the distinction attainable by a Midē´.]line drawingWa´-bĕ-ku´ĕ-be-a´,wa´-bĕ-ku´-ĕ-be-a´,Shot it was,shot it wasna´-bĕ-ku´-ĕ-be-a´man´-i-dō´-´anĭn-dē´.and it hit body, yourman´idoyour heart.man´-i-dō´-anin-dē´.man´idoyour heart.[The Mī´gis is represented in the illustration by the small rings; the arrow indicating that it was “shot” with velocity.]line drawingHwe´-kwo-nin´-na-ta, ki-wī´-kash´-ka-man;En-do´-ge-mā´ wesh´-in-ē´.What am I going around?I am going around the Midē´wigân.[The oblong structure represents the Midē´wigân. The otter-skin Midē´ sack is taken around it, as is shown by the outline of that animal and the line or course indicated. The Makwa´ Man´idō (bear spirit) is shown at the left, resting upon the horizontal line, the earth, below which are magic lines showing his power, as also the lines upon the back of the bear. The speaker compares himself to the bear spirit.]line drawingNen´-do-ne´-ha-mān-ni´ nī´-ŏ,What am I looking at.The figure denotes a leg, signifying powers of transporting one’s self to remote places; the magic power is indicated by the three transverse lines and the small spots, the mī´gis, upon it.line drawingBa´bin-ke´-en non´-do-wa-wē´, hī´,I soon heard him, the one who did not listen to them.[The Midē´, as a superior personage, is shown by having the horns attached to the head. The line of hearing has small rings, at intervals, indicating that something is heard.]line drawingHin´-ta-na´-wi ni-ka´-na-gi´, ē´, hē´,pī´-na-nī´, hin´-ta-na´-wi ni-ka´-na-ga´ na´-ge-ka-na´ ē´, hē´.The Nika´ni are finding fault with me, inside of my lodge.[The arm at the side of the Midē´wigân points to the interior, the place spoken of.]line drawingOnsh´-konsh-na-nā´ pi-na´-wa nin-bosh´-i-na´-na.With the bear’s claws I almost hit him.The Midē´ used the bear’s claw to work a charm, or exorcism, and would seem to indicate that he claimed the powers of a Wâbĕnō´. The one spoken of is an evil man´idō, referred to in the preceding line, in which he speaks of having heard him.At the conclusion of this protracted ceremony a few speeches may be made by a Midē´, recounting the benefits to be enjoyed and the powers wielded by the knowledge thus acquired, after which the chief priest intimates to his colleagues the advisability of adjourning. They then leave the Midē´wigân by the western door, and before night all movable accessories are taken away from the structure.The remainder of the evening is spent in visiting friends, dancing, etc., and upon the following day they all return to their respective homes.DESCRIPTIVE NOTES.Although the mī´gis shell of the several degrees is generally of the same species, some of the older Midē´ priests claim that there were formerly specific shells, each being characteristic and pertaining specially to each individual grade. The objects claimed by Sika´s-sigĕ as referring to the third degree are, in addition to the Cypræa monata, L., a piece of purple wampum, and one shell of elongated form, both shown onPl.XI, Nos. 3 and 5, respectively.The fact of a Midē´ having been subjected to “mī´gis shooting” for the third time is an all-sufficient reason to the Indian why his powers are in a corresponding manner augmented. His powers of exorcism and incantation are greater; his knowledge and use of magic medicines more extended and certain of effect; and his ability to do harm, as in the capacity of a Wâbĕnō´, is more and more lauded and feared. He becomes possessed of a greater power in prophecy and prevision, and in this state enters the class of personages known as the Jĕs´sakkīd´, or jugglers. His power over darkness and obscurity is indicated onPl.III, A, No. 77, upon which the head, chest, and arms are represented as being covered with lines to designate obscurity, the extended arms with outstretched hands denoting ability to grasp and control that which is hidden to the eye.juggler's lodgeFig. 26.—Jĕs´sakkân´or juggler’s lodge.The Jĕs´sakkīd´ and his manner of performing have already been mentioned. This class of sorcerers were met with by the Jesuit Fathers early in the seventeenth century, and referred to under various designations, such as jongleur, magicien, consulteur du manitou, etc. Their influence in the tribe was recognized, and formed one of the greatest obstacles encountered in the Christianization of the Indians. Although the Jĕs´sakkīd´ may be a seer and prophet as well as a practitioner of exorcism without becoming amember of the Midē´wiwin, it is only when a Midē´ attains the rank of the third degree that he begins to give evidence of, or pretends to exhibit with any degree of confidence, the powers accredited to the former. The structure erected and occupied by the Jĕs´sakkīd´ for the performance of his powers as prophet or oracle has before been described as cylindrical, being made by planting four or more poles and wrapping about them sheets of birch bark, blankets, or similar material that will serve as a covering. This form of structure is generally represented in pictographic records, as shown inFig. 26.juggler's lodgejuggler's lodgeFig. 27.—Jĕs´sakkân´,or juggler’s lodge.Fig. 28.—Jĕs´sakkân´,or juggler’s lodge.juggler's lodgeFig. 29.—Jĕs´sakkân´,juggler’s lodge.The accompanying illustrations, Figs. 27, 28, and 29, reproduced from birch-bark etchings, were the property of Jĕs´sakkīd´, who were also Midē´ of the third and fourth degrees. It will be noticed that the structure used by them is in the form of the ordinary wig´iwam, as their profession of medical magic is apparently held in higher esteem than the art of prophecy; their status and claims as Jĕs´sakkīd´ being indicated by the great number of ma´nidōs which they have the power of invoking. These man´idōs, or spirits, are indicated by the outline of their material forms, the heart being indicated and connected with the interior of the structure to show the power of the Jĕs´sakkīd´ over the life of the respective spirits. The Thunder-bird usually occupies the highest position in his estimation, and for this reason is drawn directly over the wig´iwam. The Turtle is claimed to be the man´idō who acts as intermediary between the Jĕs´sakkīd´ and the other man´idōs, and is therefore not found among the characters on the outside of the wig´iwam, but his presence is indicated within, either at the spot marking the convergence of the “life lines,” or immediately below it.juggler's lodgeFig. 30.—Jĕs´sakkân´ orjuggler’s lodge.Fig. 30 is a reproducton of anetching made by a Jĕs´sakkīd´ at White Earth, Minnesota. The two curved lines above the Jĕs´sakkan´ represent the sky, from which magic power is derived, as shown by the waving line extending downward. The small spots within the structure are “magic spots,” i.e., the presence of man´idōs. The juggler is shown upon the left side near the base. When a prophet is so fortunate as to be able to claim one of these man´idōs as his own tutelary daimon, his advantage in invoking the others is comparatively greater. Before proceeding to the Jĕs´sakkân´—or the “Jugglery,” as the Jĕs´sakkīd´ wig´iwam is commonly designated, a prophet will prepare himself by smoking and making an offering to his man´idō, and by singing a chant, of which an example is presented onPl.XIV, D. It is a reproduction of one made by a Jĕs´sakkīd´ who was also a Midē´ of the third degree. Each line is chanted as often as may be desired, or according to the effect which it may be desirable to produce or the inspired state of the singer.mnemonic songPlate XIV.d. Mnemonic Song.line drawingMe-we´-yan, ha´, ha´, ha´,I go into the Jĕs´sakkan´ to see the medicine.The circle represents the Jĕs´sakkīd´ as viewed from above; the short lines denote the magic character of the structure, and the central ring, or spot, the magic stone used by the prophet who appears entering from the side.line drawingTschi-nun´-dōn´, he´, he´, he´, he´,I was the one who dug up life.The Otter Man´idō emerging from the Midē´wigân; he received it from Ki´tshi Mani´dō.line drawingNi´ka-nī´ we-do-kon´-a, ha´, ha´,The spirit put down medicine on earth to grow.The sacred or magic lines descending to the earth denote supernatural origin of the mī´gis, which is shown by the four small rings. The short lines at the bottom represent the ascending sprouts of magic plants.line drawingTe-ti-ba´-tshi mŭt´-â-wit´, tē´, hē´, hē´,I am the one that dug up the medicine.The otter shown emerging from the jugglery. The speaker represents himself “like unto the Otter Man´idō.”line drawingKi´wan-win´-da ma´-kwa-nan´, na´, ha´,I answer my brother spirit.The Otter Man´idō responds to the invocation of the speaker. The diagonal line across the body signifies the “spirit character” of the animal.vertical linesRest or pause.line drawingWa´-a-so´-at wĕn´-ti´-na-man, ha´, ha,The spirit has put life into my body.The speaker is represented as being in the Midē´-wigân, where Ki´tshi Man´idō placed magic power into his body; the arms denote this act of putting into his sides the mī´gis. The line crossing the body denotes the person to be possessed of supernatural power.line drawingKi-to´-na-bi´-in, nē´, hē´, hē´,This is what the medicine has given us.The Midē´wigân, showing on the upper line the guardian man´idōs.line drawingNi´-sha-we´-ni-bĭ-ku´, hū´, hū´, hē´,I took with two hands what was thrown down to us.The speaker grasped life, i.e., the migīs´, to secure the mysterious power which he professes.In addition to the practice of medical magic, the Jĕs´sakkīd´ sometimes resorts to a curious process to extract from the patient’s body the malevolent beings or man´idōs which cause disease. The method of procedure is as follows: The Jĕs´sakkīd´ is provided with four or more tubular bones, consisting of the leg bones of large birds, each of the thickness of a finger and 4 or 5 inches in length. After the priest has fasted and chanted prayers for success, he gets down upon all fours close to the patient and with his mouth near the affected part. After using the rattle and singing most vociferously to cause the evil man´idō to take shelter at some particular spot, so that it may be detected and located by him, he suddenly touches that place with the end of one of the bones and immediately thereafter putting the other end into his mouth, as if it were a cigar, strikes it with the flat hand and sends it apparently down his throat. Then the second bone is treated in the same manner, as also the third and fourth, the last one being permitted to protrude from the mouth, when the end is put against the affected part and sucking is indulged in amid the most violent writhings and contortions in his endeavors to extract the man´idō. As this object is supposed to have been reached and swallowed by the Jĕs´sakkīd´ he crawls away to a short distance from the patient and relieves himself of the demon with violentretchings and apparent suffering. He recovers in a short time, spits out the bones, and, after directing his patient what further medicine to swallow, receives his fee and departs. Further description of this practice will be referred to below and illustrated onPl.XVIII.The above manner of disposing of the hollow bones is a clever trick and not readily detected, and it is only by such acts of jugglery and other delusions that he maintains his influence and importance among the credulous.see textsee textFig. 31.—Jĕs´sakkīd´curing woman.Fig. 32.—Jĕs´sakkīd´ curing man.Fig. 31represents a Jĕs´sakkīd´ curing a sick woman by sucking the demon through a bone tube. The pictograph was drawn upon a piece of birch bark which was carried in the owner’s Midē´ sack, and was intended to record an event of importance.No. 1 represents the actor, holding a rattle in hand. Around his head is an additional circle, denoting quantity (literally, more than an ordinary amount of knowledge), the short line projecting to the right indicating the tube used.No. 2 is the woman operated upon.Fig. 32represents an exhibition by a Jĕs´sakkīd´, a resident of White Earth, Minnesota. The priest is shown in No. 1 holding his rattle, the line extending from his eye to the patient’s abdomen signifying that he has located the demon and is about to begin his exorcism. No. 2 is the patient lying before the operator.FOURTH DEGREE.see textFig. 33.—Diagram of Midē´wigân of the fourth degree.The Midē´wigân, in which this degree is conferred, differs from the preceding structures by having open doorways in both the northern and southern walls, about midway between the eastern and western extremities and opposite to one another.Fig. 33represents a ground plan, in which may also be observed the location of each of the four Midē´ posts.Fig. 34shows general view of same structure. A short distance from the eastern entrance is deposited the sacred stone, beyond which is an area reserved for the presents to be deposited by an applicant for initiation. The remaining two-thirds of the space toward the western door is occupied at regular intervals by four posts, the first being painted red with a band of green around the top. (Pl.XV, No. 1.) The second post is red, and has scattered over its surface spots of white clay to symbolizethe sacred mī´gis shell. Upon it is perched the stuffed skin of an owl—kŏ-kó-kŏ-ō´. (Pl.XV, No. 2.) The third post is black; but instead of being round is cut square. (Pl.XV, No. 3.) The fourth post, that nearest the western extremity, is in the shape of a cross, painted white, with red spots, excepting the lower half of the trunk, which is squared, the colors upon the four sides being white on the east, green on the south, red on the west, and black on the north. (Pl.XV, No. 4.)view of midewiganFig. 34.—General view of Midē´wigân.About 10 paces east of the main entrance, in a direct line between it and the sweat lodge, is planted a piece of thin board 3 feet high and 6 inches broad, the top of which is cut so as to present a three-lobed apex, as shown inFig. 4. The eastern side of this board is painted green; that facing the Midē´wigân red. Near the top is a small opening, through which the Midē´ are enabled to peep into the interior of the sacred structure to observe the angry man´idōs occupying the structure and opposing the intrusion of anyone not of the fourth degree.A cedar tree is planted at each of the outer corners of the Midē´wigân, and about 6 paces away from the northern, western, and southern entrances a small brush structure is erected, sufficiently large to admit the body. These structures are termed bears’ nests, supposed to be points where the Bear Man´idō rested during the struggle he passed through while fighting with the malevolent man´idōs within to gain entrance and receive the fourth-degree initiation. Immediately within and to either side of the east and west entrances is planted a short post, 5 feet high and 8 inches thick, painted red upon the side facing the interior and black upon the reverse, at the base of each being laid a stone about as large as a human head. These four posts represent the four limbs and feet of the Bear Man´idō, who made the four entrances and forcibly entered and expelled the evil beings who had opposed him. The fourth-degree Midē´ post—the cross—furthermore symbolizes the four days’ struggle at the four openings or doors in the north, south, east, and west walls of the structure.PREPARATION OF CANDIDATE.Under ordinary circumstances it requires at least one year before a Midē´ of the third grade is considered eligible for promotion, and it is seldom that a candidate can procure the necessary presents within that period, so that frequently a number of years elapse before any intimation by a candidate is made to the chief priest that the necessary requirements can be complied with. The chief reason of this delay is attributed to the fact that the fee to the officiating priests alone must equal in value and quantity four times the amount paid at the first initiation, and as the success in gathering the robes, skins, blankets, etc., depends upon the candidate’s own exertions it will readily appear why so few ever attain the distinction sought. Should one be so fortunate, however, as to possess the required articles, he has only to make known the fact to the chief and assistant Midē´ priests, when a meeting is held at the wig´iwam of one of the members and the merits of the candidate discussed. For this purpose tobacco is furnished by the candidate. The more valuable and more numerous the presents the more rapidly will his application be disposed of, and the more certainly will favorable consideration on it be had. It becomes necessary, as in former instances of preparation, for the candidate to procure the service of a renowned Midē´, in order to acquire new or specially celebrated remedies or charms. The candidate may also give evidence of his own proficiency in magic without revealing the secrets of his success or the course pursued to attain it. The greater the mystery the higher he is held in esteem even by his jealous confrères.There is not much to be gained by preparatory instruction for the fourth degree, the chief claims being a renewal of the ceremony of “shooting the mī´gis” into the body of the candidate, and enacting or dramatizing the traditional efforts of the Bear Man´idō in his endeavor to receive from the Otter the secrets of this grade. One who succeeds becomes correspondingly powerful in his profession and therefore more feared by the credulous. His sources of income are accordingly increased by the greater number of Indians who require his assistance. Hunters, warriors, and lovers have occasion to call upon him, and sometimes antidoting charms are sought, when the evil effects of an enemy’s work are to be counteracted.The instructor receives the visit of the candidate, and upon coming to a satisfactory agreement concerning the fee to be paid for the service he prepares his pupil by prompting him as to the part he is to enact during the initiation and the reasons therefor. The preparation and the merits of magic compounds are discussed, andthe pupil receives instruction in making effective charms, compounding love powder, etc. This love powder is held in high esteem, and its composition is held a profound secret, to be transmitted only when a great fee is paid. It consists of the following ingredients: Vermilion; powdered snakeroot (Polygala senega, L.); exiguam particulam sanguinis a puella effusi, quum in primis menstruis esset; and a piece of ginseng cut from the bifurcation of the root, and powdered. These are mixed and put into a small buckskin bag. The preparation is undertaken only after an offering to Ki´tshi Man´idō of tobacco and a Midē´ song with rattle accompaniment. The manner of using this powder will be described under the caption of “descriptive notes.” It differs entirely from the powder employed in painting the face by one who wishes to attract or fascinate the object of his or her devotion. The latter is referred to by the Rev. Peter Jones130as follows:There is a particular kind of charm which they use when they wish to obtain the object of their affections. It is made of roots and red ocher. With this they paint their faces, believing it to possess a power so irresistible as to cause the object of their desire to love them. But the moment this medicine is taken away and the charm withdrawn the person who before was almost frantic with love hates with a perfect hatred.It is necessary that the candidate take a sweat-bath once each day, for four successive days, at some time during the autumn months of the year preceding the year in which the initiation is to occur. This form of preparation is deemed agreeable to Ki´tshi Man´idō, whose favor is constantly invoked that the candidate may be favored with the powers supposed to be conferred in the last degree. As spring approaches the candidate makes occasional presents of tobacco to the chief priest and his assistants, and when the period of the annual ceremony approaches, they send out runners to members to solicit their presence, and, if of the fourth degree, their assistance.INITIATION OF CANDIDATE.The candidate removes to the vicinity of the Midē´wigân so as to be able to go through the ceremony of purgation four times before the day of initiation. The sudatory having been constructed on the usual site, east of the large structure, he enters it on the morning of the fifth day preceding the initiation and after taking a sweat-bath he is joined by the preceptor, when both proceed to the four entrances of the Midē´wigân and deposit at each a small offering of tobacco. This procedure is followed on the second and third days, also, but upon the fourth the presents are also carried along and deposited at the entrances, where they are received by assistants and suspended from the rafters of the interior. On the evening of the last day, the chief and officiating priests visit the candidate and his preceptor,in the sweat-lodge, when ceremonial smoking is indulged in followed by the recitation of Midē´ chants. The following (Pl.XVI, A) is a reproduction of the chant taught to and recited by the candidate. The original was obtained from an old mnemonic chart in use at Mille Lacs, Minnesota, in the year 1825, which in turn had been copied from a record in the possession of a Midē´ priest at La Pointe, Wisconsin. Many of the words are of an older form than those in use at the present day. Each line may be repeated ad libitum.mnemonic songPlate XVI.a. Mnemonic Song.line drawingNi-ka´-ni-na´,ni-ka´-ni-na´,ni-ka´-ni-na´,I am the Nika´ni,I am the Nika´ni,I am the Nika´ni,man´-i-dō wig´-i-wam win´-di-ge´-un.I am going into the sacred lodge.[The speaker compares himself to the Bear Man´ido, and as such is represented at the entrance of the Midē´wigân.]line drawingNi-ka´-ni-na´,ni-ka´-ni-na´,ni-ka´-ni-na´,I am the Nika´ni,I am the Nika´ni,I am the Nika´ni,ni-kan´-gi-nun´-da wé-mĭ-dŭk´.I “suppose” you hear me.[The lines from the ear denotes hearing; the words are addressed to his auditors.]line drawingWâ´, he-wa´-ke-wa ke-wâ´,he-wa´-ke-wâ´, wâ´.He said,he said.Signifies that Ki´tshi Man´idō, who is seen with the voice lines issuing from the mouth, and who promised the Ani´shinâ´bēg “life,” that they might always live.vertical linesRest. A ceremonial smoke is now indulged in.line drawingWe´-shki-nun´-do-ni-ne´,ke-nosh´-ki-nun´-do-ni-ne´.This is the first time you hear it.[The lines of hearing are again shown; the words refer to the first time this is chanted as it is an intimation that the singer is to be advanced to the higher grade of the Midē´wiwin.]line drawingHwe´-na-ni-ka he-na´, he-nō´mi-tē´-win-win´ gi´-ga-wa´-pi-no-dōn´.You laugh, you laugh at the “grand medicine.”[The arms are directed towards Ki´tshi Man´idō, the creator of the sacred rite; the words refer to those who are ignorant of the Midē´wiwin and its teachings.]line drawingNun-te´-ma-ne´, hē´, wi´-na-nun´-te-ma-ne´ki´-pi-nan´.I hear, but they hear it not.[The speaker intimates that he realizes the importance of the Midē´ rite, but the uninitiated do not.]line drawingPe´-ne-sŭi´-a ke´-ke-kwi´-yan.I am sitting like a sparrow-hawk.The singer is sitting upright, and is watchful, like a hawk watching for its prey. He is ready to observe, and to acquire, everything that may transpire in the Midē´ structure.Upon the conclusion of the chant, the assembled Midē´ smoke and review the manner of procedure for the morrow’s ceremony, and when these details have been settled they disperse, to return to their wig´iwams, or to visit Midē´ who may have come from distant settlements.Early on the day of his initiation the candidate returns to the sudatory to await the coming of his preceptor. The gifts of tobacco are divided into parcels which may thus be easily distributed at the proper time, and as soon as the officiating priests have arrived, and seated themselves, the candidate produces some tobacco of which all present take a pipeful, when a ceremonial smoke-offering is made to Ki´tshi Man´idō. The candidate then takes his midē´ drum and sings a song of his own composition, or one which he may have purchased from his preceptor, or some Midē´ priest. The following is a reproduction of an old mnemonic song which the owner, Sikas´sigĕ, had received from his father who in turn had obtained it at La Pointe, Wisconsin, about the year 1800. The words are archaic to a great extent, and they furthermore differ from the modern language on account of the manner in which they are pronounced in chanting, which peculiarity has been faithfully followed below. The pictographic characters are reproduced inPl.XVI, B. As usual, the several lines are sung ad libitum, repetition depending entirely upon the feelings of the singer.mnemonic songPlate XVI.b. Mnemonic Song.line drawingHin´-to-nâ-ga-ne´ o-sa-ga-tshī´-wēd o-do´-zhi-tōn´.The sun is coming up, that makes my dish.The dish signifies the feast to be made by the singer. The zigzag lines across the dish denote the sacred character of the feast. The upper lines are the arm holding the vessel.line drawingMan´-i-dō i´-ya-nē´, ish´-ko-te´-wi-wa´-we-yan´.My spirit is on fire.The horizontal lines across the leg signify magic power of traversing space. The short lines below the foot denote flames, i.e., magic influence obtained by swiftness of communication with the man´idōs.line drawingKo´tshi-hâ-ya-nē´, nē´,ish´-ki-to´-ya-ni´, nin-do´-we-hē´, wi´-a-we-yan´.I want to try you, I am of fire.[The zigzag lines diverging from the mouth signify voice, singing; the apex upon the head superior knowledge, by means of which the singer wishes to try his Midē´ sack upon his hearer, to give evidence of the power of his influence.]vertical linesA pause. Ceremonial smoking is indulged in, after which the chant is continued.line drawingNi-mī´-ga-sim´-ma man´-i-dō, sa-ko´-tshi-na´.My mī´gis spirit, that is why I am stronger than you.The three spots denote the three times the singer has received the mī´gis by being shot; it is because this spirit is within him that he is more powerful than those upon the outside of the wigiwam who hear him.line drawingMī´-ga-ye´-nin en´-dy-ân, ya´, hō´, ya´, man´-i-dō´-ya.That is the way I feel, spirit.The speaker is filled with joy at his power, the mī´gis within him, shown by the spot upon the body, making him confident.line drawingYa-gō´-sha-hī´, nâ´, ha´, ha´,Ya-gō´-sha-hi´, man´-i-dō-wī´-yĭn.I am stronger than you, spirit that you are.[He feels more powerful, from having received three times the mī´gis, than the evil spirit who antagonizes his progress in advancement.]Upon the completion of this preliminary by the candidate, the priests emerge from the wig´iwam and fall in line according to their official status, when the candidate and preceptor gather up the parcels of tobacco and place themselves at the head of the column and start toward the eastern entrance of the Midē´wigân. As they approach the lone post, or board, the candidate halts, when the priests continue to chant and drum upon the Midē´ drum. The chief Midē´ then advances to the board and peeps through the orifice near the top to view malevolent man´idōs occupying the interior, who are antagonistic to the entrance of a stranger. This spot is assumed to represent the resting place or “nest,” from which the Bear Man´idō viewed the evil spirits during the time of his initiation by the Otter. The evil spirits within are crouching upon the floor, one behind the other and facing the east, the first being Mi-shi´-bi-shi´—the panther; the second, Me-shi´-kĕ—the turtle; the third, kwin´-go-â´-gĭ—the big wolverine; the fourth, wâ´-gŭsh—the fox; the fifth, ma-in´-gŭn—the wolf; and the sixth, ma-kwa´—the bear. They are the ones who endeavor to counteract or destroy the good wrought by the rites of the Midē´wiwin, and only by the aid of the good man´idōs can they be driven from the Midē´wigân so as to permit a candidate to enter and receive the benefits of the degree. The second Midē´ then views the group of malevolent beings, after which the third, and lastly the fourth priest looks through the orifice. They then advisethe presentation by the candidate of tobacco at that point to invoke the best efforts of the Midē´ Man´idōs in his behalf.It is asserted that all of the malevolent man´idōs who occupied and surrounded the preceding degree structures have now assembled about this fourth degree of the Midē´wigân to make a final effort against the admission and advancement of the candidate: therefore he impersonates the good Bear Man´idō, and is obliged to follow a similar course in approaching from his present position the entrance of the structure. Upon hands and knees he slowly crawls toward the main entrance, when a wailing voice is heard in the east which sounds like the word hān´, prolonged in a monotone. This is ge´-gi-si´-bi-ga´-ne-dât man´idō. His bones are heard rattling as he approaches; he wields his bow and arrow; his long hair streaming in the air, and his body, covered with mī´gis shells from the salt sea, from which he has emerged to aid in the expulsion of the opposing spirits. This being the information given to the candidate he assumes and personates the character of the man´idō referred to, and being given a bow and four arrows, and under the guidance of his preceptor, he proceeds toward the main entrance of the structure while the officiating priests enter and station themselves within the door facing the west. The preceptor carries the remaining parcels of tobacco, and when the candidate arrives near the door he makes four movements with his bow and arrow toward the interior, as if shooting, the last time sending an arrow within, upon which the grinning spirits are forced to retreat toward the other end of the inclosure. The candidate then rushes in at the main entrance, and upon emerging at the south suddenly turns and again employs his bow and arrow four times toward the crowd of evil man´idōs, who have rushed toward him during the interval that he was within. At the last gesture of shooting into the inclosure, he sends forward an arrow, deposits a parcel of tobacco and crouches to rest at the so-called “bear’s nest.” During this period of repose the Midē´ priests continue to drum and sing. Then the candidate approaches the southern door again, on all fours, and the moment he arrives there he rises and is hurried through the inclosure to emerge at the west, where he turns suddenly, and imitating the manner of shooting arrows into the group of angry man´idōs within, he at the fourth movement lets fly an arrow and gets down into the western “bear’s nest.” After a short interval he again approaches the door, crawling forward on his hands and knees until he reaches the entrance, where he leaves a present of tobacco and is hastened through the inclosure to emerge at the northern door, where he again turns suddenly upon the angry spirits, and after making threatening movements toward them, at the fourth menace he sends an arrow among them. The spirits are now greatly annoyed by the magic power possessed by the candidate and the assistance rendered by the Midē´Man´idōs, so that they are compelled to seek safety in flight. The candidate is resting in the northern “bear’s nest,” and as he again crawls toward the Midē´wigân, on hands and knees, he deposits another gift of a parcel of tobacco, then rises and is hurried through the interior to emerge at the entrance door, where he turns around, and seeing but a few angry man´idōs remaining, he takes his last arrow and aiming it at them makes four threatening gestures toward them, at the last sending the arrow into the structure, which puts to flight all opposition on the part of this host of man´idōs. The path is now clear, and after he deposits another gift of tobacco at the door he is led within, and the preceptor receives the bow and deposits it with the remaining tobacco upon the pile of blankets and robes that have by this time been removed from the rafters and laid upon the ground midway between the sacred Midē´ stone and the first Midē´ post.The chief Midē´ priest then takes charge of the candidate, saying:Mi´-a-shi´-gwawi-ka´-we-a´-kwa-mŭs-sin´-nŭk.Mī´-a-shi´-gwaNow is the time[to take] the path that has no endNow is the timewi-kan´-do-we-ân´mi´-ga-ī´-zhid wen´-dzhi-bi-mâ´-dis.I shall inform you [of]that which I was toldthe reason I live.To this the second Midē´ priest remarks to the candidate, Wa´-shi-gân´-do-we-an´ mi-gai´-i-nŏk´ wa´-ka-no´-shi-dzin—which freely translated signifies: “The reason I now advise you is that you may heed him when he speaks to you.” The candidate is then led around the interior of the inclosure, the assistant Midē´ fall in line of march and are followed by all the others present, excepting the musicians. During the circuit, which is performed slowly, the chief Midē´ drums upon the Midē´ drum and chants. The following, reproduced from the original, onPl.XVII, B, consists of a number of archaic words, some of which are furthermore different from the spoken language on account of their being chanted, and meaningless syllables introduced to prolong certain accentuated notes. Each line and stanza may be repeated ad libitum.mnemonic songPlate XVII.b. Mnemonic Song.line drawingMan´-i-dō, hē´, nē´-yē´, man´-i-dō, hē´, nē´, yē´,ēn´-da-na´-bi-yĕn wen´-dō-bi´-yĕn.A spirit, a spirit, you who sit there, who sit there.[The singer makes a spirit of the candidate by thus giving him new life, by again shooting into his body the sacred mīgis. The disk is the dish for feast of spirits in the dzhibai´ midē´wigân—“Ghost Lodge,” the arms reaching towards it denoting the spirits who take food therefrom. The signification is that the candidate will be enabled to invoke and commune with the spirits of departed Midē´, and to learn of hidden powers.]line drawingHe´-ha-wa´-ni, yē´, he´-ha-wa´-ni, yē´,na´-bi-nesh´-ga-na´-bi, hī´, hē´.These words were chanted, while the following are those as spoken, apart from the music.Â-wan´-ō-de´-no-wĭn nī´-bi-dĕsh´-ka-wĭn un´-de-no´-wĭn.The fog wind goes from place to place whence the wind blows.[The reason of the representation of a human form was not satisfactorily explained. The preceptor felt confident, however, that it signified a man´īdō who controls the fog, one different from one of the a-na´-mi-ki´, or Thunderers, who would be shown by the figure of an eagle, or a hawk, when it would also denote the thunder, and perhaps lightning, neither of which occurs in connection with the fog.]vertical linesRest.line drawingMan´-i-dō´-we ni´-mi-nan´ ku-ni´-ne man-to´-ke ni´-mi-ne´.I who acknowledge you to be a spirit, and am dying.The figure is an outline of the Midē´wigân with the sacred Midē´ stone indicated within, as also another spot to signify the place occupied by a sick person. The waving lines above and beneath the oblong square are magic lines, and indicate magic or supernatural power. The singer compares the candidate to a sick man who is seeking life by having shot into his body the mī´gis.line drawingGa-kwe´-in-nân´ tshi-ha´-gĕ-nâ´ ma-kwa´ ni-go´-tshi-ni´.I am trying you who are the bear.The Midē´ who is chanting is shown in the figure; his eyes are looking into the candidate’s heart. The lines from the mouth are also shown as denoting speech, directed to his hearer. The horns are a representation of the manner of indicating superior powers.line drawingPĭ-nē´-si ka´-ka-gī´-wai-yan´ wen´-dzhi man´-i-dō´wid.The bird, the crow bird’s skin is the reason why I am a spirit.Although the crow is mentioned, the Thunder-bird (eagle) is delineated. The signification of the phrase is, that the speaker is equal in power to a man´idō, at the time of using the Midē´ sack—which is of such a skin.line drawingTshin-gwe´-wi-he´-na nē´, kan´, tshi-wâ´-ba-ku-nēt´.The sound of the Thunder is the white bear of fire.The head is, in this instance, symbolical of the white bear man´idō; the short lines below it denoting flame radiating from the body, the eyes also looking with penetrating gaze, as indicated by the double waving lines from each eye. The white bear man´idō is one of the most powerful man´idōs, and is so recognized.By the time this chant is completed the head of the procession reaches the point of departure, just within the eastern door, and all of the members return to their seats, only the four officiating Midē´ remaining with the candidate and his preceptor. To search furtherthat no malevolent man´idōs may remain lurking within the Midē´wigân, the chief priests lead the candidate in a zigzag manner to the western door, and back again to the east. In this way the path leads past the side of the Midē´ stone, then right oblique to the north of the heap of presents, thence left oblique to the south of the first-degree post, then passing the second on the north, and so on until the last post is reached, around which the course continues, and back in a similar serpentine manner to the eastern door. The candidate is then led to the blankets, upon which he seats himself, the four officiating priests placing themselves before him, the preceptor standing back near the first of the four degree posts.The Midē´ priest of the fourth rank or place in order of precedence approaches the kneeling candidate and in a manner similar to that which has already been described shoots into his breast the mī´gis; the third, second and first Midē´ follow in like manner, the last named alone shooting his mī´gis into the candidate’s forehead, upon which he falls forward, spits out a mī´gis shell which he had previously secreted in his mouth, and upon the priests rubbing upon his back and limbs their Midē´ sacks he recovers and resumes his sitting posture.The officiating priests retire to either side of the inclosure to find seats, when the newly received member arises and with the assistance of the preceptor distributes the remaining parcels of tobacco, and lastly the blankets, robes, and other gifts. He then begins at the southeastern angle of the inclosure to return thanks for admission, places both hands upon the first person, and as he moves them downward over his hair says: Mi-gwĕtsh´ ga-o´-shi-tō´-ĭn bi-mâ´-dĭ-sĭ-win—“Thanks, for giving to me life.” The Midē´ addressed bows his head and responds, hau´, ēn´,—yes when the newly admitted member steps back one pace, clasps his hands and inclines his head to the front. This movement is continued until all present have been thanked, after which he takes a seat in the southeastern corner of the inclosure.A curious ceremony then takes place in which all the Midē´ on one side of the inclosure arise and approach those upon the other, each grasping his Midē´ sack and selecting a victim pretends to shoot into his body the mī´gis, whereupon the Midē´ so shot falls over, and after a brief attack of gagging and retching pretends to gain relief by spitting out of his mouth a mī´gis shell. This is held upon the left palm, and as the opposing party retreat to their seats, the side which has just been subjected to the attack moves rapidly around among one another as if dancing, but simply giving rapid utterance to the word hŏ´, hŏ´, hŏ´, hŏ´, hŏ´, hŏ´, and showing the mī´gis to everybody present, after which they place the flat hands quickly to the mouth and pretend again to swallow their respective shells. The members of this party then similarly attack their opponents, whosubmit to similar treatment and go through like movements in exhibiting the mī´gis, which they again swallow. When quiet has been restored, and after a ceremonial smoke has been indulged in, the candidate sings, or chants, the production being either his own composition or that of some other person from whom it has been purchased. The chant presented herewith was obtained from Sikas´sigĕ, who had received it in turn from his father when the latter was chief priest of the Midē´wiwin at Mille Lacs, Minnesota. The pictographic characters are reproduced onPl.XVII, A, and the musical notation, which is also presented, was obtained during the period of my preliminary instruction. The phraseology of the chant, of which each line and verse is repeated ad libitum as the singer may be inspired, is as follows:mnemonic songPlate XVII.a. Mnemonic Song.line drawingDo-nâ´-ga-nī´,Na´-wa-kwe´ in-do´-shi-tōn´,do-nâ´-ga-nī´.My dish,At noon I make it,my dish.The singer refers to the feast which he gives to the Midē´ for admitting him into the Midē´wiwin.musical notationDo-na-ga-ni, Do-na-ga-ni, Do-na-ga-ni, Do-na-ga-ni,Do-na-ga-ni, Do-na-ga-ni; Na-´kwa-wē´, In-do-shi-tōn Donagani,Donaga-ni, Do-na-ga-ni, Do-na-ga-ni, Do-na-ga-ni, Do-na-ga-ni.MIDI files:drum,flute,pianoline drawingMan´-ī-dō´ i-yan-nī´, Esh-ko´-te nin´-do-we´-yo-wĭn´,I am such a spirit, My body is made of fire.His power reaches to the sky, i.e., he has power to invoke the aid of Ki´tshi Man´idō. The four degrees which he has received are indicated by the four short lines at the tip of the hand.musical notationMa´ni-dō-i-ya-ni, Ma´ni-dō-i-ya-ni, Ma´ni-dō-i-ya-ni,Ma´ni-dō-i-ya-ni, Ma´ni-dō-i-ya-ni;Esh´ko-te nin-do we-yo-win, Manidōiya-ni, Ma´ni-dō-i-ya-ni,Ma´ni-dō-i-ya-ni, Ma´ni-dō-i-ya-ni.MIDI files:drum,flute,pianoline drawingKŏ´-tshi-hai´-o-nī´,Esh-ko´-te wa-ni´-yō.I have tried it, My body is of fire.He likens himself to the Bear Man´idō, and has like power by virtue of his mī´gis, which is shown below the lines running downward from the mouth. He is represented as standing in the Midē´wigân—where his feet rest.musical notationKo´tshi-hai´o-ni, Ko´tshi-hai´o-ni, Ko´tshi-hai´o-ni,Ko´tshihai´oni, Ko´tshi-hai´o-ni, Ko´tshi-hai´o-ni,Ko´tshi-hai´o-ni, Ko´tshi-hai´o-ni, Esh´kote´wani´yo, Ko´tshihaioni.Ko´tshihai´oni, Kotshihaioni, hĕ´ō, hĕ´ō.MIDI files:drum,flute,pianovertical linesPause. An offering of smoke is made to Ki´tshi Man´idō.line drawingNi-mī´-gi-sĭm´ man´-i-dō´-we, hwē´, hē´,Sha´-go-dzhĭ´-hi-na´.My mī´gis spirit, I overpower death with.[His body is covered with mī´gis as shown by the short lines radiating from the sides, and by this power he is enabled to overcome death.]musical notationNimegasi mani dō-wē, hwē, hē, Nimegasi mani dō-wē, hwē, hē,Shagodzhihinani-mega-si, Manido-wē, hwē, hē.Ni-me-ga-si-ma-ni-dō-wē, hwē, hē.MIDI files:drum,flute,pianoline drawingNi´-ka-ni´ nin-man´-e-dō´-we-ya´.Ya´-ho-ya´ man´-i-dō´-wa nin-da´-ho-ha´.That is the way with me, spirit that I am.[The hand shows how he casts the mī´gis forward into the person requiring life. He has fourfold power, i.e., he has received the mī´gis four times himself and is thus enabled to infuse into the person requiring it.]musical notationNi´-ga-ne´ nin ma´ni-dō´we yaNi´-ga-ne´ nin ma´ni-dō´we ya,Ya´ho-ya´ ma´nidō-we,Nin´dohōha ni´gane, ma´ni-dō-we, ya, hē.MIDI files:drum,flute,pianoline drawingĒ-kotsh´-i-na´-ha,Ē-kotsh´-ha man´-i-dō´ hwe-do´-wī.I hang it, I hang up the Spirit sack.[After using his Midē´ sack he hangs it against the wall of the Midē´wigân, as is usually done during the ceremonial of initiation.]musical notationE-ko´tshi-na-ha, E-ko´tshi-na-ha, E-ko´tshi-na-ha,E-ko´-tshi-na-ha, E-ko´-tshi-na-ha,E-ki´-tshi-ma´-ni-dō´ hwe-do-wi, E-ko´tshi-na-ha,E-ko´tshi-na-ha, E-ko´tshi-na-ha, hĕ´a.MIDI files:drum,flute,pianoline drawingHe´-a-wi-non´-dam-a´-ni,Man´-i-dō´ mi-de´-wi-he´ne´-ma-da´-wi-dzig´.Let them hear, Midē´ spirit, those who are sitting around.[He invokes Ki´tshi Man´idō to make his auditors understand his power.]musical notationHe-a-wi-non´-da-ma-ni hē, He-a-wi-nonda-ma-ni hē;He´-a-wi-non-da-ma-ni hē, He´-a-wi-non-da-ma-ni hē;Manidomidēwi hē, Nemadawi dzhig, Heawinondamani hē, hē, hē.MIDI files:drum,flute,pianoline drawingHe´-a-we-na´ ni´-we-dō´,Man´-i-dō´ we-a-nī´Ni´-ka-nā´ ni´-na-nā´.He who is sleeping,The Spirit, I bring him, a kinsman.[In the employment of his powers he resorts to the help of Ki´tshi Man´idō—his kinsman or Midē´ colleague.]musical notationHe-a-we-na-ne-we-dō, hō, He-a-we-na-ne-we-dō, hō,He-a-we-na-ne-we-dō, hō, He-a-we-na-ne-we-dō, hō;Ma´-ni-dō-we-a-ni ni-ka-na ni-ka-na, hō, hō.MIDI files:drum,flute,pianoline drawingMan´-i-dō´ we-a-nī´Esh-ke´-ta we´-a-nĭ´ man´-i-dō´ we´-a-nĭ´.I am a spirit,Fire is my spirit body.[The hand reaches to the earth to grasp fire, showing his ability to do so without injury and illustrating in this manner his supernatural power.]musical notationMa´ni-dō´wi-a-ni hē, Ma´ni-dō´wi-a-ni hē, Ma´-ni-dō´-wi-a-ni hē,Ma´-ni-dō´-wi-a-ni hē, Ma´-ni-dō´wi-a-ni hē;Esh´kato´weani hē, Ma´nidō´wiani hē, Ma´nidō´wia-ni hē.MIDI files:drum,flute,pianoline drawingAi-ya´-swa-kĭt-te´, hē´, he´,He´-ā´ se-wī´-kit-te´, hē´, hē´Na-se´-ma-gŏt´ nin-dē´.It is leaning,My heart breathes.[The phrase refers to the mī´gis within his heart. The short radiating lines indicate the magic power of the shell.]musical notationHe´-a-si-wi-kit-te hē, He´-a-si-wi-kit-te hē, He´a-si-wikit-te hē,He´a-si-wi-kit-te hē, Na´simagot nin´de hē, He´-a-si-wi-kit-te hē,He´-a-si-wi-kit-te hē, He´-a-si-wi-kit-te hē´, He´a-si-wi-kitte hē.MIDI files:drum,flute,pianovertical linesRest, or pause, after which dancing accompanies the remainder of the song.line drawingNi-ka´-nin-ko´-tshi´-ha ni´-ka-naNi-ka´-na-nin-ko´-tshi-ha.Midē´ friends, I am trying, Midē´ friends, Midē´ friends, I am trying.[His hand and arm crossed by lines to denote magic power, in reaching to grasp more than four degrees have given him; he has in view a fifth, or its equivalent.]musical notationNi´-ka-ni ko´tshiha Ni´ka-ni ha,Ni´-ka-ni ko´tshini Ni´-ka-ni ha,Ni´-ka-ni ko´-tshi-ha Ni´-ka-ni ha.MIDI files:drum,flute,pianoline drawingHi´-ne-na-wa´ ni-be´-i-dōn´ ni-di´-na.I hold that which I brought, and told him.The singer is holding the mī´gis and refers to his having its power, which he desires Ki´tshi Man´idō to augment.
then, stepping back, he clasps his hands and bows toward the Midē´, adding: Ni-ka´-ni, ni-ka´-ni, ni-ka´-ni, ka-na´,—“My Midē´ friend, my Midē´ friend, my Midē´ friend, friend.” To this the Midē´ responds in affirmation, hau´, ēn´—yes.
The new member then finds a seat on the southern side of the inclosure, whereupon the ushers—Midē´ appointed to attend to outside duties—retire and bring in the vessels of food which are carried around to various persons present, four distinct times.
The feast continues for a considerable length of time, after which the kettles and dishes are again carried outside the Midē´wi-gân, when all who desire indulge in smoking. Midē´ songs are chanted by one of the priests, the accompanying, reproduced pictorially in Pl.XIVC, being an example. The lines, as usual, are repeated ad libitum, the music being limited to but few notes, and in a minor key. The following are the words with translation:
mnemonic song
Plate XIV.c. Mnemonic Song.
This refers to the sun, and moon, whose bodies are united in the drawing.
The figure is that of the crane, whose loud, far-reaching voice is indicated by the short lines radiating from the mouth. The eyes of the crane Man´idō are equally penetrating.
Knowledge of superior powers gained through familiarity with the rites of the Midē´wiwin is here referred to. The figure points to the abode of Ki´tshi Man´idō; three short lines indicating three degrees in the Midē´wiwin, which the candidate has taken.
[The hand reaches up as in making the gesture for rising sun or day, the “sky lines” leaning to the left, or east; one making signs is always presumed to face the south, and signs referring to periods of day, sun, sunrise, etc., are made from the left side of the body.]
Rest.
Wa-dzhi-wan´, wa-dzhi-wan´-na,Wa-dahi-wan´ ni-ka´-na-hē´.
There is a mountain, there is a mountain,There is a mountain, my friends.
[The upright outline represents a mountain upon which a powerful Midē´ is seated, symbolical of the distinction attainable by a Midē´.]
[The Mī´gis is represented in the illustration by the small rings; the arrow indicating that it was “shot” with velocity.]
Hwe´-kwo-nin´-na-ta, ki-wī´-kash´-ka-man;En-do´-ge-mā´ wesh´-in-ē´.
What am I going around?I am going around the Midē´wigân.
[The oblong structure represents the Midē´wigân. The otter-skin Midē´ sack is taken around it, as is shown by the outline of that animal and the line or course indicated. The Makwa´ Man´idō (bear spirit) is shown at the left, resting upon the horizontal line, the earth, below which are magic lines showing his power, as also the lines upon the back of the bear. The speaker compares himself to the bear spirit.]
Nen´-do-ne´-ha-mān-ni´ nī´-ŏ,
What am I looking at.
The figure denotes a leg, signifying powers of transporting one’s self to remote places; the magic power is indicated by the three transverse lines and the small spots, the mī´gis, upon it.
Ba´bin-ke´-en non´-do-wa-wē´, hī´,
I soon heard him, the one who did not listen to them.
[The Midē´, as a superior personage, is shown by having the horns attached to the head. The line of hearing has small rings, at intervals, indicating that something is heard.]
Hin´-ta-na´-wi ni-ka´-na-gi´, ē´, hē´,pī´-na-nī´, hin´-ta-na´-wi ni-ka´-na-ga´ na´-ge-ka-na´ ē´, hē´.
The Nika´ni are finding fault with me, inside of my lodge.
[The arm at the side of the Midē´wigân points to the interior, the place spoken of.]
Onsh´-konsh-na-nā´ pi-na´-wa nin-bosh´-i-na´-na.
With the bear’s claws I almost hit him.
The Midē´ used the bear’s claw to work a charm, or exorcism, and would seem to indicate that he claimed the powers of a Wâbĕnō´. The one spoken of is an evil man´idō, referred to in the preceding line, in which he speaks of having heard him.
At the conclusion of this protracted ceremony a few speeches may be made by a Midē´, recounting the benefits to be enjoyed and the powers wielded by the knowledge thus acquired, after which the chief priest intimates to his colleagues the advisability of adjourning. They then leave the Midē´wigân by the western door, and before night all movable accessories are taken away from the structure.
The remainder of the evening is spent in visiting friends, dancing, etc., and upon the following day they all return to their respective homes.
Although the mī´gis shell of the several degrees is generally of the same species, some of the older Midē´ priests claim that there were formerly specific shells, each being characteristic and pertaining specially to each individual grade. The objects claimed by Sika´s-sigĕ as referring to the third degree are, in addition to the Cypræa monata, L., a piece of purple wampum, and one shell of elongated form, both shown onPl.XI, Nos. 3 and 5, respectively.
The fact of a Midē´ having been subjected to “mī´gis shooting” for the third time is an all-sufficient reason to the Indian why his powers are in a corresponding manner augmented. His powers of exorcism and incantation are greater; his knowledge and use of magic medicines more extended and certain of effect; and his ability to do harm, as in the capacity of a Wâbĕnō´, is more and more lauded and feared. He becomes possessed of a greater power in prophecy and prevision, and in this state enters the class of personages known as the Jĕs´sakkīd´, or jugglers. His power over darkness and obscurity is indicated onPl.III, A, No. 77, upon which the head, chest, and arms are represented as being covered with lines to designate obscurity, the extended arms with outstretched hands denoting ability to grasp and control that which is hidden to the eye.
The Jĕs´sakkīd´ and his manner of performing have already been mentioned. This class of sorcerers were met with by the Jesuit Fathers early in the seventeenth century, and referred to under various designations, such as jongleur, magicien, consulteur du manitou, etc. Their influence in the tribe was recognized, and formed one of the greatest obstacles encountered in the Christianization of the Indians. Although the Jĕs´sakkīd´ may be a seer and prophet as well as a practitioner of exorcism without becoming amember of the Midē´wiwin, it is only when a Midē´ attains the rank of the third degree that he begins to give evidence of, or pretends to exhibit with any degree of confidence, the powers accredited to the former. The structure erected and occupied by the Jĕs´sakkīd´ for the performance of his powers as prophet or oracle has before been described as cylindrical, being made by planting four or more poles and wrapping about them sheets of birch bark, blankets, or similar material that will serve as a covering. This form of structure is generally represented in pictographic records, as shown inFig. 26.
The accompanying illustrations, Figs. 27, 28, and 29, reproduced from birch-bark etchings, were the property of Jĕs´sakkīd´, who were also Midē´ of the third and fourth degrees. It will be noticed that the structure used by them is in the form of the ordinary wig´iwam, as their profession of medical magic is apparently held in higher esteem than the art of prophecy; their status and claims as Jĕs´sakkīd´ being indicated by the great number of ma´nidōs which they have the power of invoking. These man´idōs, or spirits, are indicated by the outline of their material forms, the heart being indicated and connected with the interior of the structure to show the power of the Jĕs´sakkīd´ over the life of the respective spirits. The Thunder-bird usually occupies the highest position in his estimation, and for this reason is drawn directly over the wig´iwam. The Turtle is claimed to be the man´idō who acts as intermediary between the Jĕs´sakkīd´ and the other man´idōs, and is therefore not found among the characters on the outside of the wig´iwam, but his presence is indicated within, either at the spot marking the convergence of the “life lines,” or immediately below it.juggler's lodgeFig. 30.—Jĕs´sakkân´ orjuggler’s lodge.Fig. 30 is a reproducton of anetching made by a Jĕs´sakkīd´ at White Earth, Minnesota. The two curved lines above the Jĕs´sakkan´ represent the sky, from which magic power is derived, as shown by the waving line extending downward. The small spots within the structure are “magic spots,” i.e., the presence of man´idōs. The juggler is shown upon the left side near the base. When a prophet is so fortunate as to be able to claim one of these man´idōs as his own tutelary daimon, his advantage in invoking the others is comparatively greater. Before proceeding to the Jĕs´sakkân´—or the “Jugglery,” as the Jĕs´sakkīd´ wig´iwam is commonly designated, a prophet will prepare himself by smoking and making an offering to his man´idō, and by singing a chant, of which an example is presented onPl.XIV, D. It is a reproduction of one made by a Jĕs´sakkīd´ who was also a Midē´ of the third degree. Each line is chanted as often as may be desired, or according to the effect which it may be desirable to produce or the inspired state of the singer.
mnemonic song
Plate XIV.d. Mnemonic Song.
Me-we´-yan, ha´, ha´, ha´,
I go into the Jĕs´sakkan´ to see the medicine.
The circle represents the Jĕs´sakkīd´ as viewed from above; the short lines denote the magic character of the structure, and the central ring, or spot, the magic stone used by the prophet who appears entering from the side.
Tschi-nun´-dōn´, he´, he´, he´, he´,
I was the one who dug up life.
The Otter Man´idō emerging from the Midē´wigân; he received it from Ki´tshi Mani´dō.
Ni´ka-nī´ we-do-kon´-a, ha´, ha´,
The spirit put down medicine on earth to grow.
The sacred or magic lines descending to the earth denote supernatural origin of the mī´gis, which is shown by the four small rings. The short lines at the bottom represent the ascending sprouts of magic plants.
Te-ti-ba´-tshi mŭt´-â-wit´, tē´, hē´, hē´,
I am the one that dug up the medicine.
The otter shown emerging from the jugglery. The speaker represents himself “like unto the Otter Man´idō.”
Ki´wan-win´-da ma´-kwa-nan´, na´, ha´,
I answer my brother spirit.
The Otter Man´idō responds to the invocation of the speaker. The diagonal line across the body signifies the “spirit character” of the animal.
Rest or pause.
Wa´-a-so´-at wĕn´-ti´-na-man, ha´, ha,
The spirit has put life into my body.
The speaker is represented as being in the Midē´-wigân, where Ki´tshi Man´idō placed magic power into his body; the arms denote this act of putting into his sides the mī´gis. The line crossing the body denotes the person to be possessed of supernatural power.
Ki-to´-na-bi´-in, nē´, hē´, hē´,
This is what the medicine has given us.
The Midē´wigân, showing on the upper line the guardian man´idōs.
Ni´-sha-we´-ni-bĭ-ku´, hū´, hū´, hē´,
I took with two hands what was thrown down to us.
The speaker grasped life, i.e., the migīs´, to secure the mysterious power which he professes.
In addition to the practice of medical magic, the Jĕs´sakkīd´ sometimes resorts to a curious process to extract from the patient’s body the malevolent beings or man´idōs which cause disease. The method of procedure is as follows: The Jĕs´sakkīd´ is provided with four or more tubular bones, consisting of the leg bones of large birds, each of the thickness of a finger and 4 or 5 inches in length. After the priest has fasted and chanted prayers for success, he gets down upon all fours close to the patient and with his mouth near the affected part. After using the rattle and singing most vociferously to cause the evil man´idō to take shelter at some particular spot, so that it may be detected and located by him, he suddenly touches that place with the end of one of the bones and immediately thereafter putting the other end into his mouth, as if it were a cigar, strikes it with the flat hand and sends it apparently down his throat. Then the second bone is treated in the same manner, as also the third and fourth, the last one being permitted to protrude from the mouth, when the end is put against the affected part and sucking is indulged in amid the most violent writhings and contortions in his endeavors to extract the man´idō. As this object is supposed to have been reached and swallowed by the Jĕs´sakkīd´ he crawls away to a short distance from the patient and relieves himself of the demon with violentretchings and apparent suffering. He recovers in a short time, spits out the bones, and, after directing his patient what further medicine to swallow, receives his fee and departs. Further description of this practice will be referred to below and illustrated onPl.XVIII.
The above manner of disposing of the hollow bones is a clever trick and not readily detected, and it is only by such acts of jugglery and other delusions that he maintains his influence and importance among the credulous.
Fig. 31represents a Jĕs´sakkīd´ curing a sick woman by sucking the demon through a bone tube. The pictograph was drawn upon a piece of birch bark which was carried in the owner’s Midē´ sack, and was intended to record an event of importance.
No. 1 represents the actor, holding a rattle in hand. Around his head is an additional circle, denoting quantity (literally, more than an ordinary amount of knowledge), the short line projecting to the right indicating the tube used.
No. 2 is the woman operated upon.
Fig. 32represents an exhibition by a Jĕs´sakkīd´, a resident of White Earth, Minnesota. The priest is shown in No. 1 holding his rattle, the line extending from his eye to the patient’s abdomen signifying that he has located the demon and is about to begin his exorcism. No. 2 is the patient lying before the operator.
see text
Fig. 33.—Diagram of Midē´wigân of the fourth degree.
The Midē´wigân, in which this degree is conferred, differs from the preceding structures by having open doorways in both the northern and southern walls, about midway between the eastern and western extremities and opposite to one another.Fig. 33represents a ground plan, in which may also be observed the location of each of the four Midē´ posts.Fig. 34shows general view of same structure. A short distance from the eastern entrance is deposited the sacred stone, beyond which is an area reserved for the presents to be deposited by an applicant for initiation. The remaining two-thirds of the space toward the western door is occupied at regular intervals by four posts, the first being painted red with a band of green around the top. (Pl.XV, No. 1.) The second post is red, and has scattered over its surface spots of white clay to symbolizethe sacred mī´gis shell. Upon it is perched the stuffed skin of an owl—kŏ-kó-kŏ-ō´. (Pl.XV, No. 2.) The third post is black; but instead of being round is cut square. (Pl.XV, No. 3.) The fourth post, that nearest the western extremity, is in the shape of a cross, painted white, with red spots, excepting the lower half of the trunk, which is squared, the colors upon the four sides being white on the east, green on the south, red on the west, and black on the north. (Pl.XV, No. 4.)
view of midewigan
Fig. 34.—General view of Midē´wigân.
About 10 paces east of the main entrance, in a direct line between it and the sweat lodge, is planted a piece of thin board 3 feet high and 6 inches broad, the top of which is cut so as to present a three-lobed apex, as shown inFig. 4. The eastern side of this board is painted green; that facing the Midē´wigân red. Near the top is a small opening, through which the Midē´ are enabled to peep into the interior of the sacred structure to observe the angry man´idōs occupying the structure and opposing the intrusion of anyone not of the fourth degree.
A cedar tree is planted at each of the outer corners of the Midē´wigân, and about 6 paces away from the northern, western, and southern entrances a small brush structure is erected, sufficiently large to admit the body. These structures are termed bears’ nests, supposed to be points where the Bear Man´idō rested during the struggle he passed through while fighting with the malevolent man´idōs within to gain entrance and receive the fourth-degree initiation. Immediately within and to either side of the east and west entrances is planted a short post, 5 feet high and 8 inches thick, painted red upon the side facing the interior and black upon the reverse, at the base of each being laid a stone about as large as a human head. These four posts represent the four limbs and feet of the Bear Man´idō, who made the four entrances and forcibly entered and expelled the evil beings who had opposed him. The fourth-degree Midē´ post—the cross—furthermore symbolizes the four days’ struggle at the four openings or doors in the north, south, east, and west walls of the structure.
Under ordinary circumstances it requires at least one year before a Midē´ of the third grade is considered eligible for promotion, and it is seldom that a candidate can procure the necessary presents within that period, so that frequently a number of years elapse before any intimation by a candidate is made to the chief priest that the necessary requirements can be complied with. The chief reason of this delay is attributed to the fact that the fee to the officiating priests alone must equal in value and quantity four times the amount paid at the first initiation, and as the success in gathering the robes, skins, blankets, etc., depends upon the candidate’s own exertions it will readily appear why so few ever attain the distinction sought. Should one be so fortunate, however, as to possess the required articles, he has only to make known the fact to the chief and assistant Midē´ priests, when a meeting is held at the wig´iwam of one of the members and the merits of the candidate discussed. For this purpose tobacco is furnished by the candidate. The more valuable and more numerous the presents the more rapidly will his application be disposed of, and the more certainly will favorable consideration on it be had. It becomes necessary, as in former instances of preparation, for the candidate to procure the service of a renowned Midē´, in order to acquire new or specially celebrated remedies or charms. The candidate may also give evidence of his own proficiency in magic without revealing the secrets of his success or the course pursued to attain it. The greater the mystery the higher he is held in esteem even by his jealous confrères.
There is not much to be gained by preparatory instruction for the fourth degree, the chief claims being a renewal of the ceremony of “shooting the mī´gis” into the body of the candidate, and enacting or dramatizing the traditional efforts of the Bear Man´idō in his endeavor to receive from the Otter the secrets of this grade. One who succeeds becomes correspondingly powerful in his profession and therefore more feared by the credulous. His sources of income are accordingly increased by the greater number of Indians who require his assistance. Hunters, warriors, and lovers have occasion to call upon him, and sometimes antidoting charms are sought, when the evil effects of an enemy’s work are to be counteracted.
The instructor receives the visit of the candidate, and upon coming to a satisfactory agreement concerning the fee to be paid for the service he prepares his pupil by prompting him as to the part he is to enact during the initiation and the reasons therefor. The preparation and the merits of magic compounds are discussed, andthe pupil receives instruction in making effective charms, compounding love powder, etc. This love powder is held in high esteem, and its composition is held a profound secret, to be transmitted only when a great fee is paid. It consists of the following ingredients: Vermilion; powdered snakeroot (Polygala senega, L.); exiguam particulam sanguinis a puella effusi, quum in primis menstruis esset; and a piece of ginseng cut from the bifurcation of the root, and powdered. These are mixed and put into a small buckskin bag. The preparation is undertaken only after an offering to Ki´tshi Man´idō of tobacco and a Midē´ song with rattle accompaniment. The manner of using this powder will be described under the caption of “descriptive notes.” It differs entirely from the powder employed in painting the face by one who wishes to attract or fascinate the object of his or her devotion. The latter is referred to by the Rev. Peter Jones130as follows:
There is a particular kind of charm which they use when they wish to obtain the object of their affections. It is made of roots and red ocher. With this they paint their faces, believing it to possess a power so irresistible as to cause the object of their desire to love them. But the moment this medicine is taken away and the charm withdrawn the person who before was almost frantic with love hates with a perfect hatred.
It is necessary that the candidate take a sweat-bath once each day, for four successive days, at some time during the autumn months of the year preceding the year in which the initiation is to occur. This form of preparation is deemed agreeable to Ki´tshi Man´idō, whose favor is constantly invoked that the candidate may be favored with the powers supposed to be conferred in the last degree. As spring approaches the candidate makes occasional presents of tobacco to the chief priest and his assistants, and when the period of the annual ceremony approaches, they send out runners to members to solicit their presence, and, if of the fourth degree, their assistance.
The candidate removes to the vicinity of the Midē´wigân so as to be able to go through the ceremony of purgation four times before the day of initiation. The sudatory having been constructed on the usual site, east of the large structure, he enters it on the morning of the fifth day preceding the initiation and after taking a sweat-bath he is joined by the preceptor, when both proceed to the four entrances of the Midē´wigân and deposit at each a small offering of tobacco. This procedure is followed on the second and third days, also, but upon the fourth the presents are also carried along and deposited at the entrances, where they are received by assistants and suspended from the rafters of the interior. On the evening of the last day, the chief and officiating priests visit the candidate and his preceptor,in the sweat-lodge, when ceremonial smoking is indulged in followed by the recitation of Midē´ chants. The following (Pl.XVI, A) is a reproduction of the chant taught to and recited by the candidate. The original was obtained from an old mnemonic chart in use at Mille Lacs, Minnesota, in the year 1825, which in turn had been copied from a record in the possession of a Midē´ priest at La Pointe, Wisconsin. Many of the words are of an older form than those in use at the present day. Each line may be repeated ad libitum.
mnemonic song
Plate XVI.a. Mnemonic Song.
[The speaker compares himself to the Bear Man´ido, and as such is represented at the entrance of the Midē´wigân.]
[The lines from the ear denotes hearing; the words are addressed to his auditors.]
Signifies that Ki´tshi Man´idō, who is seen with the voice lines issuing from the mouth, and who promised the Ani´shinâ´bēg “life,” that they might always live.
Rest. A ceremonial smoke is now indulged in.
We´-shki-nun´-do-ni-ne´,ke-nosh´-ki-nun´-do-ni-ne´.
This is the first time you hear it.
[The lines of hearing are again shown; the words refer to the first time this is chanted as it is an intimation that the singer is to be advanced to the higher grade of the Midē´wiwin.]
Hwe´-na-ni-ka he-na´, he-nō´mi-tē´-win-win´ gi´-ga-wa´-pi-no-dōn´.
You laugh, you laugh at the “grand medicine.”
[The arms are directed towards Ki´tshi Man´idō, the creator of the sacred rite; the words refer to those who are ignorant of the Midē´wiwin and its teachings.]
Nun-te´-ma-ne´, hē´, wi´-na-nun´-te-ma-ne´ki´-pi-nan´.
I hear, but they hear it not.
[The speaker intimates that he realizes the importance of the Midē´ rite, but the uninitiated do not.]
Pe´-ne-sŭi´-a ke´-ke-kwi´-yan.
I am sitting like a sparrow-hawk.
The singer is sitting upright, and is watchful, like a hawk watching for its prey. He is ready to observe, and to acquire, everything that may transpire in the Midē´ structure.
Upon the conclusion of the chant, the assembled Midē´ smoke and review the manner of procedure for the morrow’s ceremony, and when these details have been settled they disperse, to return to their wig´iwams, or to visit Midē´ who may have come from distant settlements.
Early on the day of his initiation the candidate returns to the sudatory to await the coming of his preceptor. The gifts of tobacco are divided into parcels which may thus be easily distributed at the proper time, and as soon as the officiating priests have arrived, and seated themselves, the candidate produces some tobacco of which all present take a pipeful, when a ceremonial smoke-offering is made to Ki´tshi Man´idō. The candidate then takes his midē´ drum and sings a song of his own composition, or one which he may have purchased from his preceptor, or some Midē´ priest. The following is a reproduction of an old mnemonic song which the owner, Sikas´sigĕ, had received from his father who in turn had obtained it at La Pointe, Wisconsin, about the year 1800. The words are archaic to a great extent, and they furthermore differ from the modern language on account of the manner in which they are pronounced in chanting, which peculiarity has been faithfully followed below. The pictographic characters are reproduced inPl.XVI, B. As usual, the several lines are sung ad libitum, repetition depending entirely upon the feelings of the singer.
mnemonic song
Plate XVI.b. Mnemonic Song.
Hin´-to-nâ-ga-ne´ o-sa-ga-tshī´-wēd o-do´-zhi-tōn´.
The sun is coming up, that makes my dish.
The dish signifies the feast to be made by the singer. The zigzag lines across the dish denote the sacred character of the feast. The upper lines are the arm holding the vessel.
Man´-i-dō i´-ya-nē´, ish´-ko-te´-wi-wa´-we-yan´.
My spirit is on fire.
The horizontal lines across the leg signify magic power of traversing space. The short lines below the foot denote flames, i.e., magic influence obtained by swiftness of communication with the man´idōs.
Ko´tshi-hâ-ya-nē´, nē´,ish´-ki-to´-ya-ni´, nin-do´-we-hē´, wi´-a-we-yan´.
I want to try you, I am of fire.
[The zigzag lines diverging from the mouth signify voice, singing; the apex upon the head superior knowledge, by means of which the singer wishes to try his Midē´ sack upon his hearer, to give evidence of the power of his influence.]
A pause. Ceremonial smoking is indulged in, after which the chant is continued.
Ni-mī´-ga-sim´-ma man´-i-dō, sa-ko´-tshi-na´.
My mī´gis spirit, that is why I am stronger than you.
The three spots denote the three times the singer has received the mī´gis by being shot; it is because this spirit is within him that he is more powerful than those upon the outside of the wigiwam who hear him.
Mī´-ga-ye´-nin en´-dy-ân, ya´, hō´, ya´, man´-i-dō´-ya.
That is the way I feel, spirit.
The speaker is filled with joy at his power, the mī´gis within him, shown by the spot upon the body, making him confident.
Ya-gō´-sha-hī´, nâ´, ha´, ha´,Ya-gō´-sha-hi´, man´-i-dō-wī´-yĭn.
I am stronger than you, spirit that you are.
[He feels more powerful, from having received three times the mī´gis, than the evil spirit who antagonizes his progress in advancement.]
Upon the completion of this preliminary by the candidate, the priests emerge from the wig´iwam and fall in line according to their official status, when the candidate and preceptor gather up the parcels of tobacco and place themselves at the head of the column and start toward the eastern entrance of the Midē´wigân. As they approach the lone post, or board, the candidate halts, when the priests continue to chant and drum upon the Midē´ drum. The chief Midē´ then advances to the board and peeps through the orifice near the top to view malevolent man´idōs occupying the interior, who are antagonistic to the entrance of a stranger. This spot is assumed to represent the resting place or “nest,” from which the Bear Man´idō viewed the evil spirits during the time of his initiation by the Otter. The evil spirits within are crouching upon the floor, one behind the other and facing the east, the first being Mi-shi´-bi-shi´—the panther; the second, Me-shi´-kĕ—the turtle; the third, kwin´-go-â´-gĭ—the big wolverine; the fourth, wâ´-gŭsh—the fox; the fifth, ma-in´-gŭn—the wolf; and the sixth, ma-kwa´—the bear. They are the ones who endeavor to counteract or destroy the good wrought by the rites of the Midē´wiwin, and only by the aid of the good man´idōs can they be driven from the Midē´wigân so as to permit a candidate to enter and receive the benefits of the degree. The second Midē´ then views the group of malevolent beings, after which the third, and lastly the fourth priest looks through the orifice. They then advisethe presentation by the candidate of tobacco at that point to invoke the best efforts of the Midē´ Man´idōs in his behalf.
It is asserted that all of the malevolent man´idōs who occupied and surrounded the preceding degree structures have now assembled about this fourth degree of the Midē´wigân to make a final effort against the admission and advancement of the candidate: therefore he impersonates the good Bear Man´idō, and is obliged to follow a similar course in approaching from his present position the entrance of the structure. Upon hands and knees he slowly crawls toward the main entrance, when a wailing voice is heard in the east which sounds like the word hān´, prolonged in a monotone. This is ge´-gi-si´-bi-ga´-ne-dât man´idō. His bones are heard rattling as he approaches; he wields his bow and arrow; his long hair streaming in the air, and his body, covered with mī´gis shells from the salt sea, from which he has emerged to aid in the expulsion of the opposing spirits. This being the information given to the candidate he assumes and personates the character of the man´idō referred to, and being given a bow and four arrows, and under the guidance of his preceptor, he proceeds toward the main entrance of the structure while the officiating priests enter and station themselves within the door facing the west. The preceptor carries the remaining parcels of tobacco, and when the candidate arrives near the door he makes four movements with his bow and arrow toward the interior, as if shooting, the last time sending an arrow within, upon which the grinning spirits are forced to retreat toward the other end of the inclosure. The candidate then rushes in at the main entrance, and upon emerging at the south suddenly turns and again employs his bow and arrow four times toward the crowd of evil man´idōs, who have rushed toward him during the interval that he was within. At the last gesture of shooting into the inclosure, he sends forward an arrow, deposits a parcel of tobacco and crouches to rest at the so-called “bear’s nest.” During this period of repose the Midē´ priests continue to drum and sing. Then the candidate approaches the southern door again, on all fours, and the moment he arrives there he rises and is hurried through the inclosure to emerge at the west, where he turns suddenly, and imitating the manner of shooting arrows into the group of angry man´idōs within, he at the fourth movement lets fly an arrow and gets down into the western “bear’s nest.” After a short interval he again approaches the door, crawling forward on his hands and knees until he reaches the entrance, where he leaves a present of tobacco and is hastened through the inclosure to emerge at the northern door, where he again turns suddenly upon the angry spirits, and after making threatening movements toward them, at the fourth menace he sends an arrow among them. The spirits are now greatly annoyed by the magic power possessed by the candidate and the assistance rendered by the Midē´Man´idōs, so that they are compelled to seek safety in flight. The candidate is resting in the northern “bear’s nest,” and as he again crawls toward the Midē´wigân, on hands and knees, he deposits another gift of a parcel of tobacco, then rises and is hurried through the interior to emerge at the entrance door, where he turns around, and seeing but a few angry man´idōs remaining, he takes his last arrow and aiming it at them makes four threatening gestures toward them, at the last sending the arrow into the structure, which puts to flight all opposition on the part of this host of man´idōs. The path is now clear, and after he deposits another gift of tobacco at the door he is led within, and the preceptor receives the bow and deposits it with the remaining tobacco upon the pile of blankets and robes that have by this time been removed from the rafters and laid upon the ground midway between the sacred Midē´ stone and the first Midē´ post.
The chief Midē´ priest then takes charge of the candidate, saying:
To this the second Midē´ priest remarks to the candidate, Wa´-shi-gân´-do-we-an´ mi-gai´-i-nŏk´ wa´-ka-no´-shi-dzin—which freely translated signifies: “The reason I now advise you is that you may heed him when he speaks to you.” The candidate is then led around the interior of the inclosure, the assistant Midē´ fall in line of march and are followed by all the others present, excepting the musicians. During the circuit, which is performed slowly, the chief Midē´ drums upon the Midē´ drum and chants. The following, reproduced from the original, onPl.XVII, B, consists of a number of archaic words, some of which are furthermore different from the spoken language on account of their being chanted, and meaningless syllables introduced to prolong certain accentuated notes. Each line and stanza may be repeated ad libitum.
mnemonic song
Plate XVII.b. Mnemonic Song.
Man´-i-dō, hē´, nē´-yē´, man´-i-dō, hē´, nē´, yē´,ēn´-da-na´-bi-yĕn wen´-dō-bi´-yĕn.
A spirit, a spirit, you who sit there, who sit there.
[The singer makes a spirit of the candidate by thus giving him new life, by again shooting into his body the sacred mīgis. The disk is the dish for feast of spirits in the dzhibai´ midē´wigân—“Ghost Lodge,” the arms reaching towards it denoting the spirits who take food therefrom. The signification is that the candidate will be enabled to invoke and commune with the spirits of departed Midē´, and to learn of hidden powers.]
He´-ha-wa´-ni, yē´, he´-ha-wa´-ni, yē´,na´-bi-nesh´-ga-na´-bi, hī´, hē´.
These words were chanted, while the following are those as spoken, apart from the music.
Â-wan´-ō-de´-no-wĭn nī´-bi-dĕsh´-ka-wĭn un´-de-no´-wĭn.
The fog wind goes from place to place whence the wind blows.
[The reason of the representation of a human form was not satisfactorily explained. The preceptor felt confident, however, that it signified a man´īdō who controls the fog, one different from one of the a-na´-mi-ki´, or Thunderers, who would be shown by the figure of an eagle, or a hawk, when it would also denote the thunder, and perhaps lightning, neither of which occurs in connection with the fog.]
Rest.
Man´-i-dō´-we ni´-mi-nan´ ku-ni´-ne man-to´-ke ni´-mi-ne´.
I who acknowledge you to be a spirit, and am dying.
The figure is an outline of the Midē´wigân with the sacred Midē´ stone indicated within, as also another spot to signify the place occupied by a sick person. The waving lines above and beneath the oblong square are magic lines, and indicate magic or supernatural power. The singer compares the candidate to a sick man who is seeking life by having shot into his body the mī´gis.
Ga-kwe´-in-nân´ tshi-ha´-gĕ-nâ´ ma-kwa´ ni-go´-tshi-ni´.
I am trying you who are the bear.
The Midē´ who is chanting is shown in the figure; his eyes are looking into the candidate’s heart. The lines from the mouth are also shown as denoting speech, directed to his hearer. The horns are a representation of the manner of indicating superior powers.
Pĭ-nē´-si ka´-ka-gī´-wai-yan´ wen´-dzhi man´-i-dō´wid.
The bird, the crow bird’s skin is the reason why I am a spirit.
Although the crow is mentioned, the Thunder-bird (eagle) is delineated. The signification of the phrase is, that the speaker is equal in power to a man´idō, at the time of using the Midē´ sack—which is of such a skin.
Tshin-gwe´-wi-he´-na nē´, kan´, tshi-wâ´-ba-ku-nēt´.
The sound of the Thunder is the white bear of fire.
The head is, in this instance, symbolical of the white bear man´idō; the short lines below it denoting flame radiating from the body, the eyes also looking with penetrating gaze, as indicated by the double waving lines from each eye. The white bear man´idō is one of the most powerful man´idōs, and is so recognized.
By the time this chant is completed the head of the procession reaches the point of departure, just within the eastern door, and all of the members return to their seats, only the four officiating Midē´ remaining with the candidate and his preceptor. To search furtherthat no malevolent man´idōs may remain lurking within the Midē´wigân, the chief priests lead the candidate in a zigzag manner to the western door, and back again to the east. In this way the path leads past the side of the Midē´ stone, then right oblique to the north of the heap of presents, thence left oblique to the south of the first-degree post, then passing the second on the north, and so on until the last post is reached, around which the course continues, and back in a similar serpentine manner to the eastern door. The candidate is then led to the blankets, upon which he seats himself, the four officiating priests placing themselves before him, the preceptor standing back near the first of the four degree posts.
The Midē´ priest of the fourth rank or place in order of precedence approaches the kneeling candidate and in a manner similar to that which has already been described shoots into his breast the mī´gis; the third, second and first Midē´ follow in like manner, the last named alone shooting his mī´gis into the candidate’s forehead, upon which he falls forward, spits out a mī´gis shell which he had previously secreted in his mouth, and upon the priests rubbing upon his back and limbs their Midē´ sacks he recovers and resumes his sitting posture.
The officiating priests retire to either side of the inclosure to find seats, when the newly received member arises and with the assistance of the preceptor distributes the remaining parcels of tobacco, and lastly the blankets, robes, and other gifts. He then begins at the southeastern angle of the inclosure to return thanks for admission, places both hands upon the first person, and as he moves them downward over his hair says: Mi-gwĕtsh´ ga-o´-shi-tō´-ĭn bi-mâ´-dĭ-sĭ-win—“Thanks, for giving to me life.” The Midē´ addressed bows his head and responds, hau´, ēn´,—yes when the newly admitted member steps back one pace, clasps his hands and inclines his head to the front. This movement is continued until all present have been thanked, after which he takes a seat in the southeastern corner of the inclosure.
A curious ceremony then takes place in which all the Midē´ on one side of the inclosure arise and approach those upon the other, each grasping his Midē´ sack and selecting a victim pretends to shoot into his body the mī´gis, whereupon the Midē´ so shot falls over, and after a brief attack of gagging and retching pretends to gain relief by spitting out of his mouth a mī´gis shell. This is held upon the left palm, and as the opposing party retreat to their seats, the side which has just been subjected to the attack moves rapidly around among one another as if dancing, but simply giving rapid utterance to the word hŏ´, hŏ´, hŏ´, hŏ´, hŏ´, hŏ´, and showing the mī´gis to everybody present, after which they place the flat hands quickly to the mouth and pretend again to swallow their respective shells. The members of this party then similarly attack their opponents, whosubmit to similar treatment and go through like movements in exhibiting the mī´gis, which they again swallow. When quiet has been restored, and after a ceremonial smoke has been indulged in, the candidate sings, or chants, the production being either his own composition or that of some other person from whom it has been purchased. The chant presented herewith was obtained from Sikas´sigĕ, who had received it in turn from his father when the latter was chief priest of the Midē´wiwin at Mille Lacs, Minnesota. The pictographic characters are reproduced onPl.XVII, A, and the musical notation, which is also presented, was obtained during the period of my preliminary instruction. The phraseology of the chant, of which each line and verse is repeated ad libitum as the singer may be inspired, is as follows:
mnemonic song
Plate XVII.a. Mnemonic Song.
The singer refers to the feast which he gives to the Midē´ for admitting him into the Midē´wiwin.
musical notation
Do-na-ga-ni, Do-na-ga-ni, Do-na-ga-ni, Do-na-ga-ni,
Do-na-ga-ni, Do-na-ga-ni; Na-´kwa-wē´, In-do-shi-tōn Donagani,
Donaga-ni, Do-na-ga-ni, Do-na-ga-ni, Do-na-ga-ni, Do-na-ga-ni.
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Man´-ī-dō´ i-yan-nī´, Esh-ko´-te nin´-do-we´-yo-wĭn´,
I am such a spirit, My body is made of fire.
His power reaches to the sky, i.e., he has power to invoke the aid of Ki´tshi Man´idō. The four degrees which he has received are indicated by the four short lines at the tip of the hand.
musical notation
Ma´ni-dō-i-ya-ni, Ma´ni-dō-i-ya-ni, Ma´ni-dō-i-ya-ni,
Ma´ni-dō-i-ya-ni, Ma´ni-dō-i-ya-ni;
Esh´ko-te nin-do we-yo-win, Manidōiya-ni, Ma´ni-dō-i-ya-ni,
Ma´ni-dō-i-ya-ni, Ma´ni-dō-i-ya-ni.
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Kŏ´-tshi-hai´-o-nī´,Esh-ko´-te wa-ni´-yō.
I have tried it, My body is of fire.
He likens himself to the Bear Man´idō, and has like power by virtue of his mī´gis, which is shown below the lines running downward from the mouth. He is represented as standing in the Midē´wigân—where his feet rest.
musical notation
Ko´tshi-hai´o-ni, Ko´tshi-hai´o-ni, Ko´tshi-hai´o-ni,
Ko´tshihai´oni, Ko´tshi-hai´o-ni, Ko´tshi-hai´o-ni,
Ko´tshi-hai´o-ni, Ko´tshi-hai´o-ni, Esh´kote´wani´yo, Ko´tshihaioni.
Ko´tshihai´oni, Kotshihaioni, hĕ´ō, hĕ´ō.
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Pause. An offering of smoke is made to Ki´tshi Man´idō.
Ni-mī´-gi-sĭm´ man´-i-dō´-we, hwē´, hē´,Sha´-go-dzhĭ´-hi-na´.
My mī´gis spirit, I overpower death with.
[His body is covered with mī´gis as shown by the short lines radiating from the sides, and by this power he is enabled to overcome death.]
musical notation
Nimegasi mani dō-wē, hwē, hē, Nimegasi mani dō-wē, hwē, hē,
Shagodzhihinani-mega-si, Manido-wē, hwē, hē.
Ni-me-ga-si-ma-ni-dō-wē, hwē, hē.
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Ni´-ka-ni´ nin-man´-e-dō´-we-ya´.Ya´-ho-ya´ man´-i-dō´-wa nin-da´-ho-ha´.
That is the way with me, spirit that I am.
[The hand shows how he casts the mī´gis forward into the person requiring life. He has fourfold power, i.e., he has received the mī´gis four times himself and is thus enabled to infuse into the person requiring it.]
musical notation
Ni´-ga-ne´ nin ma´ni-dō´we ya
Ni´-ga-ne´ nin ma´ni-dō´we ya,
Ya´ho-ya´ ma´nidō-we,
Nin´dohōha ni´gane, ma´ni-dō-we, ya, hē.
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Ē-kotsh´-i-na´-ha,Ē-kotsh´-ha man´-i-dō´ hwe-do´-wī.
I hang it, I hang up the Spirit sack.
[After using his Midē´ sack he hangs it against the wall of the Midē´wigân, as is usually done during the ceremonial of initiation.]
musical notation
E-ko´tshi-na-ha, E-ko´tshi-na-ha, E-ko´tshi-na-ha,
E-ko´-tshi-na-ha, E-ko´-tshi-na-ha,
E-ki´-tshi-ma´-ni-dō´ hwe-do-wi, E-ko´tshi-na-ha,
E-ko´tshi-na-ha, E-ko´tshi-na-ha, hĕ´a.
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He´-a-wi-non´-dam-a´-ni,Man´-i-dō´ mi-de´-wi-he´ne´-ma-da´-wi-dzig´.
Let them hear, Midē´ spirit, those who are sitting around.
[He invokes Ki´tshi Man´idō to make his auditors understand his power.]
musical notation
He-a-wi-non´-da-ma-ni hē, He-a-wi-nonda-ma-ni hē;
He´-a-wi-non-da-ma-ni hē, He´-a-wi-non-da-ma-ni hē;
Manidomidēwi hē, Nemadawi dzhig, Heawinondamani hē, hē, hē.
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He´-a-we-na´ ni´-we-dō´,Man´-i-dō´ we-a-nī´Ni´-ka-nā´ ni´-na-nā´.
He who is sleeping,The Spirit, I bring him, a kinsman.
[In the employment of his powers he resorts to the help of Ki´tshi Man´idō—his kinsman or Midē´ colleague.]
musical notation
He-a-we-na-ne-we-dō, hō, He-a-we-na-ne-we-dō, hō,
He-a-we-na-ne-we-dō, hō, He-a-we-na-ne-we-dō, hō;
Ma´-ni-dō-we-a-ni ni-ka-na ni-ka-na, hō, hō.
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Man´-i-dō´ we-a-nī´Esh-ke´-ta we´-a-nĭ´ man´-i-dō´ we´-a-nĭ´.
I am a spirit,Fire is my spirit body.
[The hand reaches to the earth to grasp fire, showing his ability to do so without injury and illustrating in this manner his supernatural power.]
musical notation
Ma´ni-dō´wi-a-ni hē, Ma´ni-dō´wi-a-ni hē, Ma´-ni-dō´-wi-a-ni hē,
Ma´-ni-dō´-wi-a-ni hē, Ma´-ni-dō´wi-a-ni hē;
Esh´kato´weani hē, Ma´nidō´wiani hē, Ma´nidō´wia-ni hē.
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Ai-ya´-swa-kĭt-te´, hē´, he´,He´-ā´ se-wī´-kit-te´, hē´, hē´Na-se´-ma-gŏt´ nin-dē´.
It is leaning,My heart breathes.
[The phrase refers to the mī´gis within his heart. The short radiating lines indicate the magic power of the shell.]
musical notation
He´-a-si-wi-kit-te hē, He´-a-si-wi-kit-te hē, He´a-si-wikit-te hē,
He´a-si-wi-kit-te hē, Na´simagot nin´de hē, He´-a-si-wi-kit-te hē,
He´-a-si-wi-kit-te hē, He´-a-si-wi-kit-te hē´, He´a-si-wi-kitte hē.
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Rest, or pause, after which dancing accompanies the remainder of the song.
Ni-ka´-nin-ko´-tshi´-ha ni´-ka-naNi-ka´-na-nin-ko´-tshi-ha.
Midē´ friends, I am trying, Midē´ friends, Midē´ friends, I am trying.
[His hand and arm crossed by lines to denote magic power, in reaching to grasp more than four degrees have given him; he has in view a fifth, or its equivalent.]
musical notation
Ni´-ka-ni ko´tshiha Ni´ka-ni ha,
Ni´-ka-ni ko´tshini Ni´-ka-ni ha,
Ni´-ka-ni ko´-tshi-ha Ni´-ka-ni ha.
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Hi´-ne-na-wa´ ni-be´-i-dōn´ ni-di´-na.
I hold that which I brought, and told him.
The singer is holding the mī´gis and refers to his having its power, which he desires Ki´tshi Man´idō to augment.