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.
MIDI files:drum,flute,piano(default)
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.
MIDI files:drum,flute,piano(default)
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.
MIDI files:drum,flute,piano(default)
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.
MIDI files:drum,flute,piano(default)
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.
musical notation
He-ne-na-wa-ni-bei-dōn, He-ne-na-wa-ni-bei-dōn,
He-ne-na-wa-ni-bei-dōn, He-ne-na-wa-ni-bei-dōn.
MIDI files:drum,flute,piano(default)
Ye´-we-ni´-mi-dē´, hwa´, da´, Ke-wa´-shi-mi-dē´, hĭ-a, hwē´,Ye´-we-ni´-mi-dē?
Who is this grand Midē´? You have not much grand medicine.Who is the Midē´?
[The first line, when used with the music, is a´-we-nin-o´-au-midē´. The whole phrase refers to boasters, who have not received the proper initiations which they profess. The figure is covered with mī´gis shells, as shown by the short lines attached to the body.]
musical notation
Ye-we-ni-mi-dē hwa, da. Ke-wa-shi-mi-dē hĭa, hwē,
Ye-we-ni-mi-dē hwa, da. Ke-wa-shi-mi-dē hĭa, hwe.
Ye-we-ni-mi-dē, Ye-we-ni-mi-dē hwa, da.
MIDI files:drum,flute,piano(default)
Nai´-a-na-wi´ na-ma´, ha´, Wa-na´-he-ne-ni-wa´, ha´,O´-ta-be-we-ni´, mē´, hē´.
I can not reach it,Only when I go round the Mide´wigân;I can not reach it from where I sit.
[The mī´gis attached to the arrow signifies its swift and certain power and effect. The first line of the phrase, when spoken, is nin-na´-na-wi-nan´.]
musical notation
Nai-a-na-wi-na-ma ha, Nai-a-na-wi-na-ma ha,
Nai-a-na-wi-na-ma ha, Nai-a-na-wi-na-ma ha,
Wa-na-he-ne-ni-wa ha, O-ta-be-we-ni-me ha.
MIDI files:drum,flute,piano(default)
Ai-yā´ ha´-na-wi´-na-ma´.
I can not strike him.
The speaker is weeping because he can not see immediate prospects for further advancement in the acquisition of power. The broken ring upon his breast is the place upon which he was shot with the mī´gis.
musical notation
Ai-ya-ha-na-wi-na-ma, Ai-ya-ha-na-wi-na-ma,
Ai-ya-ha-na-wi-na-ma, Ai-ya-ha-na-wi-na—ma, hĕō, hĕō, hĕō.
MIDI files:drum,flute,piano(default)
The following musical notation presents accurately the range of notes employed by the preceptor. The peculiarity of Midē´ songs lies in the fact that each person has his own individual series of notes which correspond to the number of syllables in the phrase and add thereto meaningless words to prolong the effect. When a song is taught, the words are the chief and most important part, the musical rendering of a second person may be so different from that of the person from whom he learns it as to be unrecognizable withoutthe words. Another fact which often presents itself is the absence of time and measure, which prevents any reduction to notation by full bars; e.g., one or two bars may appear to consist of four quarter notes or a sufficient number of quarters and eighths to complete such bars, but the succeeding one may consist of an additional quarter, or perhaps two, thus destroying all semblance of rythmic continuity. This peculiarity is not so common in dancing music, in which the instruments of percussion are employed to assist regularity and to accord with the steps made by the dancers, or vice versa.
In some of the songs presented in this paper the bars have been omitted for the reasons presented above. The peculiarity of the songs as rendered by the preceptor is thus more plainly indicated.
When the chant is ended the ushers, who are appointed by the chief Midē´, leave the inclosure to bring in the vessels of food. This is furnished by the newly elected member and is prepared by his female relatives and friends. The kettles and dishes of food are borne around four times, so that each one present may have the opportunity of eating sufficiently. Smoking and conversation relating to the Midē´wiwin may then be continued until toward sunset, when, upon an intimation from the chief Midē´, the members quietly retire, leaving the structure by the western door. All personal property is removed, and upon the following day everybody departs.
The amount of influence wielded by Midē´ generally, and particularly such as have received four degrees, is beyond belief. The rite of the Midē´wiwin is deemed equivalent to a religion—as that term is commonly understood by intelligent people—and is believed to elevate such a Midē´ to the nearest possible approach to the reputed character of Mi´nabō´zho, and to place within his reach the supernatural power of invoking and communing with Ki´tshi Man´idō himself.
By reference toPl.III, A, No. 98, it will be observed that the human figure is specially marked with very pronounced indications of mī´gis spots upon the head, the extremities, and more particularly the breast. These are placed where the mīgis was “shot” into the Midē´, and the functions of the several parts are therefore believed to be greatly augmented. All the spots are united by a line to denote unity and harmony of action in the exercise of power.
The mī´gis, typical of the fourth degree, consists of small pieces of deer horn, covered with red paint on one end and green upon the other. Sometimes but one color is employed for the entire object. The form is shown onPl.XI, No. 6. No. 2, upon the same plate, represents a shell, used as a mī´gis, observed at White Earth.
Figs. 5-11, onPl.XV, present several forms of painting midē´posts, as practiced by the several societies in Minnesota. Each society claims to preserve the ancient method. The cross, shown in No. 7, bears the typical colors—red and green—upon the upper half, while the lower post is square and colored white on the east, green on the south, red on the west, and black on the north. The Midē´ explain the signification of the colors as follows: White represents the east, the source of light and the direction from which the sacred mī´gis came; green, sha´manō the southern one, refers to the source of the rains, the direction from which the Thunderers come in the spring, they who revivify the earth; red refers to the land of the setting sun, the abode of the shadows or the dead; and north being black, because that is the direction from which come cold, hunger, and disease.
The words of the Midē´ priest alluding to “the path that has no end” refer to the future course and conduct of the candidate for the last degree, as well as to the possibility of attaining unlimited powers in magic, and is pictorially designated upon the chart onPl.III, A, at No. 99. The path is devious and beset with temptations, but by strict adherence to the principles of the Midē´wiwin the Midē´ may reach the goal and become the superior of his confrères, designated Mi-ni´-si-nō´-shkwe, “he who lives on the island.”
A Midē´-Wâbĕnō´ of this degree is dreaded on account of his extraordinary power of inflicting injury, causing misfortune, etc., and most remarkable tales are extant concerning his astounding performances with fire.
The following performance is said to have occurred at White Earth, Minnesota, in the presence of a large gathering of Indians and mixed bloods. Two small wig´iwams were erected, about 50 paces from each other, and after the Wâbĕnō´ had crawled into one of them his disparagers built around each of them a continuous heap of brush and firewood, which were then kindled. When the blaze was at its height all became hushed for a moment, and presently the Wâbĕnō´ called to the crowd that he had transferred himself to the other wig´iwam and immediately, to their profound astonishment, crawled forth unharmed.
This is but an example of the numerous and marvelous abilities with which the Wâbĕnō´ of the higher grade is accredited.
The special pretensions claimed by the Midē-Wâbĕnō´ have already been mentioned, but an account of the properties and manner of using the “love powder” may here be appropriate. This powder—the composition of which has been given—is generally used by the owner to accomplish results desired by the applicant. It is carried in a small bag made of buckskin or cloth, which the Wâbĕnō´ carefully deposits within his Midē´ sack, but which is transferred to another sack of like size and loaned to the applicant, for a valuable consideration.
During a recent visit to one of the reservations in Minnesota, I had occasion to confer with a Catholic missionary regarding some of the peculiar medical practices of the Indians, and the implements and other accessories employed in connection with their profession. He related the following incident as having but a short time previously come under his own personal observation:
One of the members of his church, a Norwegian, sixty-two years of age, and a widower, had for the last preceding year been considered by most of the residents as demented. The missionary himself had observed his erratic and frequently irrational conduct, and was impressed with the probable truth of the prevailing rumor. One morning, however, as the missionary was seated in his study, he was surprised to receive a very early call, and upon invitation his visitor took a seat and explained the object of his visit. He said that for the last year he had been so disturbed in his peace of mind that he now came to seek advice. He was fully aware of the common report respecting his conduct, but was utterly unable to control himself, and attributed the cause of his unfortunate condition to an occurrence of the year before. Upon waking one morning his thoughts were unwillingly concentrated upon an Indian woman with whom he had no personal acquaintance whatever, and, notwithstanding the absurdity of the impression, he was unable to cast it aside. After breakfast he was, by some inexplicable influence, compelled to call upon her, and to introduce himself, and although he expected to be able to avoid repeating the visit, he never had sufficient control over himself to resist lurking in the vicinity of her habitation.
Upon his return home after the first visit he discovered lying upon the floor under his bed, a Midē´ sack which contained some small parcels with which he was unfamiliar, but was afterward told that one of them consisted of “love powder.” He stated that he had grown children, and the idea of marrying again was out of the question, not only on their account but because he was now too old. The missionary reasoned with him and suggested a course of procedure, the result of which had not been learned when the incident was related.
Jugglery of another kind, to which allusion has before been made, is also attributed to the highest class of Jĕs´sakkīd´. Several years ago the following account was related to Col. Garrick Mallery, U.S. Army, and myself, and as Col. Mallery subsequently read a paper before the Anthropological Society of Washington, District of Columbia, in which the account was mentioned, I quote his words:
Paul Beaulieu, an Ojibwa of mixed blood, present interpreter at White Earth Agency, Minnesota, gave me his experience with a Jĕs´sakkīd´, at Leech Lake, Minnesota, about the year 1858. The reports of his wonderful performances had reached the agency, and as Beaulieu had no faith in jugglers, he offered to wager$100, a large sum, then and there, against goods of equal value, that the juggler could not perform satisfactorily one of the tricks of his repertoire to be selected by him (Beaulieu) in the presence of himself and a committee of his friends. The Jĕs´sakkân´—or Jĕs´sakkīd´ lodge—was then erected. The framework of vertical poles, inclined to the center, was filled in with interlaced twigs covered with blankets and birch-bark from the ground to the top, leaving an upper orifice of about a foot in diameter for the ingress and egress of spirits and the objects to be mentioned, but not large enough for the passage of a man’s body. At one side of the lower wrapping a flap was left for the entrance of the Jĕs´sakkīd´.
A committee of twelve was selected to see that no communication was possible between the Jĕs´sakkīd´ and confederates. These were reliable people, one of them the Episcopal clergyman of the reservation. The spectators were several hundred in number, but they stood off, not being allowed to approach.
The Jĕs´sakkīd´ then removed his clothing, until nothing remained but the breech-cloth. Beaulieu took a rope (selected by himself for the purpose) and first tied and knotted one end about the juggler’s ankles; his knees were then securely tied together, next the wrists, after which the arms were passed over the knees and a billet of wood passed through under the knees, thus securing and keeping the arms down motionless. The rope was then passed around the neck, again and again, each time tied and knotted, so as to bring the face down upon the knees. A flat river-stone, of black color—which was the Jĕs´sakkīd´’s ma´nidō or amulet—was left lying upon his thighs.
The Jĕs´sakkīd´ was then carried to the lodge and placed inside upon a mat on the ground, and the flap covering was restored so as to completely hide him from view.
Immediately loud, thumping noises were heard, and the framework began to sway from side to side with great violence; whereupon the clergyman remarked that this was the work of the Evil One and ‘it was no place for him,’ so he left and did not see the end. After a few minutes of violent movements and swayings of the lodge accompanied by loud inarticulate noises, the motions gradually ceased when the voice of the juggler was heard, telling Beaulieu to go to the house of a friend, near by, and get the rope. Now, Beaulieu, suspecting some joke was to be played upon him, directed the committee to be very careful not to permit any one to approach while he went for the rope, which he found at the place indicated, still tied exactly as he had placed it about the neck and extremities of the Jĕs´sakkīd´. He immediately returned, laid it down before the spectators, and requested of the Jĕs´sakkīd´ to be allowed to look at him, which was granted, but with the understanding that Beaulieu was not to touch him.
When the covering was pulled aside, the Jĕs´sakkīd´ sat within the lodge, contentedly smoking his pipe, with no other object in sight than the black stone mánidō. Beaulieu paid his wager of $100.
An exhibition of similar pretended powers, also for a wager, was announced a short time after, at Yellow Medicine, Minnesota, to be given in the presence of a number of Army people, but at the threat of the Grand Medicine Man of the Leech Lake bands, who probably objected to interference with his lucrative monopoly, the event did not take place and bets were declared off.
Col. Mallery obtained further information, of a similar kind from various persons on the Bad River Reservation, and at Bayfield, Wisconsin. All of these he considered to be mere variants of a class of performances which were reported by the colonists of New England and the first French missionaries in Canada as early as 1613, where the general designation of “The Sorcerers” was applied to the whole body of Indians on the Ottawa River. These reports, it must beremembered, however, applied only to the numerous tribes of the Algonkian linguistic family among which the alleged practices existed; though neighboring tribes of other linguistic groups were no doubt familiar with them, just as the Winnebago, Omaha, and other allied tribes, profess to have “Medicine Societies,” the secrets of which they claim to have obtained from tribes located east of their own habitat, that practiced the peculiar ceremony of “shooting small shells” (i.e., the mī´gis of the Ojibwa) into the candidate.
InPl.XVIIIis shown a Jĕs´sakkīd´ extracting sickness by sucking through bone tubes.
plate described in text
Plate XVIII. Jĕs´akkīd´ Removing Disease.
A structure erected by Indians for any purpose whatever, is now generally designated a lodge, in which sense the term is applied in connection with the word dzhibai´—ghost, or more appropriately shadow—in the above caption. This lodge is constructed in a form similar to that of the Midē´wigân, but its greatest diameter extends north and south instead of east and west. Further reference will be made to this in describing another method of conferring the initiation of the first degree of the Midē´wiwin. This distinction is attained by first becoming a member of the so-called “Ghost Society,” in the manner and for the reason following:
After the birth of a male child it is customary to invite the friends of the family to a feast, designating at the same time a Midē´ to serve as godfather and to dedicate the child to some special pursuit in life. The Midē´ is governed in his decision by visions, and it thus sometimes happens that the child is dedicated to the “Grand Medicine,” i.e., he is to be prepared to enter the society of the Midē´. In such a case the parents prepare him by procuring a good preceptor, and gather together robes, blankets, and other gifts to be presented at initiation.
Should this son die before the age of puberty, before which period it is not customary to admit any one into the society, the father paints his own face as before described, viz, red, with a green stripe diagonally across the face from left to right, as inPl.VI, No. 4, or red with two short horizontal parallel bars in green upon the forehead as inPl.VI, No. 5, and announces to the chief Midē´ priest his intention of becoming himself a member of the “Ghost Society” and his readiness to receive the first degree of the Midē´wiwin, as a substitute for his deceased son. Other members of the mourner’s family blacken the face, as shown onPl.VII, No. 5.
In due time a council of Midē´ priests is called, who visit the wig´iwam of the mourner, where they partake of a feast, and the subject of initiation is discussed. This wig´iwam is situated south and eastof the Midē´wigân, as shown in Fig.35, which illustration is a reproduction of a drawing made by Sikas´sigĕ.
diagram as described in text
Fig. 35.—Indian diagram of ghost lodge.
The following is an explanation of the several characters:
No. 1 represents the wig´iwam of the mourner, which has been erected in the vicinity of the Midē´wigân, until after the ceremony of initiation.
No. 2 is the path supposed to be taken by the shadow (spirit) of the deceased; it leads westward to the Dzhibai´ Midē´wigân; literally, shadow-spirit wig´iwam.
No. 3, 4, 5, and 6, designate the places where the spirit plucks the fruits referred to—respectively the strawberry, the blueberry, the June cherries, and the plum.
No. 7 designates the form and location of the Dzhihai´ Midē´wigân. The central spot is the place of the dish of food for Dzhibai´ Man´idō—the good spirit—and the smaller spots around the interior of the inclosure are places for the deposit of dishes for the other Midē´ spirits who have left this earth.
No. 8 is the path which is taken by the candidate when going from his wig´iwam to the Midē´wigân.
No. 9 indicates the place of the sweat-lodge, resorted to at other periods of initiation.
No. 10 is the Midē´wigân in which the ceremony is conducted at the proper time.
It is stated that in former times the Ghost Lodge was erected west of the location of the mourner’s wig´iwam, but for a long time this practice has been discontinued. The tradition relating to the Spirit’s progress is communicated orally, while the dramatic representation is confined to placing the dishes of food in the Midē´wigân, which is selected as a fitting and appropriate substitute during the night preceding the initiation.
This custom, as it was practiced, consisted of carrying from the mourner’s wig´iwam to the Ghost Lodge the dishes of food for the spirits of departed Midē´ to enjoy a feast, during the time that the Midē´ priests were partaking of one. A large dish was placed in the center of the structure by the mourner, from which the supreme Midē´ spirit was to eat. Dishes are now carried to the Midē´wigân, as stated above.
The chief officiating Midē´ then instructs the father of the deceased boy the manner in which he is to dress and proceed, as symbolizing the course pursued by the spirit of the son on the way to the spiritworld. The instructions are carried out, as far as possible, with the exception of going to an imaginary Ghost Lodge, as he proceeds only to the Midē´wigân and deposits the articles enumerated below. He is told to take one pair of bear-skin moccasins, one pair of wolf-skin, and one pair of birds´ skins, in addition to those which he wears upon his feet; these are to be carried to the structure in which the Midē´ spirits are feasting, walking barefooted, picking a strawberry from a plant on the right of the path and a blueberry from a bush on the left, plucking June cherries from a tree on the right and plums on the left. He is then to hasten toward the Ghost Lodge, which is covered with mī´gis, and to deposit the fruit and the moccasins; these will be used by his son’s spirit in traveling the road of the dead after the spirits have completed their feast and reception of him. While the candidate is on his mission to the Ghost Lodge (for the time being represented by the Midē´wigân) the assemblage in the wig´iwam chant the following for the mourner: Yan´-i-ma-tsha´, yan´-i-ma-tsha´, ha´, yan´-i-ma-tsha´ yan´-i-ma-tsha´ ha´, yu´-te-no-win´ gē´, hē´ nin-de´-so-ne´—“I am going away, I am going away, I am going away, to the village I walk”—i.e., the village of the dead.
The person who desires to receive initiation into the Midē´wigân, under such circumstances, impersonates Minabō´zho, as he is believed to have penetrated the country of the abode of shadows, or ne´-ba-gī´-zis—“land of the sleeping sun.” He, it is said, did this to destroy the “Ghost Gambler” and to liberate the many victims who had fallen into his power. To be enabled to traverse this dark and dismal path, he borrowed of Kŏ-ko´-kŏ-ō´—the owl—his eyes, and received also the services of wē´-we-tē´-si-wŭg—the firefly, both of which were sent back to the earth upon the completion of his journey. By referring toPl.III, A, the reference to this myth will be observed as pictorially represented in Nos. 110 to 114. No. 110 is the Midē´wigân from which the traveler has to visit the Dzhibai´ Midē´wigân (No. 112) in the west. No. 113, represented as Kŏ-ko´-kŏ-ō´—the owl—whose eyes enabled Mī´nabō´zho to follow the path of the dead (No. 114); the owl skin Midē´ sack is also sometimes used by Midē´ priests who have received their first degree in this wise. The V-shaped characters within the circle at No. 111 denote the presence of spirits at the Ghost Lodge, to which reference has been made.
The presents which had been gathered as a gift or fee for the deceased are now produced and placed in order for transportation to the Midē´wigân, early on the following morning.
The Midē´ priests then depart, but on the next morning several of them make their appearance to assist in clearing the Midē´wigân of the dishes which had been left there over night, and to carry thither the robes, blankets, and other presents, and suspend them from the rafters. Upon their return to the candidate’s wig´iwam, the Midē´ priests gather, and after the candidate starts to lead the processiontoward the Midē´wigân, the priests fall in in single file, and all move forward, the Midē´ priests chanting the following words repeatedly, viz: Ki-e´-ne-kwo-tâ´ ki-e´-ne-kwo-tâ´, ha´, ha´, ha´, nōs e´wi-e´, hē´, ki´-na-ka´-ta-mŭn´ do-nâ´-gan—“I also, I also, my father, leave you my dish.”
This is sung for the deceased, who is supposed to bequeath to his father his dish, or other articles the names of which are sometimes added.
The procession continues toward and into the Midē´wigân, passing around the interior by the left side toward the west, north, and east to a point opposite the space usually reserved for the deposit of goods, where the candidate turns to the right and stands in the middle of the inclosure, where he now faces the Midē´ post in the west. The members who had not joined the procession, but who had been awaiting its arrival, now resume their seats, and those who accompanied the candidate also locate themselves as they desire, when the officiating priests begin the ceremony as described in connection with the initiation for the first degree after the candidate has been turned over to the chief by the preceptor.
Sometimes the mother of one who had been so dedicated to the Midē´wiwin is taken into that society, particularly when the father is absent or dead.
It sometimes happens that a sick person can not be successfully treated by the Midē´, especially in the wig´iwam of the patient, when it becomes necessary for the latter to be carried to the Midē´wigân and the services of the society to be held. This course is particularly followed when the sick person or the family can furnish a fee equivalent to the gift required for initiation under ordinary circumstances.
It is believed, under such conditions, that the evil man´idōs can be expelled from the body only in the sacred structure, at which place alone the presence of Ki´tshi Man´idō may be felt, after invocation, and in return for his aid in prolonging the life of the patient the latter promises his future existence to be devoted to the practice and teachings of the Midē´wiwin. Before proceeding further, however, it is necessary to describe the method pursued by the Midē´ priest.
The first administrations may consist of mashki´kiwabūn´, or medicine broth, this being the prescription of the Midē´ in the capacity of mashki´kike´winĭ´nĭ, or herbalist, during which medication he resorts to incantation and exorcism, accompanying his song by liberal use of the rattle. As an illustration of the songs used at this period of the illness, the following is presented, the mnemonic characters being reproduced onPl.XVI, C. The singing is monotonous and doleful, though at times it becomes animated and discordant.
mnemonic song
Plate XVI.c. Mnemonic Song.
In´-do-nâ-gât in-da´-kwo-nan
That which I live upon has been put on this dish by the spirit.
Ki´tshi Man´idō provides the speaker with the necessary food for the maintenance of life. The dish, or feast, is shown by the concentric rings, the spirit’s arm is just below it.
Mo´-ki-yan tshik´-ko-min´.
I bring life to the people.
The speaker, as the impersonator of the sacred Otter, brings life. The Otter is just emerging from the surface of the water, as he emerged from the great salt sea before the Âni´shi-nâ´beg, after having been instructed by Mi´nabō´zho to carry life to them.
Ni´-no-mūn´ mash-ki´-ki
I can also take medicine from the lodge, or the earth
The Midē´’s arm is reaching down to extract magic remedies from the earth. The four spots indicate the remedies, while the square figure denotes a hole in the ground.
Rest. During this interval the Midē´’s thoughts dwell upon the sacred character of the work in which he is engaged.
Ni´-nin-dē´ in´-dai-yo´.
It is all in my heart, the life.
The concentric circles indicates the mī´gis, life, within the heart, the former showing radiating lines to denote its magic power.
M´bi-mo´-se-an-kĭnk´.
The spirit saw me and sent me medicine from above.
The figure is that of Ki´tshi Man´idō, who granted power to the speaker.
Dōn´-de-na mi-tĭz´-kŭnk.
It is also on the trees, that from which I take life.
The tree bears “medicine” which the speaker has at his command, and is enabled to use.
When the ordinary course of treatment fails to relieve the patient the fact is made known to the Midē´ priests and he is consequently taken to the Midē´wigân and laid upon blankets so that part of his body may rest against the sacred midē´ stone. Associate Midē´ then attend, in consultation, with the Midē´-in-chief, the other members present occupying seats around the walls of the structure.
The accompanying lecture is then addressed to the sick person, viz:
Mi-shosh´-yâ-gwa´ ga´-a-nin-nan´ gi´-de-wēn´-du-nŭn ne´-tun-ga´-da-da-we´-in man´-i-dōmī´-gis. Kit´-ti-mâ´-gĭ-si ē´-ni-dau´-â-ya-we´-yĭn o-ma´-e-nâ´-sa-ba-bĭt bī-ĭ-sha´-gaban´-dĕ-a gi-bi´-sha-ban-da´-ĕt na-pĭsh-kâ-tshi-dŏsh ke´-a-yū´-ĭn-ki-go gŏt-tâ-sō-nĕn´, mi´-a-shi´-gwa-gō-dĭn´-na-wât dzhi-ma´-di-a-kad´-dŏ-yōn bi-mâ-di-si-wĭn´.
The following is a free translation of the above:
The time of which I spoke to you has now arrived, and you may deem it necessary to first borrow the sacred mī´gis. Who are you that comes here as a supplicant? Sit down opposite to me, where I can see you and speak to you, and fix your attention upon me, while you receive life you must not permit your thoughts to dwell upon your present condition, but to support yourself against falling into despondency.
Now we are ready to try him; now we are ready to initiate him.
The reference to borrowing a mī´gis signifies that the patient may have this mysterious power “shot into his body” where he lies upon the ground and before he has arrived at the place where candidates are properly initiated; this, because of his inability to walk round the inclosure.
The last sentence is spoken to the assisting Midē´. The following song is sung, the mnemonic characters pertaining thereto being reproduced onPl.XVI, D.
mnemonic song
Plate XVI.d. Mnemonic Song.
O-da´-pi-nŭng´-mung oâ´-ki-wen´-dzhi man´-i-dōwe´-an-ĭ-win´-zhi-gu-sân´.
We are going to take the sacred medicine out of the ground.
[The speaker refers to himself and the assistants as resorting to remedies adopted after consultation, the efficiency thereof depending upon their combined prayers. The arm is represented as reaching for a remedy which is surrounded by lines denoting soil.]
We-a´-ki man´-i-dō we-an-gwĭs´.
The ground is why I am a spirit, my son.
The lower horizontal line is the earth, while the magic power which he possesses is designated by short vertical wavy lines which reach his body.
Rest.
Nish´-u-we-ni-mi´-qu nish´-u-we-ni-mi´-qu we´-gi ma´-ŏ-dzhig´.
The spirits have pity; the spirits have pity on me.
The Midē´ is supplicating the Midē´ spirits for aid in his wishes to cure the sick.
Kish´-u-we-ni-mi´-qu ki´-shi´-gŭng don´-dzhi-wa´-wa-mĭk.
The spirits have pity on me; from on high I see you.
The sky is shown by the upper curved lines, beneath which the Midē´ is raising his arm in supplication.
Man´-i-dō´-â ni´-o.
My body is a spirit.
The Midē´ likens himself to the Bear Man´idō, the magic powers of which are shown by the lines across the body and short strokes upon the back.
Pi-ne´-si-wi-ân´ ke-ke´-u-wi-an´.
A little bird I am: I am the hawk.
Like the thunderer, he penetrates the sky in search of power and influence.
Man´-i-dō´ nu´-tu wa´-kan.
Let us hear the spirit.
The Ki´tshi Man´idō is believed to make known his presence, and all are enjoined to listen for such intimation.
Ka´-nun-ta´-wa man´-i-dō´ wi´-da-ku-ē´, hē´, ki´-a-ha-mī´.
You might hear that he is a spirit.
The line on the top of the head signifies the person to be a superior being.
Ka´-ke-na gus-sâ´ o´-mi-si´-nī´ na´-ēn.
I am afraid of all, that is why I am in trouble.
The Midē´ fears that life can not be prolonged because the evil man´idōs do not appear to leave the body of the sick person. The arm is shown reaching for mī´gis, or life, the strength of the speaker’s, having himself received it four times, does not appear to be of any avail.
Should the patient continue to show decided symptoms of increased illness, the singing or the use of the rattle is continued until life is extinct, and no other ceremony is attempted; but if he is no worse after the preliminary course of treatment, or shows any improvement, the first attendant Midē´ changes his songs to those of a more boastful character. The first of these is as follows, chanted repeatedly and in a monotonous manner, viz:
[This refers to the appearance of the Midē´ stone which it is believed absorbs some of the disease and assumes a change of color.]
Nish´-a-we´nī´, hū´, gū´, mi-dē´, wug, a-ne´-ma-bī´-tshig.
The Midē´ have pity on me, those who are sitting around, and those who are sitting from us.
[The last line refers to those Midē´ who are sitting, though absent from the Midē´wigân.]
The following illustrates the musical rendering:
musical notation
A-si-na-bi-hŭ-i-ya, A-si-na-bi-hŭ-i-ya, A-si-na-bi-hŭ-i-ya hĭa,
A-si-na-bi-hŭ-i-ya, A-si-na-bi-hŭ-i-ya hĭa.
MIDI files:drum,flute,piano(default)
musical notation
Nish-a-wi-in-hu gū, O-ko-mi-dē-wog hē, A-ne-ma-bi-tshig hē,
Nishawiinhu gū, O-ko-mi-dē-wog hē,
Nish-a-wi-ni-hu gŭ O-ko-mi-dē-wog hē.
MIDI files:drum,flute,piano(default)
As the patient continues to improve the song of the Midē´ becomes more expressive of his confidence in his own abilities and importance.
The following is an example in illustration, viz:
[The speaker overcomes the malevolent man´idō and causes him to take flight.]
Na´-sa-ni-nēn´-di-yana-we´-si-yŏk´ no-gwe´-no´-wŏk.
See how I act, beasts I shoot on the wing.
[The signification of this is, that he “shoots at them as they fly,” referring to the man´idōs as they escape from the body.]
The following is the musical notation of the above, viz:
musical notation
Ni-ne-ta-we-hē wa-wâ´bâ-ma man-i-dō wa-wâ´-bâ-ma man-i-dō,
Ni-ne-ta-we-hē wa-wâ´-bâ-ma man-i-dō, wa-wâ´-bâ-ma man-i-dō.
MIDI files:drum,flute,piano(default)