The Midē´wiwin--Society of the Midē´ or Shamans--consists of an
indefinite number of Midē´ of both sexes. The society is graded into
four separate and distinct degrees, although there is a general
impression prevailing even among certain members that any degree beyond
the first is practically a mere repetition. The greater power attained
by one in making advancement depends upon the fact of his having
submitted to “being shot at with the medicine sacks” in the hands of the
officiating priests. This may be the case at this late day in certain
localities, but from personal experience it has been learned that there
is considerable variation in the dramatization of the ritual. One
circumstance presents itself forcibly to the careful observer, and that
is that the greater number of repetitions of the phrases chanted by the
Midē´ the greater is felt to be the amount of inspiration and power of
the performance. This is true also of some of the lectures in which
reiteration and prolongation in time of delivery aids very much in
forcibly impressing the candidate and other observers with the
importance and sacredness of the ceremony.
It has always been customary for the Midē´ priests to preserve
birch-bark records, bearing delicate incised lines to represent
pictorially the ground plan of the number of degrees to which the owner
is entitled. Such records or charts are sacred and are never exposed to
the public view, being brought forward for inspection only when an
accepted candidate has paid his fee, and then only after necessary
preparation by fasting and offerings of tobacco.
During the year 1887, while at Red Lake, Minnesota, I had the good
fortune to discover the existence of an old birch-bark chart, which,
according to the assurances of the chief and assistant Midē´ priests,
had never before been exhibited to a white man, nor even to an Indian
unless he had become a regular candidate. This chart measures 7 feet 1½
inches in length and 18 inches in width, and is made of five pieces of
birch bark neatly and securely stitched together by means of thin, flat
strands of bass wood. At each end are two thin strips of wood, secured
transversely by wrapping and stitching with thin strands of bark, so as
to prevent splitting and fraying of the ends of the record. Pl. III A,
is a reproduction of the design referred to.
It had been in the keeping of Skwēkŏ´mĭk, to whom it was intrusted at
the death of his father-in-law, the latter, in turn, having received it
in 1825 from Badâ´san, the Grand Shaman and chief of the Winnibē´goshish
Ojibwa.
It is affirmed that Badâ´san had received the original from the Grand
Midē´ priest at La Pointe, Wisconsin, where, it is said, the Midē´wiwin
was at that time held annually and the ceremonies conducted in strict
accordance with ancient and traditional usage.
The present owner of this record has for many years used it in the
preliminary instruction of candidates. Its value in this respect is very
great, as it presents to the Indian a pictorial résumé of the
traditional history of the origin of the Midē´wiwin, the positions
occupied by the various guardian man´idos in the several degrees, and
the order of procedure in study and progress of the candidate. On
account of the isolation of the Red Lake Indians and their long
continued, independent ceremonial observances, changes have gradually
occurred so that there is considerable variation, both in the pictorial
representation and the initiation, as compared with the records and
ceremonials preserved at other reservations. The reason of this has
already been given.
A detailed description of the above mentioned record, will be presented
further on in connection with two interesting variants which were
subsequently obtained at White Earth, Minnesota. On account of the
widely separated location of many of the different bands of the Ojibwa,
and the establishment of independent Midē´ societies, portions of the
ritual which have been forgotten by one set may be found to survive at
some other locality, though at the expense of some other fragments of
tradition or ceremonial. No satisfactory account of the tradition of the
origin of the Indians has been obtained, but such information as it was
possible to procure will be submitted.
In all of their traditions pertaining to the early history of the tribe
these people are termed A-nish´-in-â´-bēg--original people--a term
surviving also among the Ottawa, Patawatomi, and Menomoni, indicating
that the tradition of their westward migration was extant prior to the
final separation of these tribes, which is supposed to have occurred at
Sault Ste. Marie.
Mi´nabō´zho (Great Rabbit), whose name occurs in connection with most of
the sacred rites, was the servant of Dzhe Man´idō, the Good Spirit, and
acted in the capacity of intercessor and mediator. It is generally
supposed that it was to his good offices that the Indian owes life and
the good things necessary to his health and subsistence.
The tradition of Mi´nabō´zho and the origin of the Midē´wiwin, as
given in connection with the birch-bark record obtained at Red Lake
(Pl. III A), is as follows:
When Mi´nabō´zho, the servant of Dzhe Man´idō, looked down upon the
earth he beheld human beings, the Ani´shinâ´bēg, the ancestors of the
Ojibwa. They occupied the four quarters of the earth--the northeast, the
southeast, the southwest, and the northwest. He saw how helpless they
were, and desiring to give them the means of warding off the diseases
with which they were constantly afflicted, and to provide them with
animals and plants to serve as food and with other comforts, Mi´nabō´zho
remained thoughtfully hovering over the center of the earth, endeavoring
to devise some means of communicating with them, when he heard something
laugh, and perceived a dark object appear upon the surface of the water
to the west (No. 2). He could not recognize its form, and while watching
it closely it slowly disappeared from view. It next appeared in the
north (No. 3), and after a short lapse of time again disappeared.
Mi´nabō´zho hoped it would again show itself upon the surface of the
water, which it did in the east (No. 4). Then Mi´nabō´zho wished that it
might approach him, so as to permit him to communicate with it. When it
disappeared from view in the east and made its reappearance in the south
(No. 1), Mi´nabō´zho asked it to come to the center of the earth that he
might behold it. Again it disappeared from view, and after reappearing
in the west Mi´nabō´zho observed it slowly approaching the center of the
earth (i.e., the centre of the circle), when he descended and saw it was
the Otter, now one of the sacred man´idōs of the Midē´wiwin. Then
Mi´nabō´zho instructed the Otter in the mysteries of the Midē´wiwin, and
gave him at the same time the sacred rattle to be used at the side of
the sick; the sacred Midē´ drum to be used during the ceremonial of
initiation and at sacred feasts, and tobacco, to be employed in
invocations and in making peace.
[Illustration: Plate III.
Red Lake and Leech Lake Records.]
The place where Mi´nabō´zho descended was an island in the middle of a
large body of water, and the Midē´ who is feared by all the others is
called Mini´sino´shkwe (He-who-lives-on-the-island). Then Mi´nabō´zho
built a Midē´wigân (sacred Midē´ lodge), and taking his drum he beat
upon it and sang a Midē´ song, telling the Otter that Dzhe Man´idō had
decided to help the Aníshinâ´bōg, that they might always have life and
an abundance of food and other things necessary for their comfort.
Mi´nabō´zho then took the Otter into the Midē´wigân and conferred upon
him the secrets of the Midē´wiwin, and with his Midē´ bag shot the
sacred mī´gis into his body that he might have immortality and be able
to confer these secrets to his kinsmen, the Aníshinâ´bēg.
The mī´gis is considered the sacred symbol of the Midē´wigân, and may
consist of any small white shell, though the one believed to be similar
to the one mentioned in the above tradition resembles the cowrie, and
the ceremonies of initiation as carried out in the Midē´wiwin at this
day are believed to be similar to those enacted by Mi´nabō´zho and the
Otter. It is admitted by all the Midē´ priests whom I have consulted
that much of the information has been lost through the death of their
aged predecessors, and they feel convinced that ultimately all of the
sacred character of the work will be forgotten or lost through the
adoption of new religions by the young people and the death of the Midē´
priests, who, by the way, decline to accept Christian teachings, and are
in consequence termed “pagans.”
My instructor and interpreter of the Red Lake chart added other
information in explanation of the various characters represented
thereon, which I present herewith. The large circle at the right side of
the chart denotes the earth as beheld by Mi´nabō´zho, while the Otter
appeared at the square projections at Nos. 1, 2, 3, and 4; the
semicircular appendages between these are the four quarters of the
earth, which are inhabited by the Ani´shinâ´bēg, Nos. 5, 6, 7, and 8.
Nos. 9 and 10 represent two of the numerous malignant man´idōs, who
endeavor to prevent entrance into the sacred structure and mysteries of
the Midē´wiwin. The oblong squares, Nos. 11 and 12, represent the
outline of the first degree of the society, the inner corresponding
lines being the course traversed during initiation. The entrance to the
lodge is directed toward the east, the western exit indicating the
course toward the next higher degree. The four human forms at Nos. 13,
14, 15, and 16 are the four officiating Midē´ priests whose services are
always demanded at an initiation. Each is represented as having a
rattle. Nos. 17, 18, and 19 indicate the cedar trees, one of each of
this species being planted near the outer angles of a Midē´ lodge. No.
20 represents the ground. The outline of the bear at No. 21 represents
the Makwa´ Man´idō, or Bear Spirit, one of the sacred Midē´ man´idōs, to
which the candidate must pray and make offerings of tobacco, that he may
compel the malevolent spirits to draw away from the entrance to the
Midē´wigân, which is shown in No. 28. Nos 23 and 24 represent the sacred
drum which the candidate must use when chanting the prayers, and two
offerings must be made, as indicated by the number two.
After the candidate has been admitted to one degree, and is prepared to
advance to the second, he offers three feasts, and chants three prayers
to the Makwa´ Man´idō, or Bear Spirit (No. 22), that the entrance (No.
29) to that degree may be opened to him. The feasts and chants are
indicated by the three drums shown at Nos. 25, 26, and 27.
Nos. 30, 31, 32, 33, and 34 are five Serpent Spirits, evil man´idōs who
oppose a Midē´’s progress, though after the feasting and prayers
directed to the Makwa´ Man´idō have by him been deemed sufficient the
four smaller Serpent Spirits move to either side of the path between the
two degrees, while the larger serpent (No. 32) raises its body in the
middle so as to form an arch, beneath which passes the candidate on his
way to the second degree.
Nos. 35, 36, 46, and 47 are four malignant Bear Spirits, who guard the
entrance and exit to the second degree, the doors of which are at Nos.
37 and 49. The form of this lodge (No. 38) is like the preceding; but
while the seven Midē´ priests at Nos. 39, 40, 41, 42, 43, 44, and 45
simply indicate that the number of Midē´ assisting at this second
initiation are of a higher and more sacred class of personages than in
the first degree, the number designated having reference to quality and
intensity rather than to the actual number of assistants, as
specifically shown at the top of the first degree structure.
When the Midē´ is of the second degree, he receives from Dzhe Man´idō
supernatural powers as shown in No. 48. The lines extending upward from
the eyes signify that he can look into futurity; from the ears, that he
can hear what is transpiring at a great distance; from the hands, that
he can touch for good or for evil friends and enemies at a distance,
however remote; while the lines extending from the feet denote his
ability to traverse all space in the accomplishment of his desires or
duties. The small disk upon the breast of the figure denotes that a
Midē´ of this degree has several times had the mī´gis--life--“shot into
his body,” the increased size of the spot signifying amount or quantity
of influence obtained thereby.
No. 50 represents a Mi´tsha Midē´ or Bad Midē´, one who employs his
powers for evil purposes. He has the power of assuming the form of any
animal, in which guise he may destroy the life of his victim,
immediately after which he resumes his human form and appears innocent
of any crime. His services are sought by people who wish to encompass
the destruction of enemies or rivals, at however remote a locality the
intended victim may be at the time. An illustration representing the
modus operandi of his performance is reproduced and explained in Fig.
24, page 238.
Persons possessed of this power are sometimes termed witches, special
reference to whom is made elsewhere. The illustration, No. 50,
represents such an individual in his disguise of a bear, the characters
at Nos. 51 and 52 denoting footprints of a bear made by him, impressions
of which are sometimes found in the vicinity of lodges occupied by his
intended victims. The trees shown upon either side of No. 50 signify a
forest, the location usually sought by bad Midē´ and witches.
If a second degree Midē´ succeeds in his desire to become a member of
the third degree, he proceeds in a manner similar to that before
described; he gives feasts to the instructing and four officiating
Midē´, and offers prayers to Dzhe Man´idō for favor and success. No. 53
denotes that the candidate now personates the bear--not one of the
malignant man´idōs, but one of the sacred man´idōs who are believed to
be present during the ceremonials of initiation of the second degree. He
is seated before his sacred drum, and when the proper time arrives the
Serpent Man´idō (No. 54)--who has until this opposed his
advancement--now arches its body, and beneath it he crawls and advances
toward the door (No. 55) of the third degree (No. 56) of the Midē´wiwin,
where he encounters two (Nos. 57 and 58) of the four Panther Spirits,
the guardians of this degree.
Nos. 61 to 76 indicate midē´ spirits who inhabit the structure of this
degree, and the number of human forms in excess of those shown in
connection with the second degree indicates a correspondingly higher and
more sacred character. When an Indian has passed this, initiation he
becomes very skillful in his profession of a Midē´. The powers which he
possessed in the second degree may become augmented. He is represented
in No. 77 with arms extended, and with lines crossing his body and arms
denoting darkness and obscurity, which signifies his ability to grasp
from the invisible world the knowledge and means to accomplish
extraordinary deeds. He feels more confident of prompt response and
assistance from the sacred man´idōs and his knowledge of them becomes
more widely extended.
Nos. 59 and 60 are two of the four Panther Spirits who are the special
guardians of the third degree lodge.
To enter the fourth and highest degree of the society requires a greater
number of feasts than before, and the candidate, who continues to
personate the Bear Spirit, again uses his sacred drum, as he is shown
sitting before it in No. 78, and chants more prayers to Dzhe Man´idō for
his favor. This degree is guarded by the greatest number and the most
powerful of malevolent spirits, who make a last effort to prevent a
candidate’s entrance at the door (No. 79) of the fourth degree structure
(No. 80). The chief opponents to be overcome, through the assistance of
Dzhe Man´idō, are two Panther Spirits (Nos. 81 and 82) at the eastern
entrance, and two Bear Spirits (Nos. 83 and 84) at the western exit.
Other bad spirits are about the structure, who frequently gain
possession and are then enabled to make strong and prolonged resistance
to the candidate’s entrance. The chiefs of this group of malevolent
beings are Bears (Nos. 88 and 96), the Panther (No. 91), the Lynx (No.
97), and many others whose names they have forgotten, their positions
being indicated at Nos. 85, 86, 87, 89, 90, 92, 93, 94, and 95, all but
the last resembling characters ordinarily employed to designate
serpents.
The power with which it is possible to become endowed after passing
through the fourth degree is expressed by the outline of a human figure
(No. 98), upon which are a number of spots indicating that the body is
covered with the mī´gis or sacred shells, symbolical of the Midē´wiwin.
These spots designate the places where the Midē´ priests, during the
initiation, shot into his body the mī´gis and the lines connecting them
in order that all the functions of the several corresponding parts or
organs of the body may be exercised.
The ideal fourth degree Midē´ is presumed to be in a position to
accomplish the greatest feats in necromancy and magic. He is not only
endowed with the power of reading the thoughts and intentions of others,
as is pictorially indicated by the mī´gis spot upon the top of the head,
but to call forth the shadow (soul) and retain it within his grasp at
pleasure. At this stage of his pretensions, he is encroaching upon the
prerogatives of the Jĕs´sakkīd´, and is then recognized as one, as he
usually performs within the Jĕs´sakkân or Jĕs´sakkīd´ lodge, commonly
designated “the Jugglery.”
The ten small circular objects upon the upper part of the record may
have been some personal marks of the original owner; their import was
not known to my informants and they do not refer to any portion of the
history or ceremonies or the Midē´wiwin.
Extending toward the left from the end of the fourth degree inclosure is
an angular pathway (No. 99), which represents the course to be followed
by the Midē´ after he has attained this high distinction. On account of
his position his path is often beset with dangers, as indicated by the
right angles, and temptations which may lead him astray; the points at
which he may possibly deviate from the true course of propriety are
designated by projections branching off obliquely toward the right and
left (No. 100). The ovoid figure (No. 101) at the end of this path is
termed Wai-ĕk´-ma-yŏk´--End of the road--and is alluded to in the
ritual, as will be observed hereafter, as the end of the world, i.e.,
the end of the individual’s existence. The number of vertical strokes
(No. 102) within the ovoid figure signify the original owner to have
been a fourth degree Midē´ for a period of 14 years.
The outline of the Midē´wigân (No. 103) not only denotes that the same
individual was a member of the Midē´wiwin, but the thirteen vertical
strokes shown in Nos. 104 and 105 indicate that he was chief Midē´
priest of the society for that number of years.
[Illustration: Plate IV.
Sikas´sige’s Record.]
The outline of a Midē´wigân as shown at No. 106, with the place upon the
interior designating the location of the sacred post (No. 107) and the
stone (No. 108) against which the sick are placed during the time of
treatment, signifies the owner to have practiced his calling of the
exorcism of demons. But that he also visited the sick beyond the
acknowledged jurisdiction of the society in which he resided, is
indicated by the path (No. 109) leading around the sacred inclosure.
Upon that portion of the chart immediately above the fourth degree lodge
is shown the outline of a Midē´wiwin (No. 110), with a path (No. 114),
leading toward the west to a circle (No. 111), within which is another
similar structure (No. 112) whose longest diameter is at right angles to
the path, signifying that it is built so that its entrance is at the
north. This is the Dzhibai´ Midē´wigân or Ghost Lodge.
Around the interior of the circle are small V-shaped characters denoting
the places occupied by the spirits of the departed, who are presided
over by the Dzhibai´ Midē´, literally Shadow Midē´.
No. 113 represents the Kŏ´-kó-kŏ-ō´ (Owl) passing from the Midē´wigân to
the Land of the Setting Sun, the place of the dead, upon the road of the
dead, indicated by the pathway at No. 114. This man´idō is personated by
a candidate for the first degree of the Midē´wiwin when giving a feast
to the dead in honor of the shadow of him who had been dedicated to the
Midē´wiwin and whose place is now to be taken by the giver of the feast.
Upon the back of the Midē´ record, above described, is the personal
record of the original owner, as shown in Pl. III B. Nos. 1, 2, 3, and 4
represent the four degrees of the society into which he has been
initiated, or, to use the phraseology of an Ojibwa, “through which he
has gone.” This “passing through” is further illustrated by the bear
tracks, he having personated the Makwa´ Man´idō or Bear Spirit,
considered to be the highest and most powerful of the guardian spirits
of the fourth degree wigwam.
The illustration presented in Pl. III C represents the outlines of a
birch-bark record (reduced to one-third) found among the effects of a
lately deceased Midē´ from Leech Lake, Minnesota. This record, together
with a number of other curious articles, composed the outfit of the
Midē´, but the Rev. James A. Gilfillan of White Earth, through whose
courtesy I was permitted to examine the objects, could give me no
information concerning their use. Since that time, however, I have had
an opportunity of consulting with one of the chief priests of the Leech
Lake Society, through whom I have obtained some interesting data
concerning them.
The chart represents the owner to have been a Midē´ of the second
degree, as indicated by the two outlines of the respective structures at
Nos. 1 and 2, the place of the sacred posts being marked at Nos. 3 and
4. Nos. 5, 6, 7, and 8 are Midē´ priests holding their Midē´ bags as in
the ceremony of initiation. The disks represented at Nos. 9, 10, 11, 12,
and 13 denote the sacred drum, which may be used by him during his
initiation, while Nos. 14, 15, 16, and 17 denote that he was one of the
four officiating priests of the Midē´wigân at his place of residence.
Each of these figures is represented as holding their sacred bags as
during the ceremonies. No. 18 denotes the path he has been pursuing
since he became a Midē´, while at Nos. 19 and 20 diverging lines signify
that his course is beset with temptations and enemies, as referred to in
the description of the Red Lake chart, Pl. III A.
The remaining objects found among the effects of the Midē´ referred to
will be described and figured hereafter.
The diagram represented on Pl. IV is a reduced copy of a record made by
Sikas´sigĕ, a Mille Lacs Ojibwa Midē´ of the second degree, now resident
at White Earth.
The chart illustrating pictorially the general plan of the several
degrees is a copy of a record in the possession of the chief Midē´ at
Mille Lacs in 1830, at which time Sikas´sigĕ, at the age of 10 years,
received his first degree. For a number of years thereafter Sikas´sigĕ
received continued instruction from his father Baiē´dzhĕk, and although
he never publicly received advancement beyond the second degree of the
society, his wife became a fourth degree priestess, at whose initiation
he was permitted to be present.
Since his residence at White Earth Sikas´sigĕ has become one of the
officiating priests of the society at that place. One version given by
him of the origin of the Indians is presented in the following
tradition, a pictorial representation having also been prepared of which
Pl. V is a reduced copy:
In the beginning, Dzhe Man´idō (No. 1), made the Midē´ Man´idōs. He
first created two men (Nos. 2 and 3), and two women (Nos. 4 and 5);
but they had no power of thought or reason. Then Dzhe Man´idō (No. 1)
made them rational beings. He took them in his hands so that they
should multiply; he paired them, and from this sprung the Indians.
When there were people he placed them upon the earth, but he soon
observed that they were subject to sickness, misery, and death, and
that unless he provided them with the Sacred Medicine they would soon
become extinct.
Between the position occupied by Dzhe Man´idō and the earth were four
lesser spirits (Nos. 6, 7, 8, and 9) with whom Dzhe Man´idō decided to
commune, and to impart to them the mysteries by which the Indians
could be benefited. So he first spoke to a spirit at No. 6, and told
him all he had to say, who in turn communicated the same information
to No. 7, and he in turn to No. 8, who also communed with No. 9. They
all met in council, and determined to call in the four wind gods at
Nos. 10, 11, 12, and 13. After consulting as to what would be best for
the comfort and welfare of the Indians, these spirits agreed to ask
Dzhe Man´idō to communicate the Mystery of the Sacred Medicine to the
people.
Dzhe Man´idō then went to the Sun Spirit (No. 14) and asked him to go
to the earth and instruct the people as had been decided upon by the
council. The Sun Spirit, in the form of a little boy, went to the
earth and lived with a woman (No. 15) who had a little boy of her own.
[Illustration: Plate V.
Origin of Âni´shinâ´bēg.]
This family went away in the autum to hunt, and during the winter this
woman’s son died. The parents were so much distressed that they
decided to return to the village and bury the body there; so they made
preparations to return, and as they traveled along, they would each
evening erect several poles upon which the body was placed to prevent
the wild beasts from devouring it. When the dead boy was thus hanging
upon the poles, the adopted child--who was the Sun Spirit--would play
about the camp and amuse himself, and finally told his adopted father
he pitied him, and his mother, for their sorrow. The adopted son said
he could bring his dead brother to life, whereupon the parents
expressed great surprise and desired to know how that could be
accomplished.
The adopted boy then had the party hasten to the village, when he
said, “Get the women to make a wig´iwam of bark (No. 16), put the dead
boy in a covering of birch bark and place the body on the ground in
the middle of the wig´iwam.” On the next morning after this had been
done, the family and friends went into this lodge and seated
themselves around the corpse.
When they had all been sitting quietly for some time, they saw through
the doorway the approach of a bear (No. 17) which gradually came
towards the wig´iwam, entered it, and placed itself before the dead
body and said hŭ, hŭ, hŭ, hŭ, when he passed around it towards the
left side, with a trembling motion, and as he did so, the body began
quivering, and the quivering increased as the bear continued until he
had passed around four times, when the body came to life again and
stood up. Then the bear called to the father, who was sitting in the
distant right-hand corner of the wig´iwam, and addressed to him the
following words:
Nōs ka-wī´-na ni´-shi-na´-bi wis-sī´ a´-ya-wī´-an man´-i-dō
My father is not an Indian not you are a spirit
nin-gī´-sis. Be-mai´-a-mī´-nik ni´-dzhĭ man´-i-dō mī-a-zhĭ´-gwa
son. Insomuch my fellow spirit now
tshí-gĭ-a´-we-ân´. Nōs a-zhĭ´-gwa a-sē´-ma tshi´-a-tō´-yēk.
as you are. My father now tobacco you shall put.
A´-mĭ-kŭn´-dem mi-ē´-ta â´-bi-dink´ dzhi-gŏsh´-kwi-tōt´
He speaks of only once to be able to do it
wen´-dzhi-bi-mâ´-di-zid´-o-ma´ a-gâ´-wa bi-mâ-dĭ-zĭd´-mi-o-ma´;
why he shall live here now that he scarcely lives;
ni-dzhĭ man´-i-dō mí-a-zhĭ´-gwa tshí-gĭ-wĕ´-ân.
my fellow spirit now I shall go home.
The little bear boy (No. 17) was the one who did this. He then
remained among the Indians (No. 18) and taught them the mysteries of
the Grand Medicine (No. 19); and, after he had finished, he told his
adopted father that as his mission had been fulfilled he was to return
to his kindred spirits, for the Indians would have no need to fear
sickness as they now possessed the Grand Medicine which would enable
them to live. He also said that his spirit could bring a body to life
but once, and he would now return to the sun from which they would
feel his influence.
This is called Kwí-wĭ-sĕns´ wĕ-dī´-shĭ-tshī gē-wī-nĭp--
“Little-boy-his-work.”
From subsequent information it was learned that the line No. 22 denotes
the earth, and that, being considered as one step in the course of
initiation into the Midē´wiwin, three others must be taken before a
candidate can be admitted. These steps, or rests, as they are
denominated (Nos. 23, 24, and 25), are typified by four distinct gifts
of goods, which must be remitted to the Midē´ priests before the
ceremony can take place.
Nos. 18 and 19 are repetitions of the figures alluded to in the
tradition (Nos. 16 and 17) to signify that the candidate must personate
the Makwa´ Man´idō--Bear Spirit--when entering the Midē´wiwin (No. 19).
No. 20 is the Midē´ Man´idō as Ki´tshi Man´idō is termed by the Midē´
priests. The presence of horns attached to the head is a common symbol
of superior power found in connection with the figures of human and
divine forms in many Midē´ songs and other mnemonic records. No. 21
represents the earth’s surface, similar to that designated at No. 22.
Upon comparing the preceding tradition of the creation of the Indians
with the following, which pertains to the descent to earth of
Mi´nabō´zho, there appears to be some discrepancy, which could not be
explained by Sikas´sigĕ, because he had forgotten the exact sequence of
events; but from information derived from other Midē´ it is evident that
there have been joined together two myths, the intervening circumstances
being part of the tradition given below in connection with the narrative
relating to the chart on Pl. III A.
This chart, which was in possession of the Mille Lacs chief Baiē´dzhĕk,
was copied by him from that belonging to his preceptor at La Pointe
about the year 1800, and although the traditions given by Sikas´sigĕ is
similar to the one surviving at Red Lake, the diagram is an interesting
variant for the reason that there is a greater amount of detail in the
delineation of objects mentioned in the tradition.
By referring to Pl. IV it will be noted that the circle, No. 1,
resembles the corresponding circle at the beginning of the record on Pl.
III, A, with this difference, that the four quarters of the globe
inhabited by the Ani´shinâ´bēg are not designated between the cardinal
points at which the Otter appeared, and also that the central island,
only alluded to there (Pl. III A), is here inserted.
The correct manner of arranging the two pictorial records, Pls. III A
and IV, is by placing the outline of the earth’s surface (Pl. V, No. 21)
upon the island indicated in Pl. IV, No. 6, so that the former stands
vertically and at right angles to the latter; for the reason that the
first half of the tradition pertains to the consultation held between
Ki´tshi Man´idō and the four lesser spirits which is believed to have
occurred above the earth’s surface. According to Sikas´sigĕ the two
charts should be joined as suggested in the accompanying illustration,
Fig. 2.
[Illustration: Fig. 2.--Sikas´sigĕ’s combined charts, showing descent
of Min´abō´zho.]
[Illustration: Plate VI.
Ojibwa Facial Decoration.]
Sikas´sigĕ’s explanation of the Mille Lacs chart (Pl. IV) is
substantially as follows:
[Illustration: Fig. 3.--Origin of Ginseng.]
When Mi´nabō´zho descended to the earth to give to the Ani´shinâ´bēg
the Midē´wiwin, he left with them this chart, Midē´wigwas´. Ki´tshi
Man´idō saw that his people on earth were without the means of
protecting themselves against disease and death, so he sent
Mi´nabō´zho to give to them the sacred gift. Mi´nabō´zho appeared over
the waters and while reflecting in what manner he should be able to
communicate with the people, he heard something laugh, just as an
otter sometimes cries out. He saw something black appear upon the
waters in the west (No. 2) which immediately disappeared beneath the
surface again. Then it came up at the northern horizon (No. 3), which
pleased Mi´nabō´zho, as he thought he now had some one through whom he
might convey the information with which he had been charged by Ki´tshi
Man´idō. When the black object disappeared beneath the waters at the
north to reappear in the east (No. 4), Mi´nabō´zho desired it would
come to him in the middle of the waters, but it disappeared to make
its reappearance in the south (No. 5), where it again sank out of
sight to reappear in the west (No. 2), when Mi´nabō´zho asked it to
approach the center where there was an island (No. 6), which it did.
This did Ni´gĭk, the Otter, and for this reason he is given charge of
the first degree of the Midē´wiwin (Nos. 35 and 36) where his spirit
always abides during initiation and when healing the sick.
Then Ni´gĭk asked Mi´nabō´zho, “Why do you come to this place?” When
the latter said, “I have pity on the Ani´shinâ´bēg and wish to give
them life; Ki´tshi Man´idō gave me the power to confer upon them the
means of protecting themselves against sickness and death, and through
you I will give them the Midē´wiwin, and teach them the sacred rites.”
Then Mi´nabō´zho built a Midē´wigân in which he instructed the Otter
in all the mysteries of the Midē´wiwin. The Otter sat before the door
of the Midē´wigân four days (Nos. 7, 8, 9, and 10), sunning himself,
after which time he approached the entrance (No. 14), where his
progress was arrested (No. 11) by seeing two bad spirits (Nos. 12 and
13) guarding it. Through the powers possessed by Mi´nabō´zho he was
enabled to pass these; when he entered the sacred lodge (No. 15), the
first object he beheld being the sacred stone (No. 16) against which
those who were sick were to be seated, or laid, when undergoing the
ceremonial of restoring them to health. He next saw a post (No. 17)
painted red with a green band around the top. A sick man would also
have to pray to the stone and to the post, when he is within the
Midē´wigân, because within them would be the Midē´ spirits whose help
he invoked. The Otter was then taken to the middle of the Midē´wigân
where he picked up the mī´gis (No. 18) from among a heap of sacred
objects which form part of the gifts given by Ki´tshi Man´idō. The
eight man´idōs around the midē´wigân (Nos. 19, 20, 21, 22, 23, 24, 25,
and 26) were also sent by Ki´tshi Man´idō to guard the lodge against
the entrance of bad spirits.
A life is represented by the line No. 27, the signification of the short
lines (Nos. 28, 29, 30, and 31) denoting that the course of human
progress is beset by temptations and trials which may be the cause of
one’s departure from such course of conduct as is deemed proper, and the
beliefs taught by the Midē´. When one arrives at middle age (No. 32) his
course for the remaining period of life is usually without any special
events, as indicated by the plain line No. 27, extending from middle age
(No. 32) to the end of one’s existence (No. 33). The short lines at Nos.
28, 29, 30, and 31, indicating departure from the path of propriety,
terminate in rounded spots and signify, literally, “lecture places,”
because when a Midē´ feels himself failing in duty or vacillating in
faith he must renew professions by giving a feast and lecturing to his
confreres, thus regaining his strength to resist evil doing--such as
making use of his powers in harming his kinsmen, teaching that which was
not given him by Ki´tshi Man´idō through Mi´nabō´zho, etc. His heart
must be cleansed and his tongue guarded.
To resume the tradition of the course pursued by the Otter, Sikas´sigĕ
said:
The Otter then went round the interior of the Midē´wigân (No. 34), and
finally seated himself in the west, where Mi´nabō´zho shot into his
body the sacred mī´gis, which was in his Midē´ bag. Then Mi´nabō´zho
said, “This is your lodge and you shall own it always (Nos. 35 and
36), and eight Midē´ Man´idōs (Nos. 19-26) shall guard it during the
night.”
The Otter was taken to the entrance (No. 37) of the second degree
structure (No. 38), which he saw was guarded by two evil man´idōs
(Nos. 39 and 40), who opposed his progress, but who were driven away
by Mi´nabō´zho. When the Otter entered at the door he beheld the
sacred stone (No. 41) and two posts (Nos. 42, 43), the one nearest to
him being painted red with a green band around the top, and another at
the middle, with a bunch of little feathers upon the top. The other
post (No. 43) was painted red, with only a band of green at the top,
similar to the first degree post. Nos. 44 and 45 are the places where
sacred objects and gifts are placed. This degree of the Midē´wiwin is
guarded at night by twelve Midē´ Man´idōs (Nos. 46 to 57) placed there
by Ki´tshi Man´idō, and the degree is owned by the Thunder Bird as
shown in Nos. 58, 59.
The circles (Nos. 60, 61, and 62) at either end of the outline of the
structure denoting the degree and beneath it are connected by a line
(No. 63) as in the preceding degree, and are a mere repetition to denote
the course of conduct to be pursued by the Midē´. The points (Nos. 64,
65, 66, and 67), at the termini of the shorter lines, also refer to the
feasts and lectures to be given in case of need.
To continue the informant’s tradition:
When the Otter had passed around the interior of the Midē´wigân four
times, he seated himself in the west and faced the degree post, when
Mi´nabō´zho again shot into his body the mī´gis, which gave him
renewed life. Then the Otter was told to take a “sweat bath” once each
day for four successive days, so as to prepare for the next degree.
(This number is indicated at the rounded spots at Nos. 68, 69, 70,
and 71.)
The third degree of the Midē´wiwin (No. 72) is guarded during the day
by two Midē´ spirits (Nos. 73, 74) near the eastern entrance, and by
the Makwa´ Man´idō within the inclosure (Nos. 75 and 76), and at night
by eighteen Midē´ Man´idōs (Nos. 77 to 94), placed there by Ki´tshi
Man´idō. When the Otter approached the entrance (No. 95) he was again
arrested in his progress by two evil man´idōs (Nos. 96 and 97), who
opposed his admission, but Mi´nibō´zho overcame them and the Otter
entered. Just inside of the door, and on each side, the Otter saw a
post (Nos. 98 and 99), and at the western door or exit two
corresponding posts (Nos. 100 and 101). These symbolized the four legs
of the Makwa´ Man´idō, or Bear Spirit, who is the guardian by day and
the owner of the third degree. The Otter then observed the sacred
stone (No. 102) and the two heaps of sacred objects (Nos. 103 and 104)
which Mi´nabō´zho had deposited, and three degree posts (Nos. 105,
106, and 107), the first of which (No. 105) was a plain cedar post
with the bark upon it, but sharpened at the top; the second (No. 106),
a red post with a green band round the top and one about the middle,
as in the second degree; and the third a cross (No. 107) painted red,
each of the tips painted green. [The vertical line No. 108 was said to
have no relation to anything connected with the tradition.] After the
Otter had observed the interior of the Midē´wigân he again made four
circuits, after which he took his station in the west, where he seated
himself, facing the sacred degree posts. Then Mi´nabō´zho, for the
third time, shot into his body the mī´gis, thus adding to the powers
which he already possessed, after which he was to prepare for the
fourth degree of the Midē´wiwin.
Other objects appearing upon the chart were subsequently explained as
follows:
The four trees (Nos. 109, 110, 111, and 112), one of which is planted
at each of the four corners of the Midē´wigân, are usually cedar,
though pine may be taken as a substitute when the former can not be
had. The repetition of the circles Nos. 113, 114, and 115 and
connecting line No. 116, with the short lines at Nos. 117, 118, 119,
and 120, have the same signification as in the preceding two degrees.
After the Otter had received the third degree he prepared himself for
the fourth, and highest, by taking a steam bath once a day for four
successive days (Nos. 121, 122, 123, and 124). Then, as he proceeded
toward the Midē´wigân he came to a wig´iwam made of brush (No. 179),
which was the nest of Makwa´ Man´idō, the Bear Spirit, who guarded the
four doors of the sacred structure.
The four rows of spots have reference to the four entrances of the
Midē´wigân of the fourth degree. The signification of the spots near the
larger circle, just beneath the “Bear’s nest” could not be explained by
Sikas´sigĕ, but the row of spots (No. 117) along the horizontal line
leading to the entrance of the inclosure were denominated steps, or
stages of progress, equal to as many days--one spot denoting one
day--which must elapse before the Otter was permitted to view the
entrance.
[Illustration: Fig. 4.--Peep-hole post.]
When the Otter approached the fourth degree (No. 118) he came to a
short post (No. 119) in which there was a small aperture. The post was
painted green on the side from which he approached and red upon the
side toward the Midē´wigân [see Fig. 4.] But before he was permitted
to look through it he rested and invoked the favor of Ki´tshi Man´idō,
that the evil man´idōs might be expelled from his path. Then, when the
Otter looked through the post, he saw that the interior of the
inclosure was filled with Midē´ Man´idos, ready to receive him and to
attend during his initiation. The two Midē´ Man´idos at the outside of
the eastern entrance (Nos. 120 and 121) compelled the evil man´idōs
(Nos. 122 and 123) to depart and permit the Otter to enter at the door
(No. 124). Then the Otter beheld the sacred stone (No. 125) and the
five heaps of sacred objects which Minabō´zho had deposited (Nos. 126,
127, 128, 129, and 130) near the four degree posts (Nos. 131, 132,
133, and 134). According to their importance, the first was painted
red, with a green band about the top; the second was painted red, with
two green bands, one at the top and another at the middle; the third
consisted of a cross painted red, with the tips of the arms and the
top of the post painted green; while the fourth was a square post, the
side toward the east being painted white, that toward the south green,
that toward the west red, and that toward the north black.
The two sets of sticks (Nos. 135 and 136) near the eastern and western
doors represent the legs of Makwa´ Man´idō, the Bear Spirit. When the
Otter had observed all these things he passed round the interior of
the Midē´wigân four times, after which he seated himself in the west,
facing the degree posts, when Mi´nabō´zho approached him and for the
fourth time shot into his body the sacred mī´gis, which gave him life
that will endure always. Then Mi´nabō´zho said to the Otter, “This
degree belongs to Ki´tshi Man´ido, the Great Spirit (Nos. 137 and
138), who will always be present when you give the sacred rite to any
of your people.” At night the Midē´ Man´idōs (Nos. 139 to 162) will
guard the Midē´wigân, as they are sent by Ki´tshi Man´ido to do so.
The Bear’s nest (Nos. 163 and 164) just beyond the northern and
southern doors (Nos. 165 and 166) of the Midē´wigân are the places
where Makwa´ Man´idō takes his station when guarding the doors.
Then the Otter made a wig´iwam and offered four prayers (Nos. 167,
168, 169, and 170) for the rites of the Midē´wiwin, which Ki´tshi
Man´idō had given him.
[Illustration: Plate VII.
Ojibwa Facial Decoration.]
The following supplemental explanations were added by Sikas´sigĕ, viz:
The four vertical lines at the outer angles of the lodge structure (Nos.
171, 172, 173, and 174), and four similar ones on the inner corners
(Nos. 175, 176, 177, and 178), represent eight cedar trees planted there
by the Midē´ at the time of preparing the Midē´wigân for the reception
of candidates. The circles Nos. 179, 180, and 181, and the connecting
line, are a reproduction of similar ones shown in the three preceding
degrees, and signify the course of a Midē’s life--that it should be
without fault and in strict accordance with the teachings of the
Midē´wiwin. The short lines, terminating in circles Nos. 182, 183, 184,
and 185, allude to temptations which beset the Midē’s path, and he
shall, when so tempted, offer at these points feasts and lectures, or,
in other words, “professions of faith.” The three lines Nos. 186, 187,
and 188, consisting of four spots each, which radiate from the larger
circle at No. 179 and that before mentioned at No. 116, symbolize the
four bear nests and their respective approaches, which are supposed to
be placed opposite the four doors of the fourth degree; and it is
obligatory, therefore, for a candidate to enter these four doors on
hands and knees when appearing for his initiation and before he finally
waits to receive the concluding portion of the ceremony.
[Illustration: Fig. 5.--Migration of Âníshinâ´beg.]
The illustration presented in Fig. 5 is a reduced copy of a drawing made
by Sikas´sigĕ to represent the migration of the Otter toward the west
after he had received the rite of the Midē´wiwin. No. 1 refers to the
circle upon the large chart on Pl. III in A, No. 1, and signifies the
earth’s surface as before described. No. 2 in Fig. 5 is a line
separating the history of the Midē´wiwin from that of the migration as
follows: When the Otter had offered four prayers, as above mentioned,
which fact is referred to by the spot No. 3, he disappeared beneath the
surface of the water and went toward the west, whither the Ani´shinâ´bēg
followed him, and located at Ottawa Island (No. 4). Here they erected
the Midē´wigân and lived for many years. Then the Otter again
disappeared beneath the water, and in a short time reappeared at
A´wiat´ang (No. 5), when the Midē´wigân was again erected and the sacred
rites conducted in accordance with the teachings of Mi´nabō´zho. Thus
was an interrupted migration continued, the several resting places being
given below in their proper order, at each of which the rites of the
Midē´wiwin were conducted in all their purity. The next place to locate
at was Mi´shenama´kinagung-- Mackinaw (No. 6); then Ne´mikung (No. 7);
Kiwe´winang´ (No. 8); Bâwating-- Sault Ste. Marie (No. 9); Tshiwi´towi´
(No. 10); Nega´wadzhĕ´ŭ-- Sand Mountain (No. 11), northern shore of Lake
Superior; Mi´nisa´wĭk [Mi´nisa´bikkăng]-- Island of rocks (No. 12);
Kawa´sitshĭŭwongk-- Foaming rapids (No. 13); Mush´kisi´wi
[Mash´kisi´bi]-- Bad River (No. 14); Shagawâmikongk--
Long-sand-bar-beneath-the-surface (No. 15); Wikwe´dâⁿwonggâⁿ-- Sandy Bay
(No. 16); Neâ´shiwikongk-- Cliff Point (No. 17); Netâⁿ´wayaⁿ´sink--
Little point-of-sand-bar (No. 18); Aⁿ´nibiⁿs-- Little elm tree
(No. 19); Wikup´biⁿmiⁿsh-literally, Little-island-basswood (No. 20);
Makubiⁿ´miⁿsh-- Bear Island (No. 21); Sha´geski´ke´dawan´ga (No. 22);
Ni´wigwas´sikongk-- The place where bark is peeled (No. 23);
Ta´pakwe´ĭkak [Sa´apakwe´shkwaokongk]--
The-place-where-lodge-bark-is-obtained (No. 24); Ne´uwesak´kudeze´bi
[Ne´wisaku´desi´biⁿ]-- Point-deadwood-timber river (No. 25);
Amini´kanzi´bi [modern name, Âsh´kiba´gisi´bi], given respectively as
Fish spawn River and Green leaf River (No. 26).
This last-named locality is said to be Sandy Lake, Minnesota, where the
Otter appeared for the last time, and where the Midē´wigân was finally
located. From La Pointe, as well as from Sandy Lake, the Ojibwa claim to
have dispersed in bands over various portions of the territory, as well
as into Wisconsin, which final separation into distinct bodies has been
the chief cause of the gradual changes found to exist in the ceremonies
of the Midē´wiwin.
According to Sikas´sigĕ, the above account of the initiation of the
Otter, by Mi´nabo´zho, was adopted as the course of initiation by the
Midē´ priests of the Mille Lacs Society, when he himself received the
first degree, 1830. At that time a specific method of facial decoration
was pursued by the priests of the respective degrees (Pl. VI), each
adopting that pertaining to the highest degree to which he was entitled,
viz:
_First degree._--A broad band of green across the forehead and a narrow
stripe of vermilion across the face, just below the eyes.
_Second degree._--A narrow stripe of vermilion across the temples, the
eyelids, and the root of the nose, a short distance above which is a
similar stripe of green, then another of vermilion, and above this again
one of green.
_Third degree._--Red and white spots are daubed all over the face, the
spots being as large as can be made by the finger tips in applying the
colors.
_Fourth degree._--Two forms of decoration were admissible; for the
first, the face was painted with vermilion, with a stripe of green
extending diagonally across it from the upper part of the left temporal
region to the lower part of the right cheek; for the second, the face
was painted red with two short, horizontal parallel bars of green across
the forehead. Either of these was also employed as a sign of mourning by
one whose son has been intended for the priesthood of the Midē´wiwin,
but special reference to this will be given in connection with the
ceremony of the Dzhibai´ Midē´wigân, or Ghost Society.
On Pl. VIII is presented a reduced copy of the Midē´ chart made by
Ojibwa, a Midē´ priest of the fourth degree and formerly a member of the
society of the Sandy Lake band of the Mississippi Ojibwa. The
illustration is copied from his own chart which he received in 1833 in
imitation of that owned by his father, Me´toshi´kōⁿsh; and this last
had been received from Lake Superior, presumably La Pointe, many years
before.
The illustration of the four degrees are here represented in profile,
and shows higher artistic skill than the preceding copies from Red Lake,
and Mille Lacs.
The information given by Ojibwa, regarding the characters is as follows:
When Ki´tshi Man´idō had decided to give to the Ani´shinâ´bēg the
rites of the Midē´wiwin, he took his Midē´ drum and sang, calling upon
the other Man´idōs to join him and to hear what he was going to do.
No. 1 represents the abode in the sky of Ki´tshi Man´idō, No. 2,
indicating the god as he sits drumming, No. 3. the small spots
surrounding the drum denoting the mī´gis with which everything about
him is covered. The Midē´ Man´idōs came to him in his Midē´wigân (No.
4), eleven of which appear upon the inside of that structure, while
the ten--all but himself--upon the outside (Nos. 5 to 14) are
represented as descending to the earth, charged with the means of
conferring upon the Ani´shinâbē´g the sacred rite. In the Midē´wigân
(No. 4) is shown also the sacred post (No. 15) upon which is perched
Kŏ-ko´kŏ-ō--the Owl (No. 16). The line traversing the structure, from
side to side, represents the trail leading through it, while the two
rings (Nos. 17 and 18) upon the right side of the post indicate
respectively the spot where the presents are deposited and the sacred
stone--this according to modern practices.
When an Indian is prepared to receive the rights of initiation he
prepares a wig´iwam (No. 19) in which he takes a steam bath once each
day for four successive days. The four baths and four days are
indicated by the number of spots at the floor of the lodge,
representing stones. The instructors, employed by him, and the
officiating priests of the society are present, one of which (No. 20)
may be observed upon the left of the wig´iwam in the act of making an
offering of smoke, while the one to the right (No. 21) is drumming and
singing. The four officiating priests are visible to either side of
the candidate within the structure. The wig´iwams (Nos. 22, 23, 24,
and 25) designate the village habitations.
In the evening of the day preceding the initiation, the candidate (No.
26) visits his instructor (No. 27) to receive from him final
directions as to the part to be enacted upon the following day. The
candidate is shown in the act of carrying with him his pipe, the
offering of tobacco being the most acceptable of all gifts. His
relatives follow and carry the goods and other presents, some of which
are suspended from the branches of the Midē´ tree (No. 28) near the
entrance of the first degree structure. The instructor’s wig´iwam is
shown at No. 29, the two dark circular spots upon the floor showing
two of the seats, occupied by instructor and pupil. The figure No. 27
has his left arm elevated, denoting that his conversation pertains to
Ki´tshi Man´idō, while in his right hand he holds his Midē´ drum. Upon
the following morning the Midē´ priests, with the candidate in advance
(No. 30), approach and enter the Midē´wigân and the initiation begins.
No. 31 is the place of the sacred drum and those who are detailed to
employ the drum and rattles, while No. 32 indicates the officiating
priests; No. 33 is the degree post, surmounted by Kŏ-ko´-kŏ-ō´, the
Owl (No. 34). The post is painted with vermilion, with small white
spots all over its surface, emblematic of the mī´gis shell. The line
(No. 35) extending along the upper portion of the inclosure represents
the pole from which are suspended the robes, blankets, kettles, etc.,
which constitute the fee paid to the society for admission.
This degree is presided over and guarded by the Panther Man´idō.
When the candidate has been able to procure enough gifts to present to
the society for the second degree, he takes his drum and offers chants
(No. 35) to Ki´tshi Man´idō for success. Ki´tshi Man´idō himself is
the guardian of the second degree and his footprints are shown in No.
36. No. 37 represents the second degree inclosure, and contains two
sacred posts (Nos. 38 and 39), the first of which is the same as that
of the first degree, the second being painted with white clay, bearing
two bands of vermilion, one about the top and one near the middle. A
small branch near the top is used, after the ceremony is over, to hang
the tobacco pouch on. No. 40 represents the musicians and attendants;
No. 41 the candidate upon his knees; while Nos. 42, 43, 44, and 45
pictures the officiating priests who surround him. The horizontal pole
(No. 46) has presents of robes, blankets, and kettles suspended from
it.
When a candidate is prepared to advance to the third degree (No. 47)
he personates Makwa´ Man´idō, who is the guardian of this degree, and
whose tracks (No. 48) are visible. The assistants are visible upon the
interior, drumming and dancing. There are three sacred posts, the
first (No. 49) is black, and upon this is placed Kŏ-ko´-kŏ-ō´--the
Owl; the second (No. 50) is painted with white clay and has upon the
top the effigy of an owl; while the third (No. 51) is painted with
vermilion, bearing upon the summit the effigy of an Indian. Small
wooden effigies of the human figure are used by the Midē´ in their
tests of the proof of the genuineness and sacredness of their
religion, which tests will be alluded to under another caption. The
horizontal rod (No. 52), extending from one end of the structure to
the other, has suspended from it the blankets and other gifts.
The guardian of the fourth degree is Maka´no--the Turtle--as he
appears (No. 53) facing the entrance of the fourth degree (No. 54).
Four sacred posts are planted in the fourth degree; the first (No.
55), being painted white upon the upper half and green upon the lower;
the second (No. 56) similar; the third (No. 57) painted red, with a
black spiral line extending from the top to the bottom, and upon which
is placed Kŏ-ko´-kŏ-ō´--the Owl; and the fourth (No. 58), a cross, the
arms and part of the trunk of which is white, with red spots--to
designate the sacred mī´gis--the lower half of the trunk cut square,
the face toward the east painted red, the south green, the west white,
and the north black. The spot (No. 59) at the base of the cross
signifies the place of the sacred stone, while the human figures (No.
60) designate the participants, some of whom are seated near the wall
of the inclosure, whilst others are represented as beating the drum.
Upon the horizontal pole (No. 61) are shown the blankets constituting
gifts to the society.
[Illustration: Plate VIII.
Ojibwa’s Record.]
The several specific methods of facial decoration employed (Pl. VII),
according to Ojibwa’s statement, are as follows:
_First degree._--One stripe of vermilion across the face, from near the
ears across the tip of the nose.
_Second degree._--One stripe as above, and another across the eyelids,
temples, and the root of the nose.
_Third degree._--The upper half of the face is painted green and the
lower half red.
_Fourth degree._--The forehead and left side of the face, from the outer
canthus of the eye downward, is painted green; four spots of vermilion
are made with the tip of the finger upon the forehead and four upon the
green surface of the left cheek. In addition to this, the plumes of the
golden eagle, painted red, are worn upon the head and down the back.
This form of decoration is not absolutely necessary, as the expense of
the “war bonnet” places it beyond the reach of the greater number of
persons.
Before proceeding further with the explanation of the Mide´ records it
may be of interest to quote the traditions relative to the migration of
the Ani´shinâ´bēg, as obtained by Mr. Warren previous to 1853. In his
reference to observing the rites of initiation he heard one of the
officiating priests deliver “a loud and spirited harangue,” of which the
following words[12] caught his attention:
“Our forefathers were living on the great salt water toward the rising
sun, the great Megis (seashell) showed itself above the surface of the
great water and the rays of the sun for a long time period were
reflected from its glossy back. It gave warmth and light to the
An-ish-in-aub-ag (red race). All at once it sank into the deep, and
for a time our ancestors were not blessed with its light. It rose to
the surface and appeared again on the great river which drains the
waters of the Great Lakes, and again for a long time it gave life to
our forefathers and reflected back the rays of the sun. Again it
disappeared from sight and it rose not till it appeared to the eyes of
the An-ish-in-aub-ag on the shores of the first great lake. Again it
sank from sight, and death daily visited the wigiwams of our
forefathers till it showed its back and reflected the rays of the sun
once more at Bow-e-ting (Sault Ste. Marie). Here it remained for a
long time, but once more, and for the last time, it disappeared, and
the An-ish-in-aub-ag was left in darkness and misery, till it floated
and once more showed its bright back at Mo-ning-wun-a-kaun-ing (La
Pointe Island), where it has ever since reflected back the rays of the
sun and blessed our ancestors with life, light, and wisdom. Its rays
reach the remotest village of the widespread Ojibways.” As the old man
delivered this talk he continued to display the shell, which he
represented as an emblem of the great megis of which he was speaking.
A few days after, anxious to learn the true meaning of this allegory,
* * * I requested him to explain to me the meaning of his Me-da-we
harangue.
After filling his pipe and smoking of the tobacco I had presented he
proceeded to give me the desired information, as follows:
“My grandson,” said he, “the megis I spoke of means the Me-da-we
religion. Our forefathers, many string of lives ago, lived on the
shores of the great salt water in the east. Here, while they were
suffering the ravages of sickness and death, the Great Spirit, at the
intercession of Man-a-bo-sho, the great common uncle of the
An-ish-in-aub-ag, granted them this rite, wherewith life is restored
and prolonged. Our forefathers moved from the shores of the great
water and proceeded westward.
“The Me-da-we lodge was pulled down, and it was not again erected till
our forefathers again took a stand on the shores of the great river
where Mo-ne-aung (Montreal) now stands.
“In the course of time this town was again deserted, and our
forefathers, still proceeding westward, lit not their fires till they
reached the shores of Lake Huron, where again the rites of the
Me-da-we were practiced.
“Again these rites were forgotten, and the Me-da-we lodge was not
built till the Ojibways found themselves congregated at Bow-e-ting
(outlet of Lake Superior), where it remained for many winters. Still
the Ojibways moved westward, and for the last time the Me-da-we lodge
was erected on the island of La Pointe, and here, long before the pale
face appeared among them, it was practiced in its purest and most
original form. Many of our fathers lived the full term of life granted
to mankind by the Great Spirit, and the forms of many old people were
mingled with each rising generation. This, my grandson, is the meaning
of the words you did not understand; they have been repeated to us by
our fathers for many generations.”
[Footnote 12: Op. cit., p. 78 et seq.]
In the explanation of the chart obtained at Red Lake, together with the
tradition, reference to the otter, as being the most sacred emblem of
society, is also verified in a brief notice of a tradition by Mr.
Warren,[13] as follows:
There is another tradition told by the old men of the Ojibway village
of Fond du Lac, Lake Superior, which tells of their former residence
on the shores of the great salt water. It is, however, so similar in
character to the one I have related that its introduction here would
only occupy unnecessary space. The only difference between the two
traditions is that the otter, which is emblematical of one of the four
Medicine Spirits who are believed to preside over the Midawe rites, is
used in one in the same figurative manner as the seashell is used in
the other, first appearing to the ancient An-ish-in-aub-ag from the
depths of the great salt water, again on the river St. Lawrence, then
on Lake Huron at Sault Ste. Marie, again at La Pointe, but lastly at
Fond du Lac, or end of Lake Superior, where it is said to have forced
the sand bank at the mouth of the St. Louis River. The place is still
pointed out by the Indians where they believe the great otter broke
through.
[Footnote 13: Op. cit., p. 81.]
It is affirmed by the Indians that at Sault Ste. Marie some of the
Ojibwa separated from the main body of that tribe and traversed the
country along the northern shore of Lake Superior toward the west. These
have since been known of as the “Bois Forts” (hardwood people or timber
people), other bands being located at Pigeon River, Rainy Lake, etc.
Another separation occurred at La Pointe, one party going toward Fond du
Lac and westward to Red Lake, where they claim to have resided for more
than three hundred years, while the remainder scattered from La Pointe
westward and southwestward, locating at favorable places throughout the
timbered country. This early dismemberment and long-continued separation
of the Ojibwa nation accounts, to a considerable extent, for the several
versions of the migration and the sacred emblems connected with the
Midē´wiwin, the northern bands generally maintaining their faith in
favor of the Otter as the guide, while the southern bodies are almost
entirely supporters of the belief in the great mī´gis.
On account of the independent operations of the Midē´ priests in the
various settlements of the Ojibwa, and especially because of the slight
intercourse between those of the northern and southern divisions of the
nation, there has arisen a difference in the pictographic representation
of the same general ideas, variants which are frequently not recognized
by Midē´ priests who are not members of the Midē´wiwin in which these
mnemonic charts had their origin. As there are variants in the
pictographic delineation of originally similar ideas, there are also
corresponding variations in the traditions pertaining to them.
[Illustration: Fig. 6.--Birch-bark record, from White Earth.]
The tradition relating to Mi´nabō´zho and the sacred objects received
from Ki´tshi Man´idō for the Ani´shinâ´bēg is illustrated in Fig. 6,
which is a reproduction of a chart preserved at White Earth. The record
is read from left to right. No. 1 represents Mi´nabō´zho, who says of
the adjoining characters representing the members of the Midē´wiwin:
“They are the ones, they are the ones, who put into my heart the life.”
Mi´nabō´zho holds in his left hand the sacred Midē´ sack, or
pin-ji´-gu-sân´. Nos. 2 and 3 represent the drummers. At the sound of
the drum all the Midē´ rise and become inspired, because Ki´tshi Man´idō
is then present in the wig´iwam. No. 4 denotes that women also have the
privilege of becoming members of the Midē´wiwin. The figure holds in the
left hand the Midē´ sack, made of a snake skin. No. 5 represents the
Tortoise, the guardian spirit who was the giver of some of the sacred
objects used in the rite. No. 6, the Bear, also a benevolent Man´idō,
but not held in so great veneration as the Tortoise. His tracks are
visible in the Midē´wiwin. No. 7, the sacred Midē´ sack or
pin-ji´-gu-sân´, which contains life, and can be used by the Midē´ to
prolong the life of a sick person. No. 8 represents a Dog, given by the
Midē´ Man´idōs to Mi´nabō´zho as a companion.
Such was the interpretation given by the owner of the chart, but the
informant was unconsciously in error, as has been ascertained not only
from other Midē´ priests consulted with regard to the true meaning, but
also in the light of later information and research in the
exemplification of the ritual of the Midē´wiwin.
Mi´nabō´zho did not receive the rite from any Midē´ priests (Nos. 2 and
5), but from Ki´tshi Man´idō. Women are not mentioned in any of the
earlier traditions of the origin of the society, neither was the dog
given to Mi´nabō´zho, but Mi´nabō´zho gave it to the Ani´shinâ´bēg.
The chart, therefore, turns out to be a mnemonic song similar to others
to be noted hereafter, and the owner probably copied it from a chart in
the possession of a stranger Midē´, and failed to learn its true
signification, simply desiring it to add to his collection of sacred
objects and to gain additional respect from his confrères and admirers.
[Illustration: Fig. 7.--Birch-bark record, from Red Lake.]
[Illustration: Fig. 8.--Birch-bark record, from Red Lake.]
Two similar and extremely old birch-bark mnemonic songs were found in
the possession of a Midē´ at Red Lake. The characters upon these are
almost identical, one appearing to be a copy of the other. These are
reproduced in Figs. 7 and 8. By some of the Midē´ Esh´gibō´ga takes the
place of Mi´nabō´zho as having originally received the Midē´wiwin from
Ki´tshi Man´idō, but it is believed that the word is a synonym or a
substitute based upon some reason to them inexplicable. These figures
were obtained in 1887, and a brief explanation of them given in the
American Anthropologist.[14] At that time I could obtain but little
direct information from the owners of the records, but it has since been
ascertained that both are mnemonic songs pertaining to Mi´nabō´zho, or
rather Eshgibō´ga, and do not form a part of the sacred records of the
Midē´wiwin, but simply the pictographic representation of the
possibilities and powers of the alleged religion. The following
explanation of Figs. 7 and 8 is reproduced from the work just cited. A
few annotations and corrections are added. The numbers apply equally to
both illustrations:
No. 1, represents Esh´gibō´ga, the great uncle of the Ani´shinâ´bēg,
and receiver of the Midē´wiwin.
No. 2, the drum and drumsticks used by Esh´gibō´ga.
No. 3, a bar or rest, denoting an interval of time before the song is
resumed.
No. 4, the pin-ji´-gu-sân´ or sacred Midē´ sack. It consists of an
otter skin, and is the mī´gis or sacred symbol of the Midē´wigân.
No. 5. a Midē´ priest, the one who holds the mī´gis while chanting the
Midē´ song in the Midē´wigân. He is inspired, as indicated by the
line extending from the heart to the mouth.
No. 6, denotes that No. 5 is a member of the Midē´wiwin. This
character, with the slight addition of lines extending upward from
the straight top line, is usually employed by the more southern
Ojibwa to denote the wig´iwam of a Jĕss´akkīd´, or jugglery.
No. 7, is a woman, and signifies that women may also be admitted to
the Midē´wiwin.
No. 8, a pause or rest.
No. 9, a snake-skin pin-ji´-gu-sân´ possessing the power of giving
life. This power is indicated by the lines radiating from the head,
and the back of the skin.
No. 10, represents a woman.
No. 11, is another illustration of the mī´gis, or otter.
No. 12, denotes a priestess who is inspired, as shown by the line
extending from the heart to the mouth in Fig. 7, and simply showing
the heart in Fig. 6. In the latter she is also empowered to cure
with magic plants.
No. 13, in Fig. 7, although representing a Midē´ priest, no
explanation was given.
[Footnote 14: Vol. 1, No. 3, 1888, p. 216, Figs. 2 and 3.]
[Illustration: Fig. 9.--Esh´gibō´ga.]
Fig. 9 is presented as a variant of the characters shown in No. 1 of
Figs. 7 and 8. The fact that this denotes the power of curing by the use
of magic plants would appear to indicate an older and more appropriate
form than the delineation of the bow and arrows, as well as being more
in keeping with the general rendering of the tradition.