When the candidate’s application for reception into the Midē´wiwin has
been received by one of the officiating priests, he calls upon the three
assisting Midē´, inviting them to visit him at his own wig´iwam at a
specified time. When the conference takes place, tobacco, which has been
previously furnished by the candidate, is distributed and a smoke
offering made to Ki´tshi Man´idō, to propitiate his favor in the
deliberations about to be undertaken. The host then explains the object
of the meeting, and presents to his auditors an account of the
candidate’s previous life; he recounts the circumstances of his fast and
dreams, and if the candidate is to take the place of a lately deceased
son who had been prepared to receive the degree, the fact is mentioned,
as under such circumstances the forms would be different from the
ordinary method of reception into the society. The subject of presents
and gifts to the individual members of the society, as well as those
intended to be given as a fee to the officiating priests, is also
discussed; and lastly, if all things are favorable to the applicant, the
selection of an instructor or preceptor is made, this person being
usually appointed from among these four priests.
When the conference is ended the favorable decision is announced to the
applicant, who acknowledges his pleasure by remitting to each of the
four priests gifts of tobacco. He is told what instructor would be most
acceptable to them, when he repairs to the wig´iwam of the person
designated and informs him of his wish and the decision of the Midē´
council.
The designated preceptor arranges with his pupil to have certain days
upon which the latter is to call and receive instruction and acquire
information. The question of remuneration being settled, tobacco is
furnished at each sitting, as the Midē´ never begins his lecture until
after having made a smoke-offering, which is done by taking a whiff and
pointing the stem to the east; then a whiff, directing the stem to the
south; another whiff, directing the stem to the west; then a whiff and a
similar gesture with the stem to the north; another whiff is taken
slowly and with an expression of reverence, when the stem is pointed
forward and upward as an offering to Ki´tshi Man´idō; and finally, after
taking a similar whiff, the stem is pointed forward and downward toward
the earth as an offering to Nokō´mis, the grandmother of the universe,
and to those who have passed before. After these preliminaries, the
candidate receives at each meeting only a small amount of information,
because the longer the instruction is continued daring the season before
the meeting at which it is hoped the candidate may be admitted the
greater will be the fees; and also, in order that the instruction may be
looked upon with awe and reverence, most of the information imparted is
frequently a mere repetition, the ideas being clothed in ambiguous
phraseology. The Midē´ drum (Fig. 12 _a_) differs from the drum commonly
used in dances (Fig. 12 _b_) in the fact that it is cylindrical,
consisting of an elongated kettle or wooden vessel, or perhaps a section
of the hollow trunk of a tree about 10 inches in diameter and from 18 to
20 inches in length, over both ends of which rawhide is stretched while
wet, so that upon drying the membrane becomes hard and tense, producing,
when beaten, a very hard, loud tone, which may be heard at a great
distance.
[Illustration: Fig. 12.--Ojibwa drums.]
Frequently, however, water is put into the bottom of the drum and the
drum-head stretched across the top in a wet state, which appears to
intensify the sound very considerably.
The peculiar and special properties of the drum are described to the
applicant; that it was at first the gift of Ki´tshi Man´idō, who gave it
through the intercession of Mi´nabō´zho; that it is used to invoke the
presence of the Midē´ Man´idōs, or sacred spirits, when seeking
direction as to information desired, success, etc.; that it is to be
employed at the side of the sick to assist in the expulsion or exorcism
of evil man´idōs who may possess the body of the sufferer; and that it
is to be used in the. Midē´wigân during the initiation of new members or
the advancement of a Midē´ from a degree to a higher one.
[Illustration: Fig. 13.--Midē´ rattle.]
The properties of the rattle are next enumerated and recounted, its
origin is related, and its uses explained. It is used at the side of a
patient and has even more power in the expulsion of evil demons than the
drum. The rattle is also employed in some of the sacred songs as an
accompaniment, to accentuate certain notes and words. There are two
forms used, one consisting of a cylindrical tin box filled with grains
of corn or other seeds (Fig. 13), the other being a hollow gourd also
filled with seed (Fig. 14). In both of these the handle passes entirely
through the rattle case.
[Illustration: Fig. 14.--Midē´ rattle.]
In a similar manner the remaining gifts of Mi´nabō´zho are instanced and
their properties extolled.
The mī´gis, a small white shell (Cypræa moneta L.) is next extracted
from the Midē´ sack, or pinji´gusân´. This is explained as being the
sacred emblem of the Midē´wiwin, the reason therefor being given in the
account of the several traditions presented in connection with Pls. III,
IV, and VIII. This information is submitted in parts, so that the
narrative of the history connected with either of the records is
extended over a period of time to suit the preceptor’s plans and
purposes. The ceremony of shooting the mī´gis (see Fig. 15) is explained
on page 215.
[Illustration: Fig. 15.--Shooting the mī´gis.]
As time progresses the preceptor instructs his pupil in Midē´ songs,
i.e., he sings to him songs which form a part of his stock in trade, and
which are alleged to be of service on special occasions, as when
searching for medicinal plants, hunting, etc. The pupil thus acquires a
comprehension of the method of preparing and reciting songs, which
information is by him subsequently put to practical use in the
composition and preparation of his own songs, the mnemonic characters
employed being often rude copies of those observed upon the charts of
his preceptor, but the arrangement thereof being original.
It is for this reason that a Midē´ is seldom, if ever, able to recite
correctly any songs but his own, although he may be fully aware of the
character of the record and the particular class of service in which it
may be employed. In support of this assertion several songs obtained at
Red Lake and imperfectly explained by “Little Frenchman” and “Leading
Feather,” are reproduced in Pl. XXII, A B, page 292.
From among the various songs given by my preceptor are selected and
presented herewith those recognized by him as being part of the ritual.
The greater number of songs are mere repetitions of short phrases, and
frequently but single words, to which are added meaningless sounds or
syllables to aid in prolonging the musical tones, and repeated ad
libitum in direct proportion to the degree of inspiration in which the
singer imagines himself to have attained. These frequent outbursts of
singing are not based upon connected mnemonic songs preserved upon birch
bark, but they consist of fragments or selections of songs which have
been memorized, the selections relating to the subject upon which the
preceptor has been discoursing, and which undoubtedly prompts a rythmic
vocal equivalent. These songs are reproduced on Pl. IX, A, B, C. The
initial mnemonic characters pertaining to each word or phrase of the
original text are repeated below in regular order with translations in
English, together with supplemental notes explanatory of the characters
employed. The musical notation is not presented, as the singing consists
of a monotonous repetition of four or five notes in a minor key;
furthermore, a sufficiently clear idea of this may be formed by
comparing some of the Midē´ songs presented in connection with the
ritual of initiation and preparation of medicines. The first of the
songs given herewith (Pl. IX, A) pertains to a request to Ki´tshi
Man´idō that clear weather may be had for the day of ceremonial, and
also an affirmation to the candidate that the singer’s words are a
faithful rendering of his creed.
[Illustration: Plate IX.
Mnemonic Songs.]
Each of the phrases is repeated before advancing to the next, as often
as the singer desires and in proportion to the amount of reverence and
awe with which he wishes to impress his hearer. There is usually a brief
interval between each of the phrases, and a longer one at the appearance
of a vertical line, denoting a rest, or pause. One song may occupy,
therefore, from fifteen minutes to half an hour.
[Illustration]
Ki-ne´-na-wi´-´in mani´-i-dō´-ye-win.
I rock you, you that are a spirit.
[A midē’s head, the lines denoting voice or speech--i.e., singing
of sacred things, as the loops or circles at the ends of each line
indicate.]
[Illustration]
Kí-zhĭk-ki-wĭn´-da-mūn´.
The sky I tell you.
[The otter skin medicine sack, and arm reaching to procure something
therefrom.]
[Illustration]
O-we-nen´; hwīn´.
Who is it, who?
[The mī´gis shell; the sacred emblem of the Midē´wiwin.]
[Illustration]
Wi´-dzhĭ-i-nan´.
The man helping me.
[A man walking, the Midē´ Man´idō or Sacred Spirit.]
[Illustration]
Nu-waⁿ´-ni-ma´na nin-guĭs´?
Have I told the truth to my son?
[The bear going to the Midē´wigan, and takes with him life to the
Ani´shinâ´bēg.]
[Illustration]
Rest.
[Illustration]
Ni´-nīn-dē´, a´-ya´.
My heart, I am there (in the fullness of my heart).
[My heart; knows all Midē´ secrets, sensible one.]
[Illustration]
A´-ni-na´-nĕsh-mi´-ĭ-an ni´-na´-wĭ-tō´.
I follow with my arms.
[Arms extended to take up “medicine” or Midē´ secrets.]
[Illustration]
Man´-i-dō´-wi-an´ nĭ-me´-shine´-mi´-an.
Knowledge comes from the heart, the heart reaches to sources of
“medicine” in the earth.
[A Midē´ whose heart’s desires and knowledge extend to the
secrets of the earth. The lines diverging toward the earth
denote direction.]
[Illustration]
We´-gi-kwō´ Kĕ-mī´-nĭ-nan´? From whence comes the rain?
[The power of making a clear sky, i.e., weather.]
[Illustration]
Mi-shŏk´ kwōt´, dzhe-man´-i-dō´-yan.
The sky, nevertheless, may be clear, Good Spirit.
[Giving life to the sick; Dzhe Man´idō handing it to the Midē´.]
[Illustration]
Wi´-ka-ka-nŭn´-ĕ-nan.
Very seldom I make this request of you.
[The Good Spirit filling the body of the supplicant with knowledge
of secrets of the earth.]
In the following song (Pl. IX, B), the singer relates to the candidate
the gratitude which he experiences for the favors derived from the Good
Spirit; he has been blessed with knowledge of plants and other sacred
objects taken from the ground, which knowledge has been derived by his
having himself become a member of the Midē´wiwin, and hence urges upon
the candidate the great need of his also continuing in the course which
he has thus far pursued.
[Illustration]
Na-witsh´-tshi na-kŭm´-i-en a-na´-pi-aⁿ´?
When I am out of hearing, where am I?
[The lines extending from the ears denote hearing; the arms directed
toward the right and left, being the gesture of negation, usually
made by throwing the hands outward and away from the front of the
body.]
[Illustration]
We´-nen-ne´ en´-da-yan.
In my house, I see.
[Sight is indicated by the lines extending from the eyes; the horns
denote superiority of the singer.]
[Illustration]
Mo-kī´-yan-na´-a-witsh´-i-gūm´-mi.
When I rise it gives me life, and I take it.
[The arm reaches into the sky to receive the gifts which are handed
down by the Good Spirit. The short transverse line across the
forearm indicates the arch of the sky, this line being an
abbreviation of the curve usually employed to designate the same
idea.]
[Illustration]
Wen´-dzhi-ba´-pi-aⁿ´.
The reason why I am happy.
[Asking the Spirit for life, which is granted. The singer’s body is
filled with the heart enlarged, i.e., fullness of heart, the lines
from the mouth denoting abundance of voice or grateful utterances--
singing.]
[Illustration (two vertical lines) missing]
Rest.
[Illustration]
Zha´-zha-bui´-ki-bi-nan´ wig´-ĕ-wâm´.
The Spirit says there is plenty of “medicine” in the Midē´ wig´iwam.
[Two superior spirits, Ki´tshi Man´idō and Dzhe Man´idō, whose
bodies are surrounded by “lines of sacredness,” tell the Midē´ where
the mysterious remedies are to be found. The vertical waving lines
are the lines indicating these communications; the horizontal line,
at the bottom, is the earth’s surface.].
[Illustration]
Ya-hō´-hon-ni´-yŏ.
The Spirit placed medicine in the ground, let us take it.
[The arm of Ki´tshi Man´idō put into the ground sacred plants, etc.,
indicated by the spots at different horizons in the earth. The short
vertical and waving lines denote sacredness of the objects.]
[Illustration]
Ní-wo´-we-nī´-nan ki´-bi-do-naⁿ´.
I am holding this that I bring to you.
[The singer sits in the Midē´wiwin, and offers the privilege of
entrance, by initiation, to the hearer.]
[Illustration]
Midē´ nĭ-ka´-năk kish´-o-wĕ´-ni-mĭ-ko´.
I have found favor in the eyes of my midē´ friends.
[The Good Spirit has put life into the body of the singer, as
indicated by the two mysterious arms reaching towards his body,
i.e., the heart, the seat of life.]
In the following song (Pl. IX, C), the preceptor appears to feel
satisfied that the candidate is prepared to receive the initiation,
and therefore tells him that the Midē´ Man´idō announces to him the
assurance. The preceptor therefore encourages his pupil with promises
of the fulfillment of his highest desires.
[Illustration]
Ba´-dzhĭ-ke´-o gi´-mand ma-bis´-in-dâ´-ă.
I hear the spirit speaking to us.
[The Midē´ singer is of superior power, as designated by the horns
and apex upon his head. The lines from the ears indicate hearing.]
[Illustration]
Kwa-yăk´-in dī´-sha in-dâ´-yaⁿ.
I am going into the medicine lodge.
[The Midē´wigân is shown with a line through it to signify that he
is going through it, as in the initiation.]
[Illustration]
Kwe´-tshĭ-ko-wa´-ya ti´-na-man.
I am taking (gathering) medicine to make me live.
[The discs indicate sacred objects within reach of the speaker.]
[Illustration]
O´-wi-yo´-in en´-do-ma mâk´-kwin-ĕn´-do-ma´.
I give you medicine, and a lodge, also.
[The Midē´, as the personator of Makwa´ Man´idō, is empowered to
offer this privilege to the candidate.]
[Illustration]
O-wē´-nĕn bĕ-mī´-sĕt.
I am flying into my lodge.
[Represents the Thunder-Bird, a deity flying into the arch of the
sky. The short lines denote the (so-called spirit lines) abode of
spirits or Man´idōs.]
[Illustration]
Na-nī-ne kwe-wē´-an.
The Spirit has dropped medicine from the sky where we can get it.
[The line from the sky, diverging to various points, indicates that
the sacred objects occur in scattered places.]
[Illustration]
Nē´-wōdē´-ē´.
I have the medicine in my heart.
[The singer’s body--i.e., heart--is filled with knowledge relating
to sacred medicines from the earth.]