The mī´gis shell employed in the second degree initiation is of the same
species as those before mentioned. At White Earth, however, some of the
priests claim an additional shell as characteristic of this advanced
degree, and insist that this should be as nearly round as possible,
having a perforation through it by which it may be secured with a strand
or sinew. In the absence of a rounded white shell a bead may be used as
a substitute. On Pl. XI, No. 4, is presented an illustration of the bead
(the second-degree mī´gis) presented to me on the occasion of my
initiation.
With reference to the style of facial decoration resorted to in this
degree nearly all of the members now paint the face according to their
own individual tastes, though a few old men still adhere to the
traditional method previously described (pp. 180, 181). The candidate
usually adopts the style practiced by his preceptor, to which he is
officially entitled; but if the preceptor employed in the preparatory
instruction for the second degree be not the same individual whose
services were retained for the first time, then the candidate has the
privilege of painting his face according to the style of the preceding
degree. If he follow his last preceptor it is regarded as an exceptional
token of respect, and the student is not expected to follow the method
in his further advancement.
A Midē´ of the second degree is also governed by his tutelary daimon;
e.g., if during the first fast and vision he saw a bear, he now prepares
a necklace of bear-claws, which is worn about the neck and crosses the
middle of the breast. He now has the power of changing his form into
that of a bear; and during that term of his disguise he wreaks vengeance
upon his detractors and upon victims for whose destruction he has been
liberally rewarded. Immediately upon the accomplishment of such an act
he resumes his human form and thus escapes identification and detection.
Such persons are termed by many “bad medicine men,” and the practice of
thus debasing the sacred teachings of the Midē´wiwin is discountenanced
by members of the society generally. Such pretensions are firmly
believed in and acknowledged by the credulous and are practiced by that
class of Shamans here designated as the Wâbĕnō´.
In his history[15] Rev. Mr. Jones says:
As the powwows always unite witchcraft with the application of their
medicines I shall here give a short account of this curious art.
Witches and wizards are persons supposed to possess the agency of
familiar spirits from whom they receive power to inflict diseases on
their enemies, prevent good luck of the hunter and the success of the
warrior. They are believed to fly invisibly at pleasure from place to
place; to turn themselves into bears, wolves, foxes, owls, bats, and
snakes. Such metamorphoses they pretend to accomplish by putting on
the skins of these animals, at the same time crying and howling in
imitation of the creature they wish to represent. Several of our
people have informed me that they have seen and heard witches in the
shape of these animals, especially the bear and the fox. They say that
when a witch in the shape of a bear is being chased all at once she
will run round a tree or a hill, so as to be lost sight of for a time
by her pursuers, and then, instead of seeing a bear they behold an old
woman walking quietly along or digging up roots, and looking as
innocent as a lamb. The fox witches are known by the flame of fire
which proceeds out of their mouths every time they bark.
Many receive the name of witches without making any pretensions to the
art, merely because they are deformed or ill-looking. Persons esteemed
witches or wizards are generally eccentric characters, remarkably
wicked, of a ragged appearance and forbidding countenance. The way in
which they are made is either by direct communication with the
familiar spirit during the days of their fasting, or by being
instructed by those skilled in the art.
[Footnote 15: History of the Ojebway Indians, etc., London (1843?),
pp. 145, 146.]
A Midē´ of the second degree has the reputation of superior powers on
account of having had the mī´gis placed upon all of his joints, and
especially because his heart is filled with magic power, as is shown in
Pl. III, No. 48. In this drawing the disk upon the breast denotes where
the mī´gis has been “shot” into the figure, the enlarged size of the
circle signifying “greater abundance,” in contradistinction to the
common designation of a mī´gis shown only by a simple spot or small
point. One of this class is enabled to hear and see what is transpiring
at a remote distance, the lines from the hands indicating that he is
enabled to grasp objects which are beyond the reach of a common person,
and the lines extending from the feet signifying that he can traverse
space and transport himself to the most distant points. Therefore he is
sought after by hunters for aid in the discovery and capture of game,
for success in war, and for the destruction of enemies, however remote
may be their residence.
When an enemy or a rival is to be dealt with a course is pursued similar
to that followed when preparing hunting charts, though more powerful
magic medicines are used. In the following description of a pictograph
recording such an occurrence the Midē´, or rather the Wâbĕnō´, was of
the fourth degree of the Midē´wiwin. The indication of the grade of the
operator is not a necessary part of the record, but in this instance
appears to have been prompted from motives of vanity. The original
sketch, of which Fig. 24 is a reproduction, was drawn upon birch-bark by
a Midē´, in 1884, and the ceremony detailed actually occurred at White
Earth, Minnesota. By a strange coincidence the person against whom
vengeance was aimed died of pneumonia the following spring, the disease
having resulted from cold contracted during the preceding winter. The
victim resided at a camp more than a hundred miles east of the locality
above named, and his death was attributed to the Midē´’s power, a
reputation naturally procuring for him many new adherents and disciples.
The following is the explanation as furnished by a Midē´ familiar with
the circumstances:
[Illustration: Fig. 24.--Midē´ destroying an enemy.]
No. 1 is the author of the chart, a Midē´ who was called upon to take
the life of a man living at a distant camp. The line extending from
the midē´ to the figure at No. 9, signifies that his influence will
reach to that distance.
No. 2, the applicant for assistance.
Nos. 3, 4, 5, and 6, represent the four degrees of the Midē´wiwin (of
which the operator, in this instance, was a member). The degrees are
furthermore specifically designated by short vertical strokes.
No. 7 is the midē´ drum used during the ceremony of preparing the
charm.
No. 8 represents the body of the intended victim. The heart is
indicated, and upon this spot was rubbed a small quantity of
vermilion.
No. 9 is the outline of a lake, where the subject operated upon
resided.
War parties are not formed at this time, but mnemonic charts of songs
used by priests to encourage war parties, are still extant, and a
reproduction of one is given on Pl. XIII, D. This song was used by the
Midē´ priest to insure success to the parties. The members who intended
participating in the exhibition would meet on the evening preceding
their departure, and while listening to the words, some would join in
the singing while others would dance. The lines may be repeated ad
libitum so as to lengthen the entire series of phrases according to the
prevalent enthusiasm and the time at the disposal of the performers. The
war drum was used, and there were always five or six drummers so as to
produce sufficient noise to accord with the loud and animated singing of
a large body of excited men. This drum is, in size, like that employed
for dancing. It is made by covering with rawhide an old kettle, or
wooden vessel, from 2 to 3 feet in diameter. The drum is then attached
to four sticks, or short posts, so as to prevent its touching the
ground, thus affording every advantage for producing full and resonant
sounds, when struck. The drumsticks are strong withes, at the end of
each of which is fastened a ball of buckskin thongs. The following lines
are repeated ad libitum:
[Illustration: Plate XIV.
Mnemonic Songs.]
[Illustration]
Hu´-na-wa´-na ha´-wā,
un-do´-dzhe-na´ ha-we´-nĕ.
I am looking [feeling] for my paint.
[The Midē’s hands are at his medicine sack searching for his war
paint.]
[Illustration]
Hĭa´-dzhi-mĭn-de´ non´-da-kō´, hō´,
They hear me speak of legs.
[Refers to speed in the expedition. To the left of the leg is the
arm of a spirit, which is supposed to infuse magic influence so as
to give speed and strength.]
[Illustration]
Hu´-wa-ke´, na´, ha´,
He said,
[The Turtle Man´idō will lend his aid in speed. The turtle was one
of the swiftest man´idōs, until through some misconduct, Min´abō´zho
deprived him of his speed.]
[Illustration]
Wa´-tshe, ha´, hwē, wa´-ka-te´, hē´, wa´-tshe, ha´, hwē´.
Powder, he said.
[The modern form of Wa´-ka-te´, he´, hwā´, is ma´-ka-dē´-hwa; other
archaic words occur also in other portions of this song. The phrase
signifies that the Midē´ Man´idō favors good results from the use of
powder. His form projects from the top of the Midē´ structure.]
[Illustration]
Rest. A smoke is indulged in after which the song is resumed,
accompanied with dancing.
[Illustration]
Sin-go´-na wa-kī´ na-ha´-ka
I made him cry.
[The figure is that of a turkey buzzard which the speaker shot.]
[Illustration]
Te-wa´-tshi-me-kwe´-na, ha´, na-ke´-nan.
They tell of my powers.
[The people speak highly of the singer’s magic powers; a charmed
arrow is shown which terminates above with feather-web ornament,
enlarged to signify its greater power.]
[Illustration]
He´-wĕ-ne-nis´-sa ma-he´-ka-nĕn´-na.
What have I killed, it is a wolf.
[By aid of his magic influence the speaker has destroyed a bad
man´idō which had assumed the form of a wolf.]
[Illustration]
Sun´-gu-we´-wa, ha´, nīn-dēn´, tshi´-man-da´-kwa ha´na-nĭn-dēn´.
I am as strong as the bear.
[The Midē´ likens his powers to those of the Bear Man´idō, one of
the most powerful spirits; his figure protrudes from the top of the
Midē´wigân while his spirit form is indicated by the short lines
upon the back.]
[Illustration]
Wa´-ka-na´-ni, hē´, wa´-ka-na´-ni.
I wish to smoke.
[The pipe used is that furnished by the promoter or originator of
the war party, termed a “partisan.” The Midē´ is in full accord with
the work undertaken and desires to join, signifying his wish by
desiring to smoke with the braves.]
[Illustration]
He´-wa-hō´-a hai´-a-nē´
I even use a wooden image.
[Effigies made to represent one who is to be destroyed. The heart is
punctured, vermilion or other magic powder is applied, and the death
of the victim is encompassed.]
[Illustration]
Pa-kwa´ ma-ko-nē´ ā´, ō´, hē´,
ōsh-ke´-na-ko-nē´-a.
The bear goes round angry.
[The Bear Man´idō is angry because the braves are dilatory in going
to war. The sooner they decide upon this course, the better it will
be for the Midē´ as to his fee, and the chances of success are
greater while the braves are infused with enthusiasm, than if they
should become sluggish and their ardor become subdued.]