moose hair and quill embroidery.
]
With the Iroquois the sky-dome and earth symbols are employed as pattern
designs for decorating clothing. Nearly always these symbols are
associated with the celestial-tree symbol, though sometimes this is
employed alone. These patterns appear embroidered in moose hair,
porcupine quills and beads as borders for leggings, skirts,
breech-clouts and moccasins. (See fig. 5.) Occasionally the pattern is
found on head-bands and hair ornaments. In some cases, especially in
examples of silver work and beaded articles it seems evident that the
decorator has not the meaning of his pattern in mind. This is true of
some of the more modern attempts to use it.
These outward curving designs, beside being symbols of the celestial
tree have a secondary meaning, that of life, living and light. Curving
inward upon themselves they sometimes represent sleep and death. Fig. 3
shows this design on a leggin strip. In fig. 4 h we have it used in
conjunction with a sleeping sun. The Onondaga call the double curve
design oĕ^n’´shă’, tendril.
In this connection it may be well to note that the “horns” wampum when
placed upon a dead civil chief’s body is curved inward, the two ends
touching and forming the outline of a circle or heart. When the
condoling ceremonial chief finishes his address and is about to lift the
strands of wampum from the corpse to hand it to the successor he turns
the wampum-string so that the ends point outward and away from each
other. These particular symbols while being those of death and life
respectively are regarded as horn and not tree symbols. The wampum so
employed “the horns,” onă’gasho‘´ă, and alludes to the symbolic title of
the civil chief (roya´ner).
The celestial-tree symbol appears also as a trefoil. The third tendril
or branch unfolds from the center of the tree. (See fig. 4 c.) A fourth
branch is often used and then appears as a double tree. (See fig. 4 d.)
In 4, e the night-sun is represented over the world-tree and in meaning
this sign is found to be the same as 4, h. In fig. 4, f the day-sun is
represented as shining at zenith above the world-tree. In 4, g the
sun-above-the-sky is awake and roosting in the celestial-tree. All of
these designs are found on borders of Iroquois garments some of which
are shown in plate I.
Another important modification of the sky-dome and celestial-tree
combination is that which represents the sky-dome with the
celestial-tree upon it and the earth-tree within the dome below and
resting upon a long intersection of an oval (possibly the turtle) and
sending its long leaves or branches upward to the sky-arch.
Sometimes the design is used as the motif of a rosette or other balanced
design. Morgan figured several and the Report of the Director of the
State Museum of New York for 1907 shows a picture of Red Jacket’s pipe
pouch ornamented with such a pattern. There the ends of the tendrils are
split and represented as conventional flowers. In other instances the
motif is built upward upon itself as shown in figure 6. The first “tree”
in this figure is copied from Lafitau[91] and the others from Mohawk
moccasin toes.
With the Iroquois the celestial-tree symbol is generally represented by
this anies-like figure. The _earth-tree_, on the other hand, is less
highly conventionalized. With the Iroquois as with many other tribes in
the forest area in North America, the Ojibwa for example, the ordinary
tree sign is commonly used,—that depicting the upward slanting branches
of the balsam fir. Figure 7 shows the Ojibwa pictograph which is
interpreted as “the big tree in the middle of the earth.” The terminal
buds on the conventionalized trees of the Huron moose hair embroidery
type resemble in form this balsam fir symbol. The Huron indeed call the
bud “balsam fir.”[92] The method of slanting the hair to form the design
creates the resemblance and causes the confusion, in all probability.
Used alone the “bud” would be a tree if placed in proper position but as
ordinarily used by the Huron at the extremity of an embroidered branch,
it seems paradoxical to find a tree on the small end of one of its
branches. This is discussed more fully hereinafter.
Figure 4, e, and f show the Iroquois “middle-of-theworld-tree” as used
in conjunction with the sky-dome and sun symbols.
[Illustration:
Fig. 5.—Borders embroidered in moose hair on deer-skin garments.
(Seneca specimens in the New York State Museum.) _a_ is the “two
curve” pattern common in Iroquoian decoration. _b_ represents a
series of “sky-domes” resting upon the earth, the two parallel
horizontal lines. _c_ represents a series of the “trees” of Iroquois
symbolism. The unit of the design is indicated by _m_-_n_. _d_ shows
a series of suns and celestial trees resting on the sky-dome.
]
Another, and more elaborate, form of the “tree” as it appears in
Iroquoian decorative art is a flowering plant or tree having
conventionalized leaves (generally, “long leaves”), branches, buds,
tendrils and flowers. See plate 2. In this plate (9) is shown the
flowering tree as embroidered in porcupine quills on an Iroquois pouch
collected by Lewis H. Morgan, and now in the New York State Museum. It
will be perceived that here the diverging curved lines play a
conspicuous part in the make-up of the tree. Like all Iroquois symbolic
trees of the purely conventional type the tree is exactly balanced on
each side of the central line that represents the trunk or stalk.
With the Huron these trees are, likewise, used as an adornment for bags
and other things where a comparatively large surface is afforded. Dr.
Speck illustrates one of these trees in the article on moose hair
embroidery previously cited, and gives the Huron interpretation for the
various parts of the tree. With the Huron, it is most interesting to
note, the topmost flower is called not a flower but a star, thus
suggesting some dim recollection of the “tree of light.”
The Confederated Iroquois made similar trees, though they interpret some
of the parts differently. With them the significance of the tree is
recognized. Mr. Hewitt describes the tree in his Onondaga creation
myth.[93] His informants in relating the myth said: “And there beside
the lodge stands the tree that is called Tooth (Ono’´djă’). Moreover,
the blossoms this standing tree bears cause the world to be light,
making it light for men-beings dwelling there.” This agrees with the
Seneca version previously cited in this article.
[Illustration:
Embroidered pouch made by the Seneca before 1850. Note tree and floral
designs. Specimen in New York State Museum.
Scale x½.
]
The “Tree of Peace” symbolically planted by Dekānăwī´dă, as has been
noted was called the “Tree of the Great Long Leaves.” It will be
observed that the “tree of light” in nearly every case where leaves are
shown at all has long sword-like leaves. This is true among the Huron in
their older patterns, as among the Iroquois. The Huron, however, now
call these long leaves “dead branches” and the unopened flowers “balsam
fir.”[94] The Huron, as with most of the Iroquois, have likely forgotten
or confused the true names of the elements of their designs. These
designs, with the Huron at least, seem to have undergone some change due
to the necessity for trade purposes of working their patterns in outline
and quickly. It is most important to observe, however, that oftentimes
when the object of using a symbol is primarily for decorative purposes,
the Indian artist or needle-worker gives parts of the design “pattern
names,” often at entire variance with the real meaning of the part but
based upon real or fancied resemblance. With the Huron with whom the
decorative element is now of primary importance this seems to have been
the case. Indeed, Dr. Speck does not say that the parts of the designs
which he illustrates are symbols though he does give the names which the
Huron told him. The Huron are very likely making “trees of light” and do
not know it, in this respect being similar to their Iroquois brethren.
The designs are worked, as some of my Indian informants say, “because
they are Indian” and likewise because they have become accustomed to
them and because there seems nothing more appropriate to invent.
[Illustration:
Fig. 6.—Various forms of the celestial tree. Here the unit is
superposed to form the tree.
]
This instance suggests how with change of environment myths, symbols and
ceremonial rites may lose their meaning and yet preserve their outward
form.
The two-curve motif in Indian art is widely distributed throughout
America. In many instances it seems to have meanings similar to that
given it by the Iroquois, though there are other instances where it has
not. It is sometimes used with a few simple additions to represent the
face of the thunderbird or even the human face, at least the eyes and
nose. In a more elaborate form it is found in the Fejérvary Codex as a
tree symbol though a variation of the form in the Vienna codex makes the
cross-section of a vase.
[Illustration:
Fig. 7.—“The big tree in the middle of the earth.” From the Ojibwa
_Midéwiwin_.
]
It is not strange that the simple outline should be found almost
universally. It is one of those simple conceptions in art that would
occur to any people independently. Many things in nature suggest it. It
is not its outline, however, so much as its use as a definite symbol and
its combination with others that gives it interest to the writer.
The world-tree with its long leaves and luminous flowers is worthy of
more detailed consideration. It seems to have been a deeply imbedded
concept with the certain branches of the Algonquin stock and of the
Iroquois, affecting not only their mythology and ceremonial language but
also their decorative art. Whether the idea has a deeper and more
primitive meaning than here suggested the author does not pretend to
know.
E. THE SOCIETY THAT GUARDS THE MYSTIC POTENCE.
Among the Seneca Indians for many years the most important ceremonial
society has been and now is the organization called Neh
Ho-noh-chi-noh-gah (Ne‘ Ho-no^n’tci‘no^n’´gä‘), commonly called the
“Secret Medicine Society,” and as often the “Little Water Company.”
This society (hoĕnnidio^n’got) is instituted primarily to preserve the
mystic potence or orenda (meaning magical power) supposed to be inherent
in the medicine called the niga‘ni‘gă´ă‘ (meaning small dose), and to
preserve the methods of administering it.
Of the several native societies that have survived among the Seneca,
none remains more exclusive, more secret or so rigorously adheres to its
ancient forms. No organization among the Seneca is so well knit together
and not one is so united in its purpose. Its members and officers are
among the most conservative and best respected men of their communities,
and they preserve the rites of the order with great fidelity. Harmony
prevails for discord of any kind would be at variance with the very
fundamental teachings of the order. No organization among the Senecas
today is so mysterious, nor does any other possess the means of
enforcing so rigorously its laws. The Honohtcinohgah is without doubt a
society of great antiquity; few Iroquois societies, perhaps, are more
so. One authority has contended that it is a tribal branch of an
organization found everywhere, among Indians throughout the continent
and produced arguments to support the theory, but an examination of its
traditions and ritual would lead to the opinion that it is purely
Iroquoian.
In order to understand the organization it is first necessary to
understand the legend of its origin when many otherwise obscure
allusions will be made apparent. This is given in 69, under Traditions,
page 386.
NEH NIGAHNIGAHAH.
The charm medicine is known as the niga‘ni‘gă´a‘ and each member
possesses a certain amount of it. The secret of compounding the
niga‘ni‘gă´a‘ rested with only one man in a tribe, who, according to the
teachings of the society, would be apprised of approaching death and
given time to transmit the knowledge to a successor whom he should
choose. According to the traditions of the Honohtcinohgah the secret
holder always foreknew the hour of his death and frequently referred to
it in lodge meetings.
The “small dose” medicine is composed of the brains of various mammals,
birds, fish and other animals and the pollen and roots of various
plants, trees and vegetables. These ingredients are compounded and
pulverized with certain other substances as squash seeds, corn roots,
etc., and constitute the base of the niganigaah.
That this medicine actually possesses chemical properties that react on
human tissue was proven by Dr. J. H. Salisbury, an eminent physician and
a former State chemist, who according to Mrs. H. M. Converse analyzed
and experimented with a small quantity that he had secured from a member
of the society.
The medicine itself is of a yellowish hue and when opened in the dark
sometimes appears luminous, probably from the organic phosphorus that it
contains. The utmost caution is employed by the members of the
Honohtcinohgäh to preserve the medicine from exposure to the air in
unsafe places and from contaminating influences. It is held in a small
skin bag[95] and wrapped in many coverings of cloth and skin and finally
enclosed in a bark, wood or tin case to keep it free from moisture,
disease and dirt.
Among the Seneca of modern times John Patterson was the last of the
holders of the secret and the secret of the precise method of
compounding the medicine died with him, he in some way having failed to
instruct a successor. The members thus doubly guard their medicine and
are loath to use it except in cases of extreme necessity for when it is
exhausted not only will they be unable to secure more but by a legend
when the medicine is gone the Senecas will forever lose their identity
as Indians.
METHOD OF ADMINISTERING THE CHARMED MEDICINE.
A person who wishes to have the medicine given him for the cure of a
wound, broken bone or specific disease, must purge himself and for three
days must abstain from the use of salt or grease. His food must be the
flesh of white birds or animals and only the white portions. The system
of the patient is then ready to receive the medicine. The medicine man
comes to his lodge and an assistant searches the house for anything that
might destroy the “life” of the medicine such as household animals,
vermin, decayed meat, blood, soiled garments, etc. These things removed
from the house, the patient is screened off and the guard patrols the
premises warning away all infected or obnoxious persons. An attendant
who has previously been dispatched to a clear running stream enters with
a bowl of water that has been dipped from the crest of the ripples as
they “sang their way down the water-road.” Not to antagonize the forces
in the water, it was dipped the way the current ran, down stream, and
not upward against it.
Everything now being in readiness the medicine man takes a basket of
tobacco and as he repeats the ancient formula he casts pinches of the
tobacco into the flames that the sacred smoke may lift his words to the
Great Spirit. The water is then poured out in a cup and the medicine
packet opened. With a miniature ladle that holds as much of the powder
as can be held on the tip of the blade of a small penknife, the medicine
man dips three times from the medicine and drops the powder on the
surface of the water in three spots, the points of a triangle. If the
medicine floats the omen is good, if it clouds the water the results are
considered doubtful and if it sinks death may be predicted with a degree
of certainty and the medicine is thrown away. In the case of severe cuts
or contusions and broken bones the medicated water is sprinkled upon the
affected part and an amount is taken internally. A medicine song is then
chanted by the “doctor” who accompanies himself with a gourd rattle.
After the ceremony of healing, the people of the house partake of a
feast of fruit, and the medicine man departs with his fee, a pinch of
sacred tobacco. The following description of the lodge ceremony from the
lips of a Seneca will not be out of place. The story is related exactly
as it came from the tongue of the interpreter.
Jesse Hill speaking: “Mother scraped off basswood bark, soaked it in
water and wrapped it around my leg. Next day we sent for the medicine
man. He came at sun set and sent to the creek for fresh water to be
dipped where the current was swift, with a pail not against the current.
Poured some in a tea cup and pulled out the medicine bag. Opened it with
a charmed shovel not much larger than a pin. Dipped three times. Cup of
water. Floated. Go up or down. Understood it was good medicine. Took
some in his mouth and sprayed it on my leg. Told mother to put a curtain
around my bed so no one could see me. If anyone saw any part of my body,
medicine would do no good. Soon came dark. All the animals were put out.
Took tin pail and made fire. Put in center of room and all sat around in
silence. Medicine man made prayer. Scattered tobacco mother had prepared
over fire. Took rattle made of gourd and chanted medicine song loud and
louder. Half hour pain had gone. Boiled different fruits together till
soft. Put kettle where all could help out with little dipper. Left two
doses of medicine. Eat nothing but white things. White of egg of chicken
had white feathers and eat chicken if white. Five or six days spoke
things. All certain took pain away.”
THE MEDICINE LODGE RITUAL.
The Honohtcinohgah “sits,” that is, holds lodge meetings, four times
each year; in mid-winter, when the moon Nĭsha proclaims the new year,
when the deer sheds its hair, when the strawberries are ripe and when
corn is in the milk. At these ceremonies each member brings his or her
medicine to be sung for and if unable to be present sends it by
messenger.
Only members know the exact place and time of meeting. At the entrance
of the medicine lodge, a private house of a member chosen for the
ceremony, a guard is stationed who scrutinized each person who attempts
to pass within. Across the door within is placed a heavy bench “manned”
by several stalwart youths who, should a person not entitled to see the
interior of the lodge appear, would throw their weight against the bench
and force the door shut leaving the unfortunate intruder to the mercy of
the outside guards and incoming members.
Each member entering the lodge has with him his medicine, a quantity of
tobacco, a pipe and perhaps a rattle although most of the lodge rattles
are in the keeping of Honondiont or officers. As the members enter the
room they deposit their contribution of tobacco in a husk basket placed
for the purpose on a table at one side and then put their medicine
packets beside the basket of the sacred herb.
The ceremony proper commences about 11 P. M. in the summer and in winter
an hour earlier and lasts until nearly daybreak. The feast makers enter
the lodge several hours previous to the ceremony and cook the food for
the feast and prepare the strawberry wine.
The seats in the lodge are arranged around the sides of the room leaving
the center of the room open.
When all is in readiness a Honondiont takes a basket of sacred tobacco,
oyĕñkwa oñweh, and, as he chants the opening ceremony he casts the
sacred herb into the smouldering coals. The lights are all burning and
the members are in their seats, the only exception being the feast
makers whose duties require their attention at the fireplace.
From the manuscript notes of Mrs. Harriet Maxwell Converse, I find the
following translation of the “Line Around the Fire Ceremony.”
THE LINE AROUND THE FIRE CEREMONY.
The Singer, (to the members): “This is the line around the fire
ceremony. Now I have asked blessings and made prayer.”
The Singer sprinkles sacred tobacco on the fire.
(The Singer speaks to the invisible powers):
“Now I give you incense,
You, the Great Darkness!
You, our great grand parents, here to night,—
We offer you incense!
We assemble at certain times in the year
That this may be done.
(We trust that all believe in this medicine,
For all are invited to partake of this medicine.)
(Now one has resigned. We ask you to let him off in a friendly
manner. Give him good luck and take care that his friends remain in
faithful!)
Now we offer you this incense!
Some have had ill luck
Endeavoring to give a human being.
We hope you will take hold
And help your grandchildren,
Nor be discouraged in us!
Now we act as we offer you incense!
You love it the most of all offerings!
With it you will hear us better
And not tire of our talking,
But love us with all power
Beyond all treasures
Or spreading you words through the air!
All men traveling under the great heavens,
You have invited, your grandchildren and all nations!
Oh you that make the noise,
You the great Thunderer!
Your grandchildren wish to thank you!
All your grandchildren have asked me
To offer this incense upon the mountain to you!
[Illustration:
_ARRANGEMENT
OF THE
LITTLE WATER LODGE_
This diagram shows the arrangement of the lodge room of the Little
Water Company, sometimes also called the Medicine Society, the
Guards of the Mystic Potence and the Night Song Company.
]
(Speaking to the Great Spirit, Sho-gwa-yah-dih-sah-oh):
Oh you the Manager of All Things!
We ask you to help us,
To help us make this medicine strong!
You are the Creator,
The Most High,
The Best Friend of men!
We ask you to help us!
We implore your favor!
I have spoken.[96]
After the tobacco throwing ceremony the keeper of the rattles gives each
person in the circle a large gourd rattle and then the lights are
extinguished leaving the assembly in total darkness. The watcher of the
medicine uncovers the bundles exposing contents to the air and as he
does so a faint glow like a luminous cloud, according to the elect,
hovers over the table and disappears. The leader or holder of the song
gives a signal with his rattle calling the assembly to order and then
begins to beat his rattle. The people shake their rattles in regular
beats until all are in unison when the holder of the song commences the
song, which is taken up by the company. “And such a song it is! It is a
composition of nature’s sounds and thrills the very fiber of those who
hear it. It transports one from the lodge back into the dark mysterious
stone-age forest and in its wierd wild cadences it tells of the origin
of the society, of the hunter in the far south country and how when he
was killed by the enemy the animals to whom he had always been a friend
restored him to life. It tells of his pilgrimage over plain and
mountain, over river and lake, ever following the call of the night bird
and the beckoning of the winged light. It is an opera of nature’s people
that is unsurpassed.”
The first song requires one hour for singing. Lights are then turned up
and the feast maker passes the kettle of sweetened strawberry juice and
afterward the calumet from which all draw a puff of the sacred incense.
Then comes an interval of rest in which the members smoke sacred tobacco
and discuss lodge matters. The medicine is covered before the lights are
turned up.