Then Nigik asked Minabozho, Why do you come to this place? When the latter said, I have pity on the Anishinbeg and wish to give them life; Kitshi Manido 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 Midewiwin, and teach them the sacred rites.
Then Minabozho built a Midewign in which he instructed the Otter in all the mysteries of the Midewiwin. The Otter sat before the door of the Midewign 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 Minabozho he was enabled to pa.s.s 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 Midewign, because within them would be the Mide spirits whose help he invoked. The Otter was then taken to the middle of the Midewign where he picked up the migis (No. 18) from among a heap of sacred objects which form part of the gifts given by Kitshi Manido. The eight manidos around the midewign (Nos. 19, 20, 21, 22, 23, 24, 25, and 26) were also sent by Kitshi Manido 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 ones departure from such course of conduct as is deemed proper, and the beliefs taught by the Mide. 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 ones 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 Mide 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 Kitshi Manido through Minabozho, etc. His heart must be cleansed and his tongue guarded.
To resume the tradition of the course pursued by the Otter, Sika.s.sige said:
The Otter then went round the interior of the Midewign (No. 34), and finally seated himself in the west, where Minabozho shot into his body the sacred migis, which was in his Mide bag. Then Minabozho said, This is your lodge and you shall own it always (Nos. 35 and 36), and eight Mide Manidos (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 manidos (Nos. 39 and 40), who opposed his progress, but who were driven away by Minabozho. 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 Midewiwin is guarded at night by twelve Mide Manidos (Nos. 46 to 57) placed there by Kitshi Manido, 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 repet.i.tion to denote the course of conduct to be pursued by the Mide. 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 informants tradition:
When the Otter had pa.s.sed around the interior of the Midewign four times, he seated himself in the west and faced the degree post, when Minabozho again shot into his body the migis, 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 Midewiwin (No. 72) is guarded during the day by two Mide spirits (Nos. 73, 74) near the eastern entrance, and by the Makwa Manido within the inclosure (Nos. 75 and 76), and at night by eighteen Mide Manidos (Nos. 77 to 94), placed there by Kitshi Manido. When the Otter approached the entrance (No. 95) he was again arrested in his progress by two evil manidos (Nos. 96 and 97), who opposed his admission, but Minibozho 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 Manido, 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 Minabozho 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 Midewign he again made four circuits, after which he took his station in the west, where he seated himself, facing the sacred degree posts. Then Minabozho, for the third time, shot into his body the migis, thus adding to the powers which he already possessed, after which he was to prepare for the fourth degree of the Midewiwin.
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 Midewign, are usually cedar, though pine may be taken as a subst.i.tute when the former can not be had. The repet.i.tion 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 Midewign he came to a wigiwam made of brush (No. 179), which was the nest of Makwa Manido, 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 Midewign of the fourth degree. The signification of the spots near the larger circle, just beneath the Bears nest could not be explained by Sika.s.sige, 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.
[Ill.u.s.tration: 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 Midewign [see Fig. 4.] But before he was permitted to look through it he rested and invoked the favor of Kitshi Manido, that the evil manidos 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 Mide Manidos, ready to receive him and to attend during his initiation. The two Mide Manidos at the outside of the eastern entrance (Nos. 120 and 121) compelled the evil manidos (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 Minabozho 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 Manido, the Bear Spirit. When the Otter had observed all these things he pa.s.sed round the interior of the Midewign four times, after which he seated himself in the west, facing the degree posts, when Minabozho approached him and for the fourth time shot into his body the sacred migis, which gave him life that will endure always. Then Minabozho said to the Otter, This degree belongs to Kitshi Manido, 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 Mide Manidos (Nos. 139 to 162) will guard the Midewign, as they are sent by Kitshi Manido to do so.
The Bears nest (Nos. 163 and 164) just beyond the northern and southern doors (Nos. 165 and 166) of the Midewign are the places where Makwa Manido takes his station when guarding the doors.
Then the Otter made a wigiwam and offered four prayers (Nos. 167, 168, 169, and 170) for the rites of the Midewiwin, which Kitshi Manido had given him.
[Ill.u.s.tration: Plate VII.
Ojibwa Facial Decoration.]
The following supplemental explanations were added by Sika.s.sige, 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 Mide at the time of preparing the Midewign 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 Mides life--that it should be without fault and in strict accordance with the teachings of the Midewiwin. The short lines, terminating in circles Nos. 182, 183, 184, and 185, allude to temptations which beset the Mides 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.
[Ill.u.s.tration: Fig. 5.--Migration of nshinbeg.]
The ill.u.s.tration presented in Fig. 5 is a reduced copy of a drawing made by Sika.s.sige to represent the migration of the Otter toward the west after he had received the rite of the Midewiwin. No. 1 refers to the circle upon the large chart on Pl. III in A, No. 1, and signifies the earths surface as before described. No. 2 in Fig. 5 is a line separating the history of the Midewiwin 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 Anishinbeg followed him, and located at Ottawa Island (No. 4). Here they erected the Midewign and lived for many years. Then the Otter again disappeared beneath the water, and in a short time reappeared at Awiatang (No. 5), when the Midewign was again erected and the sacred rites conducted in accordance with the teachings of Minabozho. 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 Midewiwin were conducted in all their purity. The next place to locate at was Mishenamakinagung-- Mackinaw (No. 6); then Nemikung (No. 7); Kiwewinang (No. 8); Bwating-- Sault Ste. Marie (No. 9); Tshiwitowi (No. 10); Negawadzheu-- Sand Mountain (No. 11), northern sh.o.r.e of Lake Superior; Minisawik [Minisabikkang]-- Island of rocks (No. 12); Kawasitshiuwongk-- Foaming rapids (No. 13); Mushkisiwi [Mashkisibi]-- Bad River (No. 14); s.h.a.gawmikongk-- Long-sand-bar-beneath-the-surface (No. 15); Wikwednwonggn-- Sandy Bay (No. 16); Neshiwikongk-- Cliff Point (No. 17); Netnwayansink-- Little point-of-sand-bar (No. 18); Annibins-- Little elm tree (No. 19); Wikupbinminsh-literally, Little-island-ba.s.swood (No. 20); Makubinminsh-- Bear Island (No. 21); s.h.a.geskikedaw.a.n.ga (No. 22); Niwigwa.s.sikongk-- The place where bark is peeled (No. 23); Tapakweikak [Saapakweshkwaokongk]-- The-place-where-lodge-bark-is-obtained (No. 24); Neuwesakkudezebi [Newisakudesibin]-- Point-deadwood-timber river (No. 25); Aminikanzibi [modern name, shkibagisibi], given respectively as Fish sp.a.w.n 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 Midewign 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 Midewiwin.
According to Sika.s.sige, the above account of the initiation of the Otter, by Minabozho, was adopted as the course of initiation by the Mide 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 ent.i.tled, 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 Midewiwin, but special reference to this will be given in connection with the ceremony of the Dzhibai Midewign, or Ghost Society.
On Pl. VIII is presented a reduced copy of the Mide chart made by Ojibwa, a Mide priest of the fourth degree and formerly a member of the society of the Sandy Lake band of the Mississippi Ojibwa. The ill.u.s.tration is copied from his own chart which he received in 1833 in imitation of that owned by his father, Metoshikonsh; and this last had been received from Lake Superior, presumably La Pointe, many years before.
The ill.u.s.tration 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 Kitshi Manido had decided to give to the Anishinbeg the rites of the Midewiwin, he took his Mide drum and sang, calling upon the other Manidos to join him and to hear what he was going to do.
No. 1 represents the abode in the sky of Kitshi Manido, No. 2, indicating the G.o.d as he sits drumming, No. 3. the small spots surrounding the drum denoting the migis with which everything about him is covered. The Mide Manidos came to him in his Midewign (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 Anishinbeg the sacred rite. In the Midewign (No. 4) is shown also the sacred post (No. 15) upon which is perched Ko-koko-o--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 wigiwam (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 wigiwam 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 wigiwams (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 Mide tree (No. 28) near the entrance of the first degree structure. The instructors wigiwam 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 Kitshi Manido, while in his right hand he holds his Mide drum. Upon the following morning the Mide priests, with the candidate in advance (No. 30), approach and enter the Midewign 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 Ko-ko-ko-o, the Owl (No. 34). The post is painted with vermilion, with small white spots all over its surface, emblematic of the migis sh.e.l.l. 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 const.i.tute the fee paid to the society for admission.
This degree is presided over and guarded by the Panther Manido.
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 Kitshi Manido for success. Kitshi Manido 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 Manido, who is the guardian of this degree, and whose tracks (No. 48) are visible. The a.s.sistants are visible upon the interior, drumming and dancing. There are three sacred posts, the first (No. 49) is black, and upon this is placed Ko-ko-ko-o--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 Mide 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 Makano--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 Ko-ko-ko-o--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 migis--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 partic.i.p.ants, 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 const.i.tuting gifts to the society.
[Ill.u.s.tration: Plate VIII.
Ojibwas Record.]
The several specific methods of facial decoration employed (Pl. VII), according to Ojibwas 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.