[Ill.u.s.tration]
Man-i-do we-a-ni Esh-ke-ta we-a-ni man-i-do we-a-ni.
I am a spirit, Fire is my spirit body.
[The hand reaches to the earth to grasp fire, showing his ability to do so without injury and ill.u.s.trating in this manner his supernatural power.]
[Music: 270_2]
Mani-dowi-a-ni he, Mani-dowi-a-ni he, Ma-ni-do-wi-a-ni he, Ma-ni-do-wi-a-ni he, Ma-ni-dowi-a-ni he; Eshkatoweani he, Manidowiani he, Manidowia-ni he.
[Ill.u.s.tration]
Ai-ya-swa-kit-te, he, he, He-a se-wi-kit-te, he, he Na-se-ma-got nin-de.
It is leaning, My heart breathes.
[The phrase refers to the migis within his heart. The short radiating lines indicate the magic power of the sh.e.l.l.]
[Music: 271_1]
He-a-si-wi-kit-te he, He-a-si-wi-kit-te he, Hea-si-wikit-te he, Hea-si-wi-kit-te he, Nasimagot ninde he, He-a-si-wi-kit-te he, He-a-si-wi-kit-te he, He-a-si-wi-kit-te he, Hea-si-wi-kitte he.
[Ill.u.s.tration]
Rest, or pause, after which dancing accompanies the remainder of the song.
[Ill.u.s.tration]
Ni-ka-nin-ko-tshi-ha ni-ka-na Ni-ka-na-nin-ko-tshi-ha.
Mide friends, I am trying, Mide friends, Mide friends, I am trying.
[His hand and arm crossed by lines to denote magic power, in reaching to grasp more than four degrees have given him; he has in view a fifth, or its equivalent.]
[Music: 271_2]
Ni-ka-ni kotshiha Nika-ni ha, Ni-ka-ni kotshini Ni-ka-ni ha, Ni-ka-ni ko-tshi-ha Ni-ka-ni ha.
[Ill.u.s.tration]
Hi-ne-na-wa ni-be-i-don ni-di-na.
I hold that which I brought, and told him.
[The singer is holding the migis and refers to his having its power, which he desires Kitshi Manido to augment.]
[Music: 272_1]
He-ne-na-wa-ni-bei-don, He-ne-na-wa-ni-bei-don, He-ne-na-wa-ni-bei-don, He-ne-na-wa-ni-bei-don.
[Ill.u.s.tration]
Ye-we-ni-mi-de, hwa, da, Ke-wa-shi-mi-de, hi-a, hwe, Ye-we-ni-mi-de?
Who is this grand Mide? You have not much grand medicine.
Who is the Mide?
[The first line, when used with the music, is a-we-nin-o-au-mide.
The whole phrase refers to boasters, who have not received the proper initiations which they profess. The figure is covered with migis sh.e.l.ls, as shown by the short lines attached to the body.]
[Music: 272_2]
Ye-we-ni-mi-de hwa, da. Ke-wa-shi-mi-de hia, hwe, Ye-we-ni-mi-de hwa, da. Ke-wa-shi-mi-de hia, hwe.
Ye-we-ni-mi-de, Ye-we-ni-mi-de hwa, da.
[Ill.u.s.tration]
Nai-a-na-wi na-ma, ha, Wa-na-he-ne-ni-wa, ha, O-ta-be-we-ni, me, he.
I can not reach it, Only when I go round the Midewign; I can not reach it from where I sit.
[The migis attached to the arrow signifies its swift and certain power and effect. The first line of the phrase, when spoken, is nin-na-na-wi-nan.]
[Music: 273_1]
Nai-a-na-wi-na-ma ha, Nai-a-na-wi-na-ma ha, Nai-a-na-wi-na-ma ha, Nai-a-na-wi-na-ma ha, Wa-na-he-ne-ni-wa ha, O-ta-be-we-ni-me ha.
[Ill.u.s.tration]
Ai-ya ha-na-wi-na-ma.
I can not strike him.
[The speaker is weeping because he can not see immediate prospects for further advancement in the acquisition of power. The broken ring upon his breast is the place upon which he was shot with the migis.]
[Music: 273_2]
Ai-ya-ha-na-wi-na-ma, Ai-ya-ha-na-wi-na-ma, Ai-ya-ha-na-wi-na-ma, Ai-ya-ha-na-wi-na--ma, heo, heo, heo.
The following musical notation presents accurately the range of notes employed by the preceptor. The peculiarity of Mide songs lies in the fact that each person has his own individual series of notes which correspond to the number of syllables in the phrase and add thereto meaningless words to prolong the effect. When a song is taught, the words are the chief and most important part, the musical rendering of a second person may be so different from that of the person from whom he learns it as to be unrecognizable without the words. Another fact which often presents itself is the absence of time and measure, which prevents any reduction to notation by full bars; e.g., one or two bars may appear to consist of four quarter notes or a sufficient number of quarters and eighths to complete such bars, but the succeeding one may consist of an additional quarter, or perhaps two, thus destroying all semblance of rythmic continuity. This peculiarity is not so common in dancing music, in which the instruments of percussion are employed to a.s.sist regularity and to accord with the steps made by the dancers, or vice versa.
In some of the songs presented in this paper the bars have been omitted for the reasons presented above. The peculiarity of the songs as rendered by the preceptor is thus more plainly indicated.
When the chant is ended the ushers, who are appointed by the chief Mide, leave the inclosure to bring in the vessels of food. This is furnished by the newly elected member and is prepared by his female relatives and friends. The kettles and dishes of food are borne around four times, so that each one present may have the opportunity of eating sufficiently. Smoking and conversation relating to the Midewiwin may then be continued until toward sunset, when, upon an intimation from the chief Mide, the members quietly retire, leaving the structure by the western door. All personal property is removed, and upon the following day everybody departs.
DESCRIPTIVE NOTES.
The amount of influence wielded by Mide generally, and particularly such as have received four degrees, is beyond belief. The rite of the Midewiwin is deemed equivalent to a religion--as that term is commonly understood by intelligent people--and is believed to elevate such a Mide to the nearest possible approach to the reputed character of Minabozho, and to place within his reach the supernatural power of invoking and communing with Kitshi Manido himself.
By reference to Pl. III, A, No. 98, it will be observed that the human figure is specially marked with very p.r.o.nounced indications of migis spots upon the head, the extremities, and more particularly the breast.
These are placed where the migis was shot into the Mide, and the functions of the several parts are therefore believed to be greatly augmented. All the spots are united by a line to denote unity and harmony of action in the exercise of power.
The migis, typical of the fourth degree, consists of small pieces of deer horn, covered with red paint on one end and green upon the other.
Sometimes but one color is employed for the entire object. The form is shown on Pl. XI, No. 6. No. 2, upon the same plate, represents a sh.e.l.l, used as a migis, observed at White Earth.
Figs. 5-11, on Pl. XV, present several forms of painting mide posts, as practiced by the several societies in Minnesota. Each society claims to preserve the ancient method. The cross, shown in No. 7, bears the typical colors--red and green--upon the upper half, while the lower post is square and colored white on the east, green on the south, red on the west, and black on the north. The Mide explain the signification of the colors as follows: White represents the east, the source of light and the direction from which the sacred migis came; green, shamano the southern one, refers to the source of the rains, the direction from which the Thunderers come in the spring, they who revivify the earth; red refers to the land of the setting sun, the abode of the shadows or the dead; and north being black, because that is the direction from which come cold, hunger, and disease.
The words of the Mide priest alluding to the path that has no end refer to the future course and conduct of the candidate for the last degree, as well as to the possibility of attaining unlimited powers in magic, and is pictorially designated upon the chart on Pl. III, A, at No. 99. The path is devious and beset with temptations, but by strict adherence to the principles of the Midewiwin the Mide may reach the goal and become the superior of his confrres, designated Mi-ni-si-no-shkwe, he who lives on the island.
A Mide-Wbeno of this degree is dreaded on account of his extraordinary power of inflicting injury, causing misfortune, etc., and most remarkable tales are extant concerning his astounding performances with fire.
The following performance is said to have occurred at White Earth, Minnesota, in the presence of a large gathering of Indians and mixed bloods. Two small wigiwams were erected, about 50 paces from each other, and after the Wbeno had crawled into one of them his disparagers built around each of them a continuous heap of brush and firewood, which were then kindled. When the blaze was at its height all became hushed for a moment, and presently the Wbeno called to the crowd that he had transferred himself to the other wigiwam and immediately, to their profound astonishment, crawled forth unharmed.
This is but an example of the numerous and marvelous abilities with which the Wbeno of the higher grade is accredited.
The special pretensions claimed by the Mide-Wbeno have already been mentioned, but an account of the properties and manner of using the love powder may here be appropriate. This powder--the composition of which has been given--is generally used by the owner to accomplish results desired by the applicant. It is carried in a small bag made of buckskin or cloth, which the Wbeno carefully deposits within his Mide sack, but which is transferred to another sack of like size and loaned to the applicant, for a valuable consideration.
During a recent visit to one of the reservations in Minnesota, I had occasion to confer with a Catholic missionary regarding some of the peculiar medical practices of the Indians, and the implements and other accessories employed in connection with their profession. He related the following incident as having but a short time previously come under his own personal observation:
One of the members of his church, a Norwegian, sixty-two years of age, and a widower, had for the last preceding year been considered by most of the residents as demented. The missionary himself had observed his erratic and frequently irrational conduct, and was impressed with the probable truth of the prevailing rumor. One morning, however, as the missionary was seated in his study, he was surprised to receive a very early call, and upon invitation his visitor took a seat and explained the object of his visit. He said that for the last year he had been so disturbed in his peace of mind that he now came to seek advice. He was fully aware of the common report respecting his conduct, but was utterly unable to control himself, and attributed the cause of his unfortunate condition to an occurrence of the year before. Upon waking one morning his thoughts were unwillingly concentrated upon an Indian woman with whom he had no personal acquaintance whatever, and, notwithstanding the absurdity of the impression, he was unable to cast it aside. After breakfast he was, by some inexplicable influence, compelled to call upon her, and to introduce himself, and although he expected to be able to avoid repeating the visit, he never had sufficient control over himself to resist lurking in the vicinity of her habitation.
Upon his return home after the first visit he discovered lying upon the floor under his bed, a Mide sack which contained some small parcels with which he was unfamiliar, but was afterward told that one of them consisted of love powder. He stated that he had grown children, and the idea of marrying again was out of the question, not only on their account but because he was now too old. The missionary reasoned with him and suggested a course of procedure, the result of which had not been learned when the incident was related.
Jugglery of another kind, to which allusion has before been made, is also attributed to the highest cla.s.s of Jessakkid. Several years ago the following account was related to Col. Garrick Mallery, U.S. Army, and myself, and as Col. Mallery subsequently read a paper before the Anthropological Society of Washington, District of Columbia, in which the account was mentioned, I quote his words: