The roll of birch-bark containing these relics inclosed also the skin of a small rodent (Spermophilus sp.?) but in a torn and moth-eaten condition. This was used by the owner for purposes unknown to those who were consulted upon the subject. It is frequently, if not generally, impossible to ascertain the use of most of the fetiches and other sacred objects contained in Midɇ/ sacks of unknown ownership, as each priest adopts his own line of practice, based upon a variety of reasons, chiefly the nature of his fasting dreams.

Fancy sometimes leads an individual to prepare medicine sticks that are of curious shape or bear designs of odd form copied after something of European origin, as exemplified in the specimen illustrated on. Pl. XXI, Nos. 1 and 2, showing both the obverse and reverse. The specimen is made of ash wood and measures about ten inches in length. On the obverse side, besides the figures of man/-idøs, such as the Thunder bird, the serpent, and the tortoise, there is the outline of the sun, spots copied from playing cards, etc.; upon the reverse appear two spread hands, a bird, and a building, from the top of which floats the American flag. This specimen was found among the effects of a Midɇ/ who died at Leech Lake, Minnesota, a few years ago, together with effigies and other relics already mentioned in another part of this paper.

MUSIC.

In addition to the examples of Indian music that have been given, especially the songs of shamans, it may be of interest to add a few remarks concerning the several varieties of songs or chants. Songs employed as an accompaniment to dances are known to almost all the members of the tribe, so that their rendition is nearly always the same. Such songs are not used in connection with mnemonic characters, as there are, in most instances, no words or phrases recited, but simply a continued repetition of meaningless words or syllables. The notes are thus rhythmically accentuated, often accompanied by beats upon the drum and the steps of the dancers.

An example of another variety of songs, or rather chants, is presented in connection with the reception of the candidate by the Midɇ/ priest upon his entrance into the Midɇ/wigân of the first degree. In this instance words are chanted, but the musical rendition differs with the individual, each Midɇ/ chanting notes of his own, according to his choice or musical ability. There is no set formula, and such songs, even if taught to others, are soon distorted by being sung according to the taste or ability of the singer. The musical rendering of the words and phrases relating to the signification of mnemonic characters depends upon the ability and inspired condition of the singer; and as each Midɇ/ priest usually invents and prepares his own songs, whether for ceremonial purposes, medicine hunting, exorcism, or any other use, he may frequently be unable to sing them twice in exactly the same manner. Love songs and war songs, being of general use, are always sung in the same style of notation.

The emotions are fully expressed in the musical rendering of the several classes of songs, which are, with few exceptions, in a minor key. Dancing and war songs are always in quick time, the latter frequently becoming extraordinarily animated and boisterous as the participants become more and more excited.

Midɇ/ and other like songs are always more or less monotonous, though they are sometimes rather impressive, especially if delivered by one sufficiently emotional and possessed of a good voice. Some of the Midɇ/ priests employ few notes, not exceeding a range of five, for all songs, while others frequently cover the octave, terminating with a final note lower still.

The statement has been made that one Midɇ/ is unable either to recite or sing the proper phrase pertaining to the mnemonic characters of a song belonging to another Midɇ/ unless specially instructed. The representation of an object may refer to a variety of ideas of a similar, though not identical, character. The picture of a bear may signify the Bear man/idø as one of the guardians of the society; it may pertain to the fact that the singer impersonates that man/idø; exorcism of the malevolent bear spirit may be thus claimed; or it may relate to the desired capture of the animal, as when drawn to insure success for the hunter. An Indian is slow to acquire the exact phraseology, which is always sung or chanted, of mnemonic songs recited to him by a Midɇ/ preceptor.

/ Relics from Leech Lake.]

An exact reproduction is implicitly believed to be necessary, as otherwise the value of the formula would be impaired, or perhaps even totally destroyed. It frequently happens, therefore, that although an Indian candidate for admission into the Mɨdɇ/wiwin may already have prepared songs in imitation of those from which he was instructed, he may either as yet be unable to sing perfectly the phrases relating thereto, or decline to do so because of a want of confidence. Under such circumstances the interpretation of a record is far from satisfactory, each character being explained simply objectively, the true import being intentionally or unavoidably omitted. An Ojibwa named "Little Frenchman," living at Red Lake, had received almost continuous instruction for three or four years, and although he was a willing and valuable assistant in other matters pertaining to the subject under consideration, he was not sufficiently familiar with some of his preceptor's songs to fully explain them. A few examples of such mnemonic songs are presented in illustration, and for comparison with such as have already been recorded. In each instance the Indian's interpretation of the character is given first, the notes in brackets being supplied in further explanation. Pl. XXII, A, is reproduced from a birch-bark song; the incised lines are sharp and clear, while the drawing in general is of a superior character. The record is drawn so as to be read from right to left.

From whence I sit. [The singer is seated, as the lines indicate contact with the surface beneath, though the latter is not shown. The short line extending from the mouth indicates voice, and probably signifies, in this instance, singing.]

The big tree in the center of the earth. [It is not known whether or not this relates to the first destruction of the earth, when Mi/nabø/zho escaped by climbing a tree which continued to grow and to protrude above the surface of the flood. One Midɇ/ thought it related to a particular medicinal tree which was held in estimation beyond all others, and thus represented as the chief of the earth.]

I will float down the fast running stream. [Strangely enough, progress by water is here designated by footprints instead of using the outline of a canoe. The etymology of the Ojibwa word used in this connection may suggest footprints, as in the Delaware language one word for river signifies "water road," when in accordance therewith "footprints" would be in perfect harmony with the general idea.]

The place that is feared I inhabit, the swift-running stream I inhabit. [The circular line above the Midɇ/ denotes obscurity, i.e., he is hidden from view and represents himself as powerful and terrible to his enemies as the water monster.]

You who speak to me.

I have long horns. [The Midɇ/ likens himself to the water monster, one of the malevolent serpent man/idøs who antagonize all good, as beliefs and practices of the Midɇ/wiwin.]

A rest or pause.

I, seeing, follow your example.

You see my body, you see my body, you see my nails are worn off in grasping the stone. [The Bear man/idø is represented as the type now assumed by the Midɇ/. He has a stone within his grasp, from which magic remedies are extracted.]

You, to whom I am speaking. [A powerful Man/idø/, the panther, is in an inclosure and to him the Midɇ/ addresses his request.]

I am swimming—floating—down smoothly. [The two pairs of serpentine lines indicate the river banks, while the character between them is the Otter, here personated by the Midɇ/.]

Bars denoting a pause.

I have finished my drum. [The Midɇ/ is shown holding a Midɇ/ drum which he is making for use in a ceremony.]

My body is like unto you. [The mɨ/gis shell, the symbol of purity and the Midɇ/wiwin.]

Hear me, you who are talking to me! [The speaker extends his arms to the right and left indicating persons who are talking to him from their respective places. The lines denoting speech—or hearing—pass through the speaker's head to exclaim as above.]

See what I am taking. [The Midɇ/ has pulled up a medicinal root. This denotes his possessing a wonderful medicine and appears in the order of an advertisement.]

See me, whose head is out of water.



On Pl. XXII, B, is presented an illustration reproduced from a piece of birch bark owned by the preceptor of "Little Frenchman," of the import of which the latter was ignorant. His idea of the signification of the characters is based upon general information which he has received, and not upon any pertaining directly to the record. From general appearances the song seems to be a private record pertaining to the Ghost Society, the means through which the recorder attained his first degree of the Midɇ/wiwin, as well as to his abilities, which appear to be boastfully referred to:

I am sitting with my pipe. [Midɇ/ sitting, holding his pipe. He has been called upon to visit a patient, and the filled pipe is handed to him to smoke preparatory to his commencing the ceremony of exorcism.]

I employ the spirit, the spirit of the owl. [This evidently indicates the Owl Man/idø, which has been referred to in connection with the Red Lake Mide/ chart, Pl. III, No. 113. The Owl man/idø is there represented as passing from the Midɇ/wigân to the Dzhibai/ Midɇ/wigân, and the drawings in that record and in this are sufficiently alike to convey the idea that the maker of this song had obtained his suggestion from the old Midɇ/ chart.]

It stands, that which I am going after. [The Midɇ/, impersonating the Bear Man/idø, is seeking a medicinal tree of which he has knowledge, and certain parts of which he employs in his profession. The two footprints indicate the direction the animal is taking.]

I, who fly. [This is the outline of a Thunder bird, who appears to grasp in his talons some medical plants.]

Ki/-bi-nan/ pi-zan/. Ki/binan/ is what I use, it flies like an arrow. [The Midɇ/'s arm is seen grasping a magic arrow, to symbolize the velocity of action of the remedy.]

I am coming to the earth. [A Man/idø is represented upon a circle, and in the act of descending toward the earth, which is indicated by the horizontal line, upon which is an Indian habitation. The character to denote the sky is usually drawn as a curved line with the convexity above, but in this instance the ends of the lines are continued below, so as to unite and to complete the ring; the intention being, as suggested by several Midɇ/ priests, to denote great altitude above the earth, i.e., higher than the visible azure sky, which is designated by curved lines only.]

I am feeling for it. [The Midɇ/ is reaching into holes in the earth in search of hidden medicines.]

I am talking to it. [The Midɇ/ is communing with the medicine Man/idø/ with the Midɇ/ sack, which he holds in his hand. The voice lines extend from his mouth to the sack, which appears to be made of the skin of an Owl, as before noted in connection with the second character in this song.]

They are sitting round the interior in a row. [This evidently signifies the Ghost Lodge, as the structure is drawn at right angles to that usually made to represent the Midɇ/wigân, and also because it seems to be reproduced from the Red Lake chart already alluded to and figured in Pl. III, No. 112. The spirits or shadows, as the dead are termed, are also indicated by crosses in like manner.]

You who are newly hung; you have reached half, and you are now full. [The allusion is to three phases of the moon, probably having reference to certain periods at which some important ceremonies or events are to occur.]

I am going for my dish. [The speaker intimates that he is going to make a feast, the dish being shown at the top in the form of a circle; the footprints are directed toward, it and signify, by their shape, that he likens himself to the Bear man/idø, one of the guardians of the Midɇwiwin.]

I go through the medicine lodge. [The footprints within the parallel lines denote his having passed through an unnamed number of degrees. Although the structure is indicated as being erected like the Ghost Lodge, i.e., north and south, it is stated that Midɇwiwin is intended. This appears to be an instance of the non-systematic manner of objective ideagraphic delineation.]

Let us commune with one another. [The speaker is desirous of communing with his favorite man/idøs, with whom he considers himself on an equality, as is indicated by the anthropomorphic form of one between whom and himself the voice lines extend.]

On Figs. 36-39, are reproduced several series of pictographs from birch-bark songs found among the effects of a deceased Midɇ/ priest, at Leech Lake. Reference to other relics belonging to the same collection has been made in connection with effigies and beads employed by Midɇ/ in the endeavor to prove the genuineness of their religion and profession. These mnemonic songs were exhibited to many Midɇ/ priests from various portions of the Ojibwa country, in the hope of obtaining some satisfactory explanation regarding the import of the several characters; but, although they were pronounced to be "Grand Medicine," no suggestions were offered beyond the merest repetition of the name of the object or what it probably was meant to represent. The direction of their order was mentioned, because in most instances the initial character furnishes the guide. Apart from this, the illustrations are of interest as exhibiting the superior character and cleverness of their execution.

/ song.]

The initial character on Fig. 36 appears to be at the right hand upper corner, and represents the Bear Man/idø. The third figure is that of the Midɇ/wiwin, with four man/idøs within it, probably the guardians of the four degrees. The owner of the song was a Midɇ/ of the second degree, as was stated in connection with his Midɇ/wi-gwas or "medicine chart," illustrated on Plate III, C.

/ song.]

Fig. 37 represents what appears to be a mishkiki or medicine song, as is suggested by the figures of plants and roots. It is impossible to state absolutely at which side the initial character is placed, though it would appear that the human figure at the upper left hand corner would be more in accordance with the common custom.

/ song.]

Fig. 38 seems to pertain to hunting, and may have been recognized as a hunter's chart. According to the belief of several Midɇ/, it is lead from right to left, the human figure indicating the direction according to the way in which the heads of the crane, bear, etc., are turned. The lower left hand figure of a man has five marks upon the breast, which probably indicate mɨ/gis spots, to denote the power of magic influence possessed by the recorder.

/ song.]

The characters on Fig. 39 are found to be arranged so as to read from the right hand upper corner toward the left, the next line continuing to the right and lastly again to the left, terminating with the figure of a Midɇ/ with the mɨ/gis upon his breast. This is interesting on account of the boustrophic system of delineating the figures, and also because such instances are rarely found to occur.

DRESS AND ORNAMENTS.

While it is customary among many tribes of Indians to use as little clothing as possible when engaged in dancing, either of a social or ceremonial nature, the Ojibwa, on the contrary, vie with one another in the attempt to appear in the most costly and gaudy dress attainable. The Ojibwa Midɇ/ priests, take particular pride in their appearance when attending ceremonies of the Midɇ/ Society, and seldom fail to impress this fact upon visitors, as some of the Dakotan tribes, who have adopted similar medicine ceremonies after the custom of their Algonkian neighbors, are frequently without any clothing other than the breechcloth and moccasins, and the armlets and other attractive ornaments. This disregard of dress appears, to the Ojibwa, as a sacrilegious digression from the ancient usages, and it frequently excites severe comment.

Apart from facial ornamentation, of such design as may take the actor's fancy, or in accordance with the degree of which the subject may be a member, the Midɇ/ priests wear shirts, trousers, and moccasins, the first two of which may consist of flannel or cloth and be either plain or ornamented with beads, while the latter are always of buckskin, or, what is more highly prized, moose skin, beaded or worked with colored porcupine quills.

Immediately below each knee is tied a necessary item of an Ojibwa's dress, a garter, which consists of a band of beads varying in different specimens from 2 to 4 inches in width, and from 18 to 20 inches in length, to each end of which strands of colored wool yarn, 2 feet long, are attached so as to admit of being passed around the leg and tied in a bow-knot in front. These garters are made by the women in such patterns as they may be able to design or elaborate. On Pl. XXIII are reproductions of parts of two patterns which are of more than ordinary interest, because of the symbolic signification of the colors and the primitive art design in one, and the substitution of colors and the introduction of modern designs in the other. The upper one consists of green, red, and white beads, the first two colors being in accord with those of one of the degree posts, while the white is symbolical of the mɨ/gis shell. In the lower illustration is found a substitution of color for the preceding, accounted for by the Midɇ/ informants, who explained that neither of the varieties of beads of the particular color desired could be obtained when wanted. The yellow beads are substituted for white, the blue for green, and the orange and pink for red. The design retains the lozenge form, though in a different arrangement, and the introduction of the blue border is adapted after patterns observed among their white neighbors. In the former is presented also what the Ojibwa term the groundwork or type of their original style of ornamentation, i.e., wavy or gently zigzag lines. Later art work consists chiefly of curved lines, and this has gradually become modified through instruction from the Catholic sisters at various early mission establishments until now, when there has been brought about a common system of working upon cloth or velvet, in patterns, consisting of vines, leaves, and flowers, often exceedingly attractive though not aboriginal in the true sense of the word.

/ Dancing Garters.]

Bands of flannel or buckskin, handsomely beaded, are sometimes attached to the sides of the pantaloons, in imitation of an officer's stripes, and around the bottom. Collars are also used, in addition to necklaces of claws, shells, or other objects.

Armlets and bracelets are sometimes made of bands of beadwork, though brass wire or pieces of metal are preferred.

Bags made of cloth, beautifully ornamented or entirely covered with beads, are worn, supported at the side by means of a broad band or baldric passing over the opposite shoulder. The head is decorated with disks of metal and tufts of colored horse hair or moose hair and with eagle feathers to designate the particular exploits performed by the wearer.

Few emblems of personal valor or exploits are now worn, as many of the representatives of the present generation have never been actively engaged in war, so that there is generally found only among the older members the practice of wearing upon the head eagle feathers bearing indications of significant markings or cuttings. A feather which has been split from the tip toward the middle denotes that the wearer was wounded by an arrow. A red spot as large as a silver dime painted upon a feather shows the wearer to have been wounded by a bullet. The privilege of wearing a feather tipped with red flannel or horse hair dyed red is recognized only when the wearer has killed an enemy, and when a great number have been killed in war the so-called war bonnet is worn, and may consist of a number of feathers exceeding the number of persons killed, the idea to be expressed being "a great number," rather than a specific enumeration.

Although the Ojibwa admit that in former times they had many other specific ways of indicating various kinds of personal exploits, they now have little opportunity of gaining such distinction, and consequently the practice has fallen into desuetude.

FUTURE OF THE SOCIETY.

According to a treaty now being made between the United States Government and the Ojibwa Indians, the latter are to relinquish the several areas of land at present occupied by them and to remove to portions of the Red Lake and White Earth Reservations and take lands in severalty. By this treaty about 4,000,000 acres of land will be ceded to the Government, and the members of the various bands will become citizens of the United States, and thus their tribal ties will be broken and their primitive customs and rites be abandoned.

The chief Midɇ/ priests, being aware of the momentous consequences of such a change in their habits, and foreseeing the impracticability of much longer continuing the ceremonies of so-called "pagan rites," became willing to impart them to me, in order that a complete description might be made and preserved for the future information of their descendants.

There is scarcely any doubt that these ceremonies will still be secretly held at irregular intervals; but under the watchful care of the national authorities it is doubtful whether they will be performed with any degree of completeness, and it will be but a comparatively short time before the Midɇ/wiwin will be only a tradition.



INDEX.

Birch-bark records and songs of the Midɇ/wiwin 286-289

Calumet, ceremonial use of, among Algonkian tribes 153 Cross, use of, in Indian ceremonials 155 Cuchan population 188

Dress and ornaments used in Ojibwa dances 298, 299 Dzhe Manido, the guardian spirit of the Midewiwin 163, 166 Dzhibai midewigân or "Ghost Lodge" 278-281

Gatschet, A. S., acknowledgments to 143 Ghost Lodge ceremonies 278-281 Ginseng, Mide tradition relating to origin of 241, 242 Grand Medicine Society. See Midewiwin.

Hawk-leg fetish, description and figure 220, 221 Hennepin, Louis, cited on practices of Algonkian medicine men 152, 154 Hennepin, Louis, cited on ceremonial use of Calumet by Algonkian tribes 153 "Hunter's medicine" of Midewiwin 221-223 Hunting, Mide "medicine" practiced in 221-223

Jessakid class of Shamans, relative importance of 156 practices of 157-158, 251-255 Jones, Peter, cited on medicine men of the Ojibwa 162 cited on witchcraft beliefs of Ojibwa Indians 237 cited on Ojibwa love charm or powder 258 Jugglery among Ojibwa Indians 276-277

Kitshi Manido, the principal Ojibwa deity 163

La Hontan, A. L. de D., cited on practices of Algonkian medicine men 151-152 Leech Lake record, how obtained 171 Love powder of Ojibwa Indians 258

Magical practices of Midewiwin 205-206 Mallery, Garrick, cited on Schoolcraft's account of the Ojibwa hieroglyphs 156 cited on Indian jugglery 276-277 cited on character and use of Algonkian pictographs 287-288 Marquette, Jaques, cited on practices of Algonkian medicine men 152-153 cited on use of the cross in Indian ceremonials 155 Medical prescriptions of the Midewiwin 197-201, 226, 241-242 Medicine men, practices of, among Algonkian tribes 151, 152, 154, 159 Midɇ class of Shamans, relative importance of 156 how elected 160, 163-164 charts of, described 165, 174-183, 185-187 therapeutics of 197-202 Midɇ Society. See Midewiwin. Midewigân, or Grand Medicine Lodge, described 187-189, 224, 240, 255-257 Midewiwin or Grand Medicine Society of the Ojibwa purposes of 151 origin of 160 degrees in 164 records of 164-165 ceremonies of first degree 189-224 songs of 193-196, 202-203, 207-214, 216, 218-219, 227-230, 232-233, 239-240, 243-244, 246-251, 253-254, 259-261, 263-264, 266-273, 282-286, 289-297 ceremony of initiation into 187-196, 202-286 magical practices of 204-206 ceremonies of second degree 224-240 payments made to priests of 225 use of tobacco in ceremonials of 231, 248-249 drums used in ceremonies of 238 ceremonies of third degree 240-255 ceremonies of fourth degree 255-278 initiation into, by substitution 281-286 pictography of 286-289 dress and ornaments used in dances of 298-299 future of 299-300 Migis (Indian charm or token), forms and uses of 191, 192, 215, 217-218, 220, 236, 251, 265 Minabozho, an Ojibwa deity 166 Music of Midewiwin described 289-290

Ojibwa area inhabited by 149-150 belief of, respecting spirits 163 mythology of 163

Pictography of Midewiwin 286-289 Plants used for medical purposes by the Midewiwin 197-201, 226, 241, 242

Red Lake Midɇ Chart described 165

Schoolcraft, H. R., cited on Wabeno 156 initiation into Midɇwiwin 161 Shamans, classes of 156-159 Sikassige (Ojibwa Indian) furnishes account of origin of the Indians 172-173 Sikassige's explanation of Mille Lacs chart 174-181 Songs used in ceremonies of the Midewiwin 193-196, 203-203, 207-214, 216, 218-219, 227-230, 232-233, 239-240, 243-244, 246-251, 253-254, 259-261, 263-264, 266-273, 282-286, 289-297 mode of writing 286-289 mode of singing described 289-290 Sorcerers, practice of, among Algonkian tribes 151, 152, 154 Sweat lodge of Midewiwin, use of 204, 258

Therapeutics of the Midéwiwin 197-201, 226, 241-242 Tobacco, use of, in ceremonies of the Midéwiwin 231, 260, 262

Wabeno class of Shamans, relative importance of 156 practices of 156-157 Warren, W. W., cited on Society of the Midɇ 160-161, 162 cited on Indian traditions 183-184 Weather imploration of Midewiwin 207-209

* * * * * * * * * * * * * *

Errors and Anomalies noted by transcriber:

Variant spellings (unchanged):

Ojibwa : Ojibway throughout text Man/ido(s) : Man/idø(s) throughout text INDEX: all spellings unchanged sacred objects which Minabø/zho had deposited word is usually spelled "Mi/nabø/zho" Before proceeding further with the explanation of the Mide/ word is usually spelled "Midɇ/" The bear going to the Midɇ/wigan word is usually spelled "Midɇ/wigân" The chief priest then says to him, "Ø/mishga'n"—"get up"— the backward apostrophe in "Ø/mishga'n" occurs nowhere else in the text; it may be phonetic (glottal stop?) or an error The boy then narrated ... man/-i-dø/ 'n-gi-gĭn/-o-a-mâk the apostrophe in "'n-gi-gĭn/-o-a-mâk" occurs nowhere else in the text; it may be phonetic (elision?) or an error

Corrections:

[Footnote 11] History of the Ojebway Indians, London [1843(?)] question mark and brackets in original the Midɇ/wiwin was at that time held annually text reads "Midê/wiwin" with circumflex accent for macron shall guard it during the night text reads "shal" calling upon the other Man/idøs to join him text reads "to to" at line break This wig/iwam is dome-shaped measures about 10 feet in diameter so in original: "and measures", "measuring"? shooting the mɨ/gis (see Fig. 15) is explained on page 215 text reads "page 192" (page number of Fig. 15) at the time during which the investigations were made text reads "investiga/gations" at line break The short zigzag lines signifying magic influence text reads "sigzag" The lines extending downward from the eye signifies weeping so in original in this place he shall be Raised again text (two-line gloss) reads "in this he shall / be place" (the second-degree mɨ/gis) text reads "mì/gis" with grave accent for macron the illustration in Pl. XIV, A, is a reproduction of the original text reads "Pl. XVII, A" the following Midɇ/ song, represented pictorially, also on Pl. XIV, B text reads "Pl. XVII, B" a three-lobed apex, as shown in Fig. 4 text reads "Fig. 3" south and east of the Midɇ/wigân, as shown in Fig. 35 text reads "Fig. 30" These mnemonic songs were exhibited text reads "menmonic"

Punctuation:

All brackets, except those used for and similar tags, are in the original. principles of magic and incantations." close quote missing (or, as we have learned to term it, "Grand Medicine,") close parenthesis missing place the body on the ground in the middle of the wig/iwam." close quote missing Long-sand-bar-beneath-the-surface (No. 15) printed "beneath/ the" (no hyphen at line break) "Our forefathers were living open quote missing (passage is quote within block quote) We/-gi-kwø/ Kĕ-mɨ/-nĭ-nan/? text ends ".?" "He, the chief spirit of the Midɇ/ Society open quote missing (passage is quote within block quote)

THE END