Chapter 5

The four rows of spots have reference to the four entrances of the Midē´wigân of the fourth degree. The signification of the spots near the larger circle, just beneath the “Bear’s nest” could not be explained by Sikas´sigĕ, 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.

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 Midē´wigân [see Fig. 4.] But before he was permitted to look through it he rested and invoked the favor of Ki´tshi Man´idō, that the evil man´idōs 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 Midē´ Man´idos, ready to receive him and to attend during his initiation. The two Midē´ Man´idos at the outside of the eastern entrance (Nos. 120 and 121) compelled the evil man´idōs (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 Minabō´zho 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´ Man´idō, the Bear Spirit. When the Otter had observed all these things he passed round the interior of the Midē´wigân four times, after which he seated himself in the west, facing the degree posts, when Mi´nabō´zho approached him and for the fourth time shot into his body the sacred mī´gis, which gave him life that will endure always. Then Mi´nabō´zho said to the Otter, “This degree belongs to Ki´tshi Man´ido, 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 Midē´ Man´idōs (Nos. 139 to 162) will guard the Midē´wigân, as they are sent by Ki´tshi Man´ido to do so. The Bear’s nest (Nos. 163 and 164) just beyond the northern and southern doors (Nos. 165 and 166) of the Midē´wigân are the places where Makwa´ Man´idō takes his station when guarding the doors.

Then the Otter made a wig´iwam and offered four prayers (Nos. 167, 168, 169, and 170) for the rites of the Midē´wiwin, which Ki´tshi Man´idō had given him.

The following supplemental explanations were added by Sikas´sigĕ, 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 Midē´ at the time of preparing the Midē´wigân 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 Midē’s life--that it should be without fault and in strict accordance with the teachings of the Midē´wiwin. The short lines, terminating in circles Nos. 182, 183, 184, and 185, allude to temptations which beset the Midē’s 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.

The illustration presented in Fig. 5 is a reduced copy of a drawing made by Sikas´sigĕ to represent the migration of the Otter toward the west after he had received the rite of the Midē´wiwin. No. 1 refers to the circle upon the large chart on Pl. III in A, No. 1, and signifies the earth’s surface as before described. No. 2 in Fig. 5 is a line separating the history of the Midē´wiwin 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 Ani´shinâ´bēg followed him, and located at Ottawa Island (No. 4). Here they erected the Midē´wigân and lived for many years. Then the Otter again disappeared beneath the water, and in a short time reappeared at A´wiat´ang (No. 5), when the Midē´wigân was again erected and the sacred rites conducted in accordance with the teachings of Mi´nabō´zho. 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 Midē´wiwin were conducted in all their purity. The next place to locate at was Mi´shenama´kinagung-- Mackinaw (No. 6); then Ne´mikung (No. 7); Kiwe´winang´ (No. 8); Bâwating-- Sault Ste. Marie (No. 9); Tshiwi´towi´ (No. 10); Nega´wadzhĕ´ŭ-- Sand Mountain (No. 11), northern shore of Lake Superior; Mi´nisa´wĭk [Mi´nisa´bikkăng]-- Island of rocks (No. 12); Kawa´sitshĭŭwongk-- Foaming rapids (No. 13); Mush´kisi´wi [Mash´kisi´bi]-- Bad River (No. 14); Shagawâmikongk-- Long-sand-bar-beneath-the-surface (No. 15); Wikwe´dâⁿwonggâⁿ-- Sandy Bay (No. 16); Neâ´shiwikongk-- Cliff Point (No. 17); Netâⁿ´wayaⁿ´sink-- Little point-of-sand-bar (No. 18); Aⁿ´nibiⁿs-- Little elm tree (No. 19); Wikup´biⁿmiⁿsh-literally, Little-island-basswood (No. 20); Makubiⁿ´miⁿsh-- Bear Island (No. 21); Sha´geski´ke´dawan´ga (No. 22); Ni´wigwas´sikongk-- The place where bark is peeled (No. 23); Ta´pakwe´ĭkak [Sa´apakwe´shkwaokongk]-- The-place-where-lodge-bark-is-obtained (No. 24); Ne´uwesak´kudeze´bi [Ne´wisaku´desi´biⁿ]-- Point-deadwood-timber river (No. 25); Aⁿnibi´kanzi´bi [modern name, Âsh´kiba´gisi´bi], given respectively as Fish spawn 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 Midē´wigân 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 Midē´wiwin.

According to Sikas´sigĕ, the above account of the initiation of the Otter, by Mi´nabo´zho, was adopted as the course of initiation by the Midē´ 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 entitled, 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 Midē´wiwin, but special reference to this will be given in connection with the ceremony of the Dzhibai´ Midē´wigân, or Ghost Society.

On Pl. VIII is presented a reduced copy of the Midē´ chart made by Ojibwa, a Midē´ priest of the fourth degree and formerly a member of the society of the Sandy Lake band of the Mississippi Ojibwa. The illustration is copied from his own chart which he received in 1833 in imitation of that owned by his father, Me´toshi´kōⁿsh; and this last had been received from Lake Superior, presumably La Pointe, many years before.

The illustration 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 Ki´tshi Man´idō had decided to give to the Ani´shinâ´bēg the rites of the Midē´wiwin, he took his Midē´ drum and sang, calling upon the other Man´idōs to join him and to hear what he was going to do. No. 1 represents the abode in the sky of Ki´tshi Man´idō, No. 2, indicating the god as he sits drumming, No. 3. the small spots surrounding the drum denoting the mī´gis with which everything about him is covered. The Midē´ Man´idōs came to him in his Midē´wigân (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 Ani´shinâbē´g the sacred rite. In the Midē´wigân (No. 4) is shown also the sacred post (No. 15) upon which is perched Kŏ-ko´kŏ-ō--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 wig´iwam (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 wig´iwam 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 wig´iwams (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 Midē´ tree (No. 28) near the entrance of the first degree structure. The instructor’s wig´iwam 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 Ki´tshi Man´idō, while in his right hand he holds his Midē´ drum. Upon the following morning the Midē´ priests, with the candidate in advance (No. 30), approach and enter the Midē´wigân 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 Kŏ-ko´-kŏ-ō´, the Owl (No. 34). The post is painted with vermilion, with small white spots all over its surface, emblematic of the mī´gis shell. 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 constitute the fee paid to the society for admission.

This degree is presided over and guarded by the Panther Man´idō.

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 Ki´tshi Man´idō for success. Ki´tshi Man´idō 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´ Man´idō, who is the guardian of this degree, and whose tracks (No. 48) are visible. The assistants are visible upon the interior, drumming and dancing. There are three sacred posts, the first (No. 49) is black, and upon this is placed Kŏ-ko´-kŏ-ō´--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 Midē´ 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 Maka´no--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 Kŏ-ko´-kŏ-ō´--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 mī´gis--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 participants, 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 constituting gifts to the society.

The several specific methods of facial decoration employed (Pl. VII), according to Ojibwa’s 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.

_Third degree._--The upper half of the face is painted green and the lower half red.

_Fourth degree._--The forehead and left side of the face, from the outer canthus of the eye downward, is painted green; four spots of vermilion are made with the tip of the finger upon the forehead and four upon the green surface of the left cheek. In addition to this, the plumes of the golden eagle, painted red, are worn upon the head and down the back. This form of decoration is not absolutely necessary, as the expense of the “war bonnet” places it beyond the reach of the greater number of persons.

Before proceeding further with the explanation of the Mide´ records it may be of interest to quote the traditions relative to the migration of the Ani´shinâ´bēg, as obtained by Mr. Warren previous to 1853. In his reference to observing the rites of initiation he heard one of the officiating priests deliver “a loud and spirited harangue,” of which the following words[12] caught his attention:

“Our forefathers were living on the great salt water toward the rising sun, the great Megis (seashell) showed itself above the surface of the great water and the rays of the sun for a long time period were reflected from its glossy back. It gave warmth and light to the An-ish-in-aub-ag (red race). All at once it sank into the deep, and for a time our ancestors were not blessed with its light. It rose to the surface and appeared again on the great river which drains the waters of the Great Lakes, and again for a long time it gave life to our forefathers and reflected back the rays of the sun. Again it disappeared from sight and it rose not till it appeared to the eyes of the An-ish-in-aub-ag on the shores of the first great lake. Again it sank from sight, and death daily visited the wigiwams of our forefathers till it showed its back and reflected the rays of the sun once more at Bow-e-ting (Sault Ste. Marie). Here it remained for a long time, but once more, and for the last time, it disappeared, and the An-ish-in-aub-ag was left in darkness and misery, till it floated and once more showed its bright back at Mo-ning-wun-a-kaun-ing (La Pointe Island), where it has ever since reflected back the rays of the sun and blessed our ancestors with life, light, and wisdom. Its rays reach the remotest village of the widespread Ojibways.” As the old man delivered this talk he continued to display the shell, which he represented as an emblem of the great megis of which he was speaking.

A few days after, anxious to learn the true meaning of this allegory, * * * I requested him to explain to me the meaning of his Me-da-we harangue.

After filling his pipe and smoking of the tobacco I had presented he proceeded to give me the desired information, as follows:

“My grandson,” said he, “the megis I spoke of means the Me-da-we religion. Our forefathers, many string of lives ago, lived on the shores of the great salt water in the east. Here, while they were suffering the ravages of sickness and death, the Great Spirit, at the intercession of Man-a-bo-sho, the great common uncle of the An-ish-in-aub-ag, granted them this rite, wherewith life is restored and prolonged. Our forefathers moved from the shores of the great water and proceeded westward.

“The Me-da-we lodge was pulled down, and it was not again erected till our forefathers again took a stand on the shores of the great river where Mo-ne-aung (Montreal) now stands.

“In the course of time this town was again deserted, and our forefathers, still proceeding westward, lit not their fires till they reached the shores of Lake Huron, where again the rites of the Me-da-we were practiced.

“Again these rites were forgotten, and the Me-da-we lodge was not built till the Ojibways found themselves congregated at Bow-e-ting (outlet of Lake Superior), where it remained for many winters. Still the Ojibways moved westward, and for the last time the Me-da-we lodge was erected on the island of La Pointe, and here, long before the pale face appeared among them, it was practiced in its purest and most original form. Many of our fathers lived the full term of life granted to mankind by the Great Spirit, and the forms of many old people were mingled with each rising generation. This, my grandson, is the meaning of the words you did not understand; they have been repeated to us by our fathers for many generations.”

[Footnote 12: Op. cit., p. 78 et seq.]

In the explanation of the chart obtained at Red Lake, together with the tradition, reference to the otter, as being the most sacred emblem of society, is also verified in a brief notice of a tradition by Mr. Warren,[13] as follows:

There is another tradition told by the old men of the Ojibway village of Fond du Lac, Lake Superior, which tells of their former residence on the shores of the great salt water. It is, however, so similar in character to the one I have related that its introduction here would only occupy unnecessary space. The only difference between the two traditions is that the otter, which is emblematical of one of the four Medicine Spirits who are believed to preside over the Midawe rites, is used in one in the same figurative manner as the seashell is used in the other, first appearing to the ancient An-ish-in-aub-ag from the depths of the great salt water, again on the river St. Lawrence, then on Lake Huron at Sault Ste. Marie, again at La Pointe, but lastly at Fond du Lac, or end of Lake Superior, where it is said to have forced the sand bank at the mouth of the St. Louis River. The place is still pointed out by the Indians where they believe the great otter broke through.

[Footnote 13: Op. cit., p. 81.]

It is affirmed by the Indians that at Sault Ste. Marie some of the Ojibwa separated from the main body of that tribe and traversed the country along the northern shore of Lake Superior toward the west. These have since been known of as the “Bois Forts” (hardwood people or timber people), other bands being located at Pigeon River, Rainy Lake, etc. Another separation occurred at La Pointe, one party going toward Fond du Lac and westward to Red Lake, where they claim to have resided for more than three hundred years, while the remainder scattered from La Pointe westward and southwestward, locating at favorable places throughout the timbered country. This early dismemberment and long-continued separation of the Ojibwa nation accounts, to a considerable extent, for the several versions of the migration and the sacred emblems connected with the Midē´wiwin, the northern bands generally maintaining their faith in favor of the Otter as the guide, while the southern bodies are almost entirely supporters of the belief in the great mī´gis.

On account of the independent operations of the Midē´ priests in the various settlements of the Ojibwa, and especially because of the slight intercourse between those of the northern and southern divisions of the nation, there has arisen a difference in the pictographic representation of the same general ideas, variants which are frequently not recognized by Midē´ priests who are not members of the Midē´wiwin in which these mnemonic charts had their origin. As there are variants in the pictographic delineation of originally similar ideas, there are also corresponding variations in the traditions pertaining to them.