Part 14
Upon the completion of this preliminary by the candidate, the priests emerge from the wig´iwam and fall in line according to their official status, when the candidate and preceptor gather up the parcels of tobacco and place themselves at the head of the column and start toward the eastern entrance of the Midē´wigân. As they approach the lone post, or board, the candidate halts, when the priests continue to chant and drum upon the Midē´ drum. The chief Midē´ then advances to the board and peeps through the orifice near the top to view malevolent man´idōs occupying the interior, who are antagonistic to the entrance of a stranger. This spot is assumed to represent the resting place or “nest,” from which the Bear Man´idō viewed the evil spirits during the time of his initiation by the Otter. The evil spirits within are crouching upon the floor, one behind the other and facing the east, the first being Mi-shi´-bi-shi´--the panther; the second, Me-shi´-kĕ--the turtle; the third, kwin´-go-â´-gĭ--the big wolverine; the fourth, wâ´-gŭsh--the fox; the fifth, ma-in´-gŭn--the wolf; and the sixth, ma-kwa´--the bear. They are the ones who endeavor to counteract or destroy the good wrought by the rites of the Midē´wiwin, and only by the aid of the good man´idōs can they be driven from the Midē´wigân so as to permit a candidate to enter and receive the benefits of the degree. The second Midē´ then views the group of malevolent beings, after which the third, and lastly the fourth priest looks through the orifice. They then advise the presentation by the candidate of tobacco at that point to invoke the best efforts of the Midē´ Man´idōs in his behalf.
It is asserted that all of the malevolent man´idōs who occupied and surrounded the preceding degree structures have now assembled about this fourth degree of the Midē´wigân to make a final effort against the admission and advancement of the candidate: therefore he impersonates the good Bear Man´idō, and is obliged to follow a similar course in approaching from his present position the entrance of the structure. Upon hands and knees he slowly crawls toward the main entrance, when a wailing voice is heard in the east which sounds like the word hāⁿ´, prolonged in a monotone. This is ge´-gi-si´-bi-ga´-ne-dât man´idō. His bones are heard rattling as he approaches; he wields his bow and arrow; his long hair streaming in the air, and his body, covered with mī´gis shells from the salt sea, from which he has emerged to aid in the expulsion of the opposing spirits. This being the information given to the candidate he assumes and personates the character of the man´idō referred to, and being given a bow and four arrows, and under the guidance of his preceptor, he proceeds toward the main entrance of the structure while the officiating priests enter and station themselves within the door facing the west. The preceptor carries the remaining parcels of tobacco, and when the candidate arrives near the door he makes four movements with his bow and arrow toward the interior, as if shooting, the last time sending an arrow within, upon which the grinning spirits are forced to retreat toward the other end of the inclosure. The candidate then rushes in at the main entrance, and upon emerging at the south suddenly turns and again employs his bow and arrow four times toward the crowd of evil man´idōs, who have rushed toward him during the interval that he was within. At the last gesture of shooting into the inclosure, he sends forward an arrow, deposits a parcel of tobacco and crouches to rest at the so-called “bear’s nest.” During this period of repose the Midē´ priests continue to drum and sing. Then the candidate approaches the southern door again, on all fours, and the moment he arrives there he rises and is hurried through the inclosure to emerge at the west, where he turns suddenly, and imitating the manner of shooting arrows into the group of angry man´idōs within, he at the fourth movement lets fly an arrow and gets down into the western “bear’s nest.” After a short interval he again approaches the door, crawling forward on his hands and knees until he reaches the entrance, where he leaves a present of tobacco and is hastened through the inclosure to emerge at the northern door, where he again turns suddenly upon the angry spirits, and after making threatening movements toward them, at the fourth menace he sends an arrow among them. The spirits are now greatly annoyed by the magic power possessed by the candidate and the assistance rendered by the Midē´ Man´idōs, so that they are compelled to seek safety in flight. The candidate is resting in the northern “bear’s nest,” and as he again crawls toward the Midē´wigân, on hands and knees, he deposits another gift of a parcel of tobacco, then rises and is hurried through the interior to emerge at the entrance door, where he turns around, and seeing but a few angry man´idōs remaining, he takes his last arrow and aiming it at them makes four threatening gestures toward them, at the last sending the arrow into the structure, which puts to flight all opposition on the part of this host of man´idōs. The path is now clear, and after he deposits another gift of tobacco at the door he is led within, and the preceptor receives the bow and deposits it with the remaining tobacco upon the pile of blankets and robes that have by this time been removed from the rafters and laid upon the ground midway between the sacred Midē´ stone and the first Midē´ post.
The chief Midē´ priest then takes charge of the candidate, saying:
Mi´-a-shi´-gwa wi-ka´-we-a´-kwa-mŭs-sin´-nŭk. Now is the time [to take] the path that has no end
Mī´-a-shi´-gwa wi-kan´-do-we-ân´ Now is the time I shall inform you [of]
mi´-ga-ī´-zhid wen´- dzhi-bi-mâ´-dis. that which I was told the reason I live.
To this the second Midē´ priest remarks to the candidate, Wa´-shi-gân´-do-we-an´ mi-gai´-i-nŏk´ wa´-ka-no´-shi-dzin--which freely translated signifies: “The reason I now advise you is that you may heed him when he speaks to you.” The candidate is then led around the interior of the inclosure, the assistant Midē´ fall in line of march and are followed by all the others present, excepting the musicians. During the circuit, which is performed slowly, the chief Midē´ drums upon the Midē´ drum and chants. The following, reproduced from the original, on Pl. XVII, B, consists of a number of archaic words, some of which are furthermore different from the spoken language on account of their being chanted, and meaningless syllables introduced to prolong certain accentuated notes. Each line and stanza may be repeated ad libitum.
By the time this chant is completed the head of the procession reaches the point of departure, just within the eastern door, and all of the members return to their seats, only the four officiating Midē´ remaining with the candidate and his preceptor. To search further that no malevolent man´idōs may remain lurking within the Midē´wigân, the chief priests lead the candidate in a zigzag manner to the western door, and back again to the east. In this way the path leads past the side of the Midē´ stone, then right oblique to the north of the heap of presents, thence left oblique to the south of the first-degree post, then passing the second on the north, and so on until the last post is reached, around which the course continues, and back in a similar serpentine manner to the eastern door. The candidate is then led to the blankets, upon which he seats himself, the four officiating priests placing themselves before him, the preceptor standing back near the first of the four degree posts.
The Midē´ priest of the fourth rank or place in order of precedence approaches the kneeling candidate and in a manner similar to that which has already been described shoots into his breast the mī´gis; the third, second and first Midē´ follow in like manner, the last named alone shooting his mī´gis into the candidate’s forehead, upon which he falls forward, spits out a mī´gis shell which he had previously secreted in his mouth, and upon the priests rubbing upon his back and limbs their Midē´ sacks he recovers and resumes his sitting posture.
The officiating priests retire to either side of the inclosure to find seats, when the newly received member arises and with the assistance of the preceptor distributes the remaining parcels of tobacco, and lastly the blankets, robes, and other gifts. He then begins at the southeastern angle of the inclosure to return thanks for admission, places both hands upon the first person, and as he moves them downward over his hair says: Mi-gwĕtsh´ ga-o´-shi-tō´-ĭn bi-mâ´-dĭ-sĭ-win--“Thanks, for giving to me life.” The Midē´ addressed bows his head and responds, hau´, ēⁿ´,--yes when the newly admitted member steps back one pace, clasps his hands and inclines his head to the front. This movement is continued until all present have been thanked, after which he takes a seat in the southeastern corner of the inclosure.
A curious ceremony then takes place in which all the Midē´ on one side of the inclosure arise and approach those upon the other, each grasping his Midē´ sack and selecting a victim pretends to shoot into his body the mī´gis, whereupon the Midē´ so shot falls over, and after a brief attack of gagging and retching pretends to gain relief by spitting out of his mouth a mī´gis shell. This is held upon the left palm, and as the opposing party retreat to their seats, the side which has just been subjected to the attack moves rapidly around among one another as if dancing, but simply giving rapid utterance to the word hŏ´, hŏ´, hŏ´, hŏ´, hŏ´, hŏ´, and showing the mī´gis to everybody present, after which they place the flat hands quickly to the mouth and pretend again to swallow their respective shells. The members of this party then similarly attack their opponents, who submit to similar treatment and go through like movements in exhibiting the mī´gis, which they again swallow. When quiet has been restored, and after a ceremonial smoke has been indulged in, the candidate sings, or chants, the production being either his own composition or that of some other person from whom it has been purchased. The chant presented herewith was obtained from Sikas´sigĕ, who had received it in turn from his father when the latter was chief priest of the Midē´wiwin at Mille Lacs, Minnesota. The pictographic characters are reproduced on Pl. XVII, A, and the musical notation, which is also presented, was obtained during the period of my preliminary instruction. The phraseology of the chant, of which each line and verse is repeated ad libitum as the singer may be inspired, is as follows:
[Music: 266_1] Do-na-ga-ni, Do-na-ga-ni, Do-na-ga-ni, Do-na-ga-ni, Do-na-ga-ni, Do-na-ga-ni; Na-´kwa-wē´, In-do-shi-tōn Donagani, Donaga-ni, Do-na-ga-ni, Do-na-ga-ni, Do-na-ga-ni, Do-na-ga-ni.
[Music: 267_1] Ma´ni-dō-i-ya-ni, Ma´ni-dō-i-ya-ni, Ma´ni-dō-i-ya-ni, Ma´ni-dō-i-ya- ni, Ma´ni-dō-i-ya-ni; Esh´ko-te nin-do we-yo-win, Manidōiya-ni, Ma´ni-dō-i-ya-ni, Ma´ni-dō-i-ya-ni, Ma´ni-dō-i-ya-ni.
[Music: 267_2] Ko´tshi-hai´o-ni, Ko´tshi-hai´o-ni, Ko´tshi-hai´o-ni, Ko´tshihai´oni, Ko´tshi-hai´o-ni, Ko´tshi-hai´o-ni, Ko´tshi-hai´o-ni, Ko´tshi-hai´o-ni, Esh´kote´wani´yo, Ko´tshihaioni. Ko´tshihai´oni, Kotshihaioni, hĕ´ō, hĕ´ō.
[Music: 268_1] Nimegasi mani dō-wē, hwē, hē, Nimegasi mani dō- wē, hwē, hē, Shagodzhihinani-mega-si, Manido-wē, hwē, hē. Ni-me-ga-si-ma-ni-dō-wē, hwē, hē.
[Music: 268_2] Ni´-ga-ne´ nin ma´ni-dō´we ya Ni´-ga-ne´ nin ma´ni-dō´we ya, Ya´ho-ya´ ma´nidō-we, Nin´dohōha ni´gane, ma´ni-dō-we, ya, hē.
[Music: 269_1] E-ko´tshi-na-ha, E-ko´tshi-na-ha, E-ko´tshi-na-ha, E-ko´-tshi-na-ha, E-ko´-tshi-na-ha, E-ki´-tshi-ma´-ni-dō´ hwe-do-wi, E-ko´tshi-na-ha, E-ko´tshi-na-ha, E-ko´tshi-na-ha, hĕ´a.
[Music: 269_2] He-a-wi-non´-da-ma-ni hē, He-a-wi-nonda-ma-ni hē; He´-a-wi-non-da-ma-ni hē, He´-a-wi-non-da-ma-ni hē; Manidomidēwi hē, Nemadawi dzhig, Heawinondamani hē, hē, hē.
[Music: 270_1] He-a-we-na-ne-we-dō, hō, He-a-we-na-ne-we-dō, hō, He-a-we-na-ne-we-dō, hō, He-a-we-na-ne-we-dō, hō; Ma´-ni-dō-we-a-ni ni-ka-na ni-ka-na, hō, hō.
[Music: 270_2] Ma´ni-dō´wi-a-ni hē, Ma´ni-dō´wi-a-ni hē, Ma´-ni-dō´-wi-a-ni hē, Ma´-ni-dō´-wi-a-ni hē, Ma´-ni-dō´wi-a-ni hē; Esh´kato´weani hē, Ma´nidō´wiani hē, Ma´nidō´wia-ni hē.
[Music: 271_1] He´-a-si-wi-kit-te hē, He´-a-si-wi-kit-te hē, He´a-si-wikit-te hē, He´a-si-wi-kit-te hē, Na´simagot nin´de hē, He´-a-si-wi-kit-te hē, He´-a-si-wi-kit-te hē, He´-a-si-wi-kit-te hē´, He´a-si-wi-kitte hē.
[Music: 271_2] Ni´-ka-ni ko´tshiha Ni´ka-ni ha, Ni´-ka-ni ko´tshini Ni´-ka-ni ha, Ni´-ka-ni ko´-tshi-ha Ni´-ka-ni ha.
[Music: 272_1] He-ne-na-wa-ni-bei-dōn, He-ne-na-wa-ni-bei-dōn, He-ne-na-wa-ni-bei-dōn, He-ne-na-wa-ni-bei-dōn.
[Music: 272_2] Ye-we-ni-mi-dē hwa, da. Ke-wa-shi-mi-dē hĭa, hwē, Ye-we-ni-mi-dē hwa, da. Ke-wa-shi-mi-dē hĭa, hwe. Ye-we-ni-mi-dē, Ye-we-ni-mi-dē hwa, da.
[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.
[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, hĕō, hĕō, hĕō.
The following musical notation presents accurately the range of notes employed by the preceptor. The peculiarity of Midē´ 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 assist 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.