Let them hear, Mide' spirit, those who are sitting around.

[He invokes Ki'tshi Man'ido to make his auditors understand his power.]

[Music: 269_2]

He-a-wi-non'-da-ma-ni he, He-a-wi-nonda-ma-ni he; He'-a-wi-non-da-ma-ni he, He'-a-wi-non-da-ma-ni he; Manidomidewi he, Nemadawi dzhig, Heawinondamani he, he, he.

[Ill.u.s.tration]

He'-a-we-na' ni'-we-do', Man'-i-do' we-a-ni'

Ni'-ka-na' ni'-na-na'.

He who is sleeping, The Spirit, I bring him, a kinsman.

[In the employment of his powers he resorts to the help of Ki'tshi Man'ido--his kinsman or Mide' colleague.]

[Music: 270_1]

He-a-we-na-ne-we-do, ho, He-a-we-na-ne-we-do, ho, He-a-we-na-ne-we-do, ho, He-a-we-na-ne-we-do, ho; Ma'-ni-do-we-a-ni ni-ka-na ni-ka-na, ho, ho.

[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]

Ma'ni-do'wi-a-ni he, Ma'ni-do'wi-a-ni he, Ma'-ni-do'-wi-a-ni he, Ma'-ni-do'-wi-a-ni he, Ma'-ni-do'wi-a-ni he; Esh'kato'weani he, Ma'nido'wiani he, Ma'nido'wia-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 mi'gis 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, He'a-si-wikit-te he, He'a-si-wi-kit-te he, Na'simagot nin'de he, He'-a-si-wi-kit-te he, He'-a-si-wi-kit-te he, He'-a-si-wi-kit-te he', He'a-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 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.

[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 mi'gis and refers to his having its power, which he desires Ki'tshi Man'ido 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 mi'gis 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 Mide'wigan; I can not reach it from where I sit.

[The mi'gis 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 mi'gis.]

[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 Mide'wiwin 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 Mide'wiwin 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 Mi'nabo'zho, and to place within his reach the supernatural power of invoking and communing with Ki'tshi Man'ido 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 mi'gis 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 mi'gis, 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 mi'gis, 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 mi'gis came; green, sha'mano 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 Mide'wiwin the Mide' may reach the goal and become the superior of his confreres, designated Mi-ni'-si-no'-shkwe, "he who lives on the island."