ORDER OF SONGS.
Many instances have been published in regard to the use of mnemonic characters to preserve the remembrance of songs. The words of these are invariable as well as the notes to which they are chanted. Both words and notes must have been previously memorized by the singers. Ideographic characters might give the general interpretation, but would not suggest the exact words.
Schoolcraft, I, 361, remarks: Sounds are no further preserved by these mnemonic signs, than is incident, more or less, to all pure figurative or representative pictures. The simple figure of a quadruped, a man, or a bird, recalls the name of a quadruped, a man or a bird. * * We may thus recall something of the living language from the oblivion of the past, by the pictorial method. Mnemonic symbols are thus at the threshold of the hieroglyphic.
BUREAU OF ETHNOLOGY FOURTH ANNUAL REPORT PL. IV
OJIBWA MEDA SONG.
One of the best examples of this mnemonic device is one of the Ojibwas, found in Schoolcraft, op. cit., I, page 362 et seq., and called by him Songs of the Meda. His illustration is reproduced as Plate IV, and his explanation, much condensed, is as follows:
No. 1. A medicine lodge filled with the presence of the Great Spirit, who, it is affirmed, came down with wings to instruct the Indians in these ceremonies. The meda, or priest, sings, “The Great Spirit’s lodge—you have heard of it. I will enter it.” While this is sung, and repeated, the priest shakes his shi-shi-gwun, and each member of the society holds up one hand in a beseeching manner. All stand, without dancing. The drum is not struck during this introductory chant.
No. 2. A candidate for admission crowned with feathers, and holding, suspended to his arm, an otter-skin pouch, with the wind represented as gushing out of one end. He sings, repeating after the priest, all dancing, with the accompaniment of the drum and rattle: * * “I have always loved that that I seek. I go into the new green leaf lodge.”
No. 3 marks a pause, during which the victuals prepared for the feast are introduced.
No. 4. A man holding a dish in his hand, and decorated with magic feathers on his wrists, indicating his character as master of the feast. All sing, “I shall give you a share, my friend.”
No. 5. A lodge apart from that in which the meda-men are assembled, having a vapor-bath within it. The elder men go into this lodge, and during the time of their taking the bath, or immediately preceding it, tell each other certain secrets relative to the arts they employ in the Medá-win. The six heavy marks at the top of the lodge indicate the steam escaping from the bath. There are three orders of men in this society, called 1. meda; 2. sangemau; and 3. ogemau. And it is in these secret exchanges of arts, or rather the communication of unknown secrets from the higher to the lower orders, that they are exalted from one to another degree. The priest sings, “I go into the bath—I blow my brother strong.”
No. 6. The arm of the priest, or master of ceremonies, who conducts the candidate, represented in connection with the next figure.
No. 7. The goods, or presents given, as a fee of admission, by the novitiate. “I wish to wear this, my father, my friend.”
No. 8. A meda-tree. The recurved projection from the trunk denotes the root that supplies the medicine. “What! my life, my single tree!—we dance around you.”
No. 9. A stuffed crane-skin, employed as a medicine-bag. By shaking this in the dance, plovers and other small birds are made, by a sleight-of-hand trickery, to jump out of it. These, the novitiates are taught, spring from the bag by the strong power of the operator. This is one of the prime acts of the dance. “I wish them to appear—that that has grown—I wish them to appear.”
No. 10. An arrow in the supposed circle of the sky. Represents a charmed arrow, which, by the power of the meda of the person owning it, is capable of penetrating the entire circle of the sky, and accomplishing the object for which it is shot out of the bow. “What are you saying, you mee dá man? This—this is the meda bone.”
No. 11. The Ka Kaik, a species of small hawk, swift of wing, and capable of flying high into the sky. The skin of this bird is worn round the necks of warriors going into battle. “My kite’s skin is fluttering.”
No. 12. The sky, or celestial hemisphere, with the symbol of the Great Spirit looking over it. A Manito’s arm is raised up from the earth in a supplicating posture. Birds of good omen are believed to be in the sky. “All round the circle of the sky I hear the Spirit’s voice.”
No. 13. The next figure denotes a pause in the ceremonies.
No. 14. A meda-tree. The idea represented is a tree animated by magic or spiritual power. “The Wabeno tree—it dances.”
No. 15. A stick used to beat the Ta-wa-e-gun or drum. “How rings aloud the drum-stick’s sound.”
No. 16. Half of the celestial hemisphere—an Indian walking upon it. The idea symbolized is the sun pursuing his diurnal course till noon. “I walk upon half the sky.”
No. 17. The Great Spirit filling all space with his beams, and enlightening the world by the halo of his head. He is here depicted as the god of thunder and lightning. “I sound all around the sky, that they can hear me.”
No. 18. The Ta-wa-e-gun, or single-headed drum. “You shall hear the sound of my Ta-wa-e-gun.”
No. 19. The Ta-wa-e-gonse, or tambourine, ornamented with feathers, and a wing, indicative of its being prepared for a sacred use. “Do you understand my drum?”
No. 20. A raven. The skin and feathers of this bird are worn as head ornaments. “I sing the raven that has brave feathers.”
No. 21. A crow, the wings and head of which are worn as a head-dress. “I am the crow—I am the crow—his skin is my body.”
No. 22. A medicine lodge. A leader or master of the Meda society, standing with his drum stick raised, and holding in his hands the clouds and the celestial hemisphere. “I wish to go into your lodge—I go into your lodge.”
In connection with this topic reference may be made to the Lenâpé and their Legends: with the complete text and symbols of The Walam Olum, by Daniel G. Brinton, A. M., M. D., Phila., 1885. 8vo. pp. 262, with numerous illustrations.