After our arrival at St. Anthony's Falls, it was found that this system of picture writing was as familiar to the Dacotah, as we had found it among the Algonquin race. At Prairie du Chien, and at Green Bay, the same evidences were observed among the Monomonees, and the Winnebagoes, at Chicago among the Pottowottomies, and at Michilimakinac, among the Chippewas and Ottawas who resort, in such numbers, to that Island. While at the latter place, on my return, I went to visit the grave of a noted chief of the Monomonee tribe, who had been known by his French name of Toma, i.e. Thomas. He had been buried on the hill west of the village; and on looking at his Ad-je-da-tig or grave post, it bore a pictorial inscription, commemorating some of the prominent achievements of his life.
These hints served to direct my attention to the subject when I returned to the country in 1822. The figures of a deer, a bear, a turtle, and a crane, according to this system, stand respectively for the names of men, and preserve the language very well, by yielding to the person conversant with it, the corresponding words, of Addick, Muckwa, Mickenock, and Adjeejauk. Marks, circles, or dots, of various kinds, may symbolize the number of warlike deeds. Adjunct devices may typify or explain adjunct acts. If the system went no farther, the record would yield a kind of information both gratifying and useful to one of his countrymen who had no letters and was expert in the use of symbols; and the interpretation of it, would be easy and precise in proportion as the signs were general, conventional, and well understood. There was abundant evidence in my first year's observation, to denote that this mode of communication was in vogue, and well understood by the northern tribes; but it hardly seemed susceptible of a farther or extended use. It was not till I had made a personal acquaintance with one of their Medas—a man of much intelligence, and well versed in their customs, religion, and history, that a more enlarged application of it appeared to be practicable. I observed in the hands of this man a tabular piece of wood, covered over on both sides, with a series of devices cut between parallel lines, which he referred to, as if they were the notes of his medicine and mystical songs. I heard him sing these songs, and observed that their succession was fixed and uniform. By cultivating his acquaintance, and by suitable attention and presents, such as the occasion rendered proper, he consented to explain the meaning of each figure, the object symbolized, and the words attached to each symbol. By this revelation, which was made with closed doors, I became a member or initiate of the Medicine Society, and also of the Wabeno Society. Care was taken to write each sentence of the songs and chants in the Indian language, with its appropriate devices, and to subjoin a literal translation in English. When this had been done, and the system considered, it was very clear that the devices were mnemonic—that any person could sing from these devices, very accurately, what he had previously committed to memory, and that the system revealed a curious scheme of symbolic notation.
All the figures thus employed, as the initiatory points of study, related exclusively to either the medicine dance, or the wabeno dance; and each section of figures, related exclusively to one or the other. There was no intermixture or commingling of characters, although the class of subjects were sometimes common to each. It was perceived, subsequently, that this classification of symbols extended to the songs devoted to war, to hunting, and to other specific topics. The entire inscriptive system, reaching from its first rudimental characters, in the ad-je-da-tig, or grave board, to the extended roll of bark covered with the incriptions of their magicians and prophets, derived a new interest-from this feature. It was easy to perceive that much comparative precision was imparted to interpretations in the hands of the initiated, which before, or to others, had very little. An interest was thus cast over it distinct from its novelty. And in truth, the entire pictorial system was thus invested with the character of a subject of acurate investigation, which promised both interest and instruction.
It has been thought that a simple statement of these circumstances, would best answer the end in view, and might well occupy the place of a more formal or profound introduction. In bringing forward the elements of the system, after much reflection, it is thought, however, that a few remarks on the general character of this art may not be out of place. For, simple as it is, we perceive in it the native succedaneum for letters. It is not only the sole graphic mode they have few communicating ideas, but it is the mode of communicating all classes of ideas commonly entertained by them—such as their ideas of war, of hunting, of religion, and of magic and necromancy. So considered, it reveals a new and unsuspected mode of obtaining light on their opinions of a deity, of the structure or cosmogony of the globe, of astronomy, the various classes of natural objects, their ideas of immortality and a future state, and the prevalent notions of the union of spiritual and material matter. So wide and varied, indeed, is the range opened by the subject, that we may consider the Indian system of picture writing as the thread which ties up the scroll of the Red man's views of life and death, reveals the true theory of his hopes and fears, and denotes the relation he bears, in the secret chambers of his own thoughts, to his Maker. What a stoic and suspicious temper would often hold him back from uttering to another, and what a limited language would sometimes prevent his fully revealing, if he wished, symbols and figures can be made to represent and express. The Indian is not a man prone to describe his god, but he is ready to depict him, by a symbol. He may conceal under the figures of a serpent, a turtle, or a wolf, wisdom, strength, or malignity, or convey under the picture of the sun, the idea of a supreme, all-seeing intelligence. But he is not prepared to discourse upon these things. What he believes on this head, he will not declare to a white man or a stranger. His happiness and success in life, are thought to depend upon the secrecy of that knowledge of the Creator and his system in the Indian view of benign and malignant agents. To reveal this to others, even to his own people, is, he believes, to expose himself to the counteracting influence of other agents known to his subtle scheme of necromancy and superstition, and to hazard success and life itself. This conduces to make the Red man eminently a man of fear, suspicion, and secrecy. But he cannot avoid some of these disclosures in his pictures and figures. These figures represent ideas—whole ideas, and their juxtaposition or relation on a roll of bark, a tree, or a rock, discloses a continuity of ideas. This is the basis of the system.
Picture writing is indeed the literature of the Indians. It cannot be interpreted, however rudely, without letting one know what the Red man thinks and believes. It shadows forth the Indian intellect, it stands in the place of letters for the Unishinaba.[24] It shows the Red man in all periods of our history; both as he was, and as he is; for there is nothing more true than that, save and except the comparatively few instances where they have truly embraced experimental christianity, there has not
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