Plate XXII.a. Mnemonic Song.

From whence I sit. [The singer is seated, as the lines indicate contact with the surface beneath, though the latter is not shown. The short line extending from the mouth indicates voice, and probably signifies, in this instance, singing.]
The big tree in the center of the earth. [It is not known whether or not this relates to the first destruction of the earth, when Mi´nabō´zho escaped by climbing a tree which continued to grow and to protrude above the surface of the flood. One Midē´ thought it related to a particular medicinal tree which was held in estimation beyond all others, and thus represented as the chief of the earth.]
I will float down the fast running stream. [Strangely enough, progress by water is here designated by footprints instead of using the outline of a canoe. The etymology of the Ojibwa word used in this connection may suggest footprints, as in the Delaware language one word for river signifies “water road,” when in accordance therewith “footprints” would be in perfect harmony with the general idea.]
The place that is feared I inhabit, the swift-running stream I inhabit. [The circular line above the Midē´ denotes obscurity, i.e., he is hidden from view and represents himself as powerful and terrible to his enemies as the water monster.]
You who speak to me.
I have long horns. [The Midē´ likens himself to the water monster, one of the malevolent serpent man´idōs who antagonize all good, as beliefs and practices of the Midē´wiwin.]
A rest or pause.
I, seeing, follow your example.
You see my body, you see my body, you see my nails are worn off in grasping the stone. [The Bear man´idō is represented as the type now assumed by the Midē´. He has a stone within his grasp, from which magic remedies are extracted.]
You, to whom I am speaking. [A powerful Man´idō´, the panther, is in an inclosure and to him the Midē´ addresses his request.]
I am swimming—floating—down smoothly. [The two pairs of serpentine lines indicate the river banks, while the character between them is the Otter, here personated by the Midē´.]
Bars denoting a pause.
I have finished my drum. [The Midē´ is shown holding a Midē´ drum which he is making for use in a ceremony.]
My body is like unto you. [The mī´gis shell, the symbol of purity and the Midē´wiwin.]
Hear me, you who are talking to me! [The speaker extends his arms to the right and left indicating persons who are talking to him from their respective places. The lines denoting speech—or hearing—pass through the speaker’s head to exclaim as above.]
See what I am taking. [The Midē´ has pulled up a medicinal root. This denotes his possessing a wonderful medicine and appears in the order of an advertisement.]
See me, whose head is out of water.

On [Pl. XXII, B], is presented an illustration reproduced from a piece of birch bark owned by the preceptor of “Little Frenchman,” of the import of which the latter was ignorant. His idea of the signification of the characters is based upon general information which he has received, and not upon any pertaining directly to the record. From general appearances the song seems to be a private

record pertaining to the Ghost Society, the means through which the recorder attained his first degree of the Midē´wiwin, as well as to his abilities, which appear to be boastfully referred to:

Plate XXII.b. Mnemonic Song.

I am sitting with my pipe. [Midē´ sitting, holding his pipe. He has been called upon to visit a patient, and the filled pipe is handed to him to smoke preparatory to his commencing the ceremony of exorcism.]
I employ the spirit, the spirit of the owl. [This evidently indicates the Owl Man´idō, which has been referred to in connection with the Red Lake Mide´ chart, [Pl. III], No. 113. The Owl man´idō is there represented as passing from the Midē´wigân to the Dzhibai´ Midē´wigân, and the drawings in that record and in this are sufficiently alike to convey the idea that the maker of this song had obtained his suggestion from the old Midē´ chart.]
It stands, that which I am going after. [The Midē´, impersonating the Bear Man´idō, is seeking a medicinal tree of which he has knowledge, and certain parts of which he employs in his profession. The two footprints indicate the direction the animal is taking.]
I, who fly. [This is the outline of a Thunder bird, who appears to grasp in his talons some medical plants.]
Ki´-bi-nan´ pi-zan´. Ki´binan´ is what I use, it flies like an arrow. [The Midē´’s arm is seen grasping a magic arrow, to symbolize the velocity of action of the remedy.]
I am coming to the earth. [A Man´idō is represented upon a circle, and in the act of descending toward the earth, which is indicated by the horizontal line, upon which is an Indian habitation. The character to denote the sky is usually drawn as a curved line with the convexity above, but in this instance the ends of the lines are continued below, so as to unite and to complete the ring; the intention being, as suggested by several Midē´ priests, to denote great altitude above the earth, i.e., higher than the visible azure sky, which is designated by curved lines only.]
I am feeling for it. [The Midē´ is reaching into holes in the earth in search of hidden medicines.]
I am talking to it. [The Midē´ is communing with the medicine Man´idō´ with the Midē´ sack, which he holds in his hand. The voice lines extend from his mouth to the sack, which appears to be made of the skin of an Owl, as before noted in connection with the second character in this song.]
They are sitting round the interior in a row. [This evidently signifies the Ghost Lodge, as the structure is drawn at right angles to that usually made to represent the Midē´wigân, and also because it seems to be reproduced from the Red Lake chart already alluded to and figured in [Pl. III], No. 112. The spirits or shadows, as the dead are termed, are also indicated by crosses in like manner.]
You who are newly hung; you have reached half, and you are now full. [The allusion is to three phases of the moon, probably having reference to certain periods at which some important ceremonies or events are to occur.]
I am going for my dish. [The speaker intimates that he is going to make a feast, the dish being shown at the top in the form of a circle; the footprints are directed toward, it and signify, by their shape, that he likens himself to the Bear man´idō, one of the guardians of the Midēwiwin.]
I go through the medicine lodge. [The footprints within the parallel lines denote his having passed through an unnamed number of degrees. Although the structure is indicated as being erected like the Ghost Lodge, i.e., north and south, it is stated that Midēwiwin is intended. This appears to be an instance of the non-systematic manner of objective ideagraphic delineation.]
Let us commune with one another. [The speaker is desirous of communing with his favorite man´idōs, with whom he considers himself on an equality, as is indicated by the anthropomorphic form of one between whom and himself the voice lines extend.]

On Figs. 36-39, are reproduced several series of pictographs from birch-bark songs found among the effects of a deceased Midē´ priest, at Leech Lake. Reference to other relics belonging to the same collection has been made in connection with effigies and beads employed by Midē´ in the endeavor to prove the genuineness of their religion and profession. These mnemonic songs were exhibited to many Midē´ priests from various portions of the Ojibwa country, in the hope of obtaining some satisfactory explanation regarding the import of the several characters; but, although they were pronounced to be “Grand Medicine,” no suggestions were offered beyond the merest repetition of the name of the object or what it probably was meant to represent. The direction of their order was mentioned, because in most instances the initial character furnishes the guide. Apart from this, the illustrations are of interest as exhibiting the superior character and cleverness of their execution.