Hoffman] PICTOGRAPHIC SONGS 107 



that tribe. The pictographic system was there explained, and numerous 

 examples given to show in what manner the shaman is enabled to 

 chant his medicine songs, the ritualistic language of the order of cere- 

 monies, or to recount his exploits and deeds of valor. The Menomini 

 admit that in former years tliey were more familiar with the recording 

 upon birch bark of mnemonic characters, but that now but few such 

 scrolls exist among them. After a careful search among the Menomini 

 tribe, I met with but few examples of birch bark bearing rude outlines 

 of human and geometric figures, which indicated clearly that they had 

 no allusion to any portion of the medicine society. The only note- 

 worthy instance met with is an illustration of a birch-bark record pub- 

 lished by Mr J. G. Kohl. 1 Tliis record was copied by him in the lodge 

 of an Indian who bad arrived from northern Wisconsin. Upon inquiry, 

 the Indian informed him that the record had been received by him 

 from his brother-in-law, "an Indien delafolle avoine," or a "Menomee- 

 nee," who had given it to him only on his deathbed. The Indian fur- 

 thermore told Mr Kohl that his brother-in-law had spent much time to 

 learn it all, and that, he had studied and practiced it for months. 



The record, of which figure 18a is a reproduction, although said to 

 have been the property of a Menomini, has every indication of Ojibwa 

 art, and if not made by that tribe, the influence of Ojibwa art as illus- 

 trated in the Mide' rites was strongly impressed upon the possible 

 Menomini artist, he apparently having obtained his instruction and 

 initiation among the Ojibwa at Lac Court Oreille, or Lac Flambeau, 

 between all of which regions much intercourse between these two tribes 

 is conducted. Kohl says: 



When I asked him [the Menomini informant] if he could teach me some of his 

 knowledge, and explain the leading features, be replied that " it was very difficult 

 to learn." I assured him that I should be satisfied if I could only reach so far with 

 my weak understanding as to see bow difficult it was, and why it was so; and he 

 then condescended to give me a few explanations. I will repeat them exactly as I 

 received them from him, and only interrupt them hero and there with a parenthesis 

 and marks of interrogation : 



"The crooked sign at a is the sign that the song commences here. 



"The bear (at b) begins the dance: ' II marche la pour signe de la vie.' 



"At c stand a boy and his teacher (father, uncle, or grandfather), who instructs 

 him. You see the heart of the good teacher, and the stream of discourse which 

 flows in a serpentine line from his heart through his mouth to the bead of the boy, 

 as well as the boy's answers, which flow back from his mouth to the heart of his 

 teacher. 



" d is the circle of the earth, with the sacred shells in it. (?) 



" e, repetition of the couple, the teacher and boy." (The scholar appears to have 

 made considerable progress for his head is inclosed in the " circle of heaven," as if 

 in a nimbus of sanctity.) 



While pointing to the bear and his traces (at/), my Indian gave me the advice: 

 " On doit snivre Fours par ses pistes." I can not say whether this was a material 

 part of the song, or merely the insertion of a good and useful Indian proverb. 



" g is a sign to pause. Up to that the song goes slowly. Afterwards a quicker 

 time begins. 



1 Kitchi-Gami, Wanderings round Lake Superior, London, 1860, p. 292. 



