After a few preliminary ceremonies, appropriate to the occasion, including a row of kettles of large dimensions, well filled and arranged over a fire at the entrance of the court, guarded by sentries appointed for the occasion, the candidate takes his place on a pile of blankets which he and his friends have contributed. He is naked, except the breech cloth and moccasins, and well smeared with pigments of various hues. Behind him stands an aged and reliable member. Now, the master of the ceremonies, with the joints of his knees and hips considerably bent, advances with an unsteady, uncouth hitching, sack in hand, wearing an aspect of desperate energy, and uttering his “Heen, heen, heen,” with frightful emphasis, while all around are enthusiastic demonstrations of all kinds of wild passions. At this point the sack is raised near a painted spot on the breast of the candidate, at which the tonwan is discharged. At the instant the brother from behind gives him a push and he falls dead, and is covered with blankets. Now the frenzied dancers gather around, and in the midst of bewildering and indescribable noises, chant the words uttered by the god at the institution of the ceremony, as already recorded. Then the master throws off the covering, and chewing a piece of the bone of the Onktehi, spits it over him, and he begins to show signs of returning life. Then as the master pats energetically upon the breast of the initiated person, he, convulsed, strangling, struggling and agonizing, heaves up the shell which falls from his mouth on a sack placed in readiness to receive it. Life is restored and entrance is effected into the awful mysteries. He belongs henceforth to the medicine-dance, and has a right to enjoy the medicine feast. Now comes the season of joy. The novice takes the wakan shell in his hand, and in the midst of savage demonstrations of the wildest kind, exhibits it to all the members, and to the wondering by-standers who throng the enclosure outside. The dance continues interspersed with “shooting each other,” rests, smoking, eating and drinking, till they have jumped to the music of four sets of singers. The following chants, which are used in this dance, will sufficiently evince its character and tendency, and the character of its members, especially when it is considered that this is the RELIGION OF IMMORTAL BEINGS—men and women. “Waduta ohna micage. Waduta ohna micage. Minizata, ite wakan, maqu—Tunkan sidan.” TRANSLATION. He created it for me enclosed in red down He created it for me enclosed in red down. He in the water, with mysterious aspect, gave it to me—my grandfather. Here is another of like significance: “Tunkansidan pejihuta wakan micage. He wicake. Minizate oicage wakan kin maqu ze. Tunkansidan ite kin zuwinta wo. Wahutopa zuha, ite zuwinta wo.” TRANSLATION.