The exordium of this spell contains some mythical references, of which, however, my informants could give me only confused explanations. But it is clear in so far as it refers directly to the magical mint, and describes its magical efficiency. In the second part, there is again a list of words referring to objects used in the Kula, and to the personal appearance and persuasiveness of the magician. The verb with which they are repeated refers to the boiling of the mint and coco-nut oil which I shall presently have to mention, and it indicates that the magical properties of the mint are imparted to the toliwaga and his goods. In the last part, the magician invokes the spirit of his real maternal kinsman, from whom he obtained this spell, and asks him to impart magical virtue to his canoe. The mythological name, Monikiniki, with which there is no myth connected, except the tradition that he was the original owner of all these spells, stands here as synonym of the canoe. At the very end in the dogina, which contains several expressions identical with those in the end part of the Yawarapu spell, we have another example of the strongly exaggerated language so often used in magic.
After having thus ritually plucked the mint plant, the magician brings it home. There he finds one of his usagelu (members of crew) who helps him by boiling some coco-nut oil (bulami) in a small native clay pot. Into the boiling oil the mint plant is put, and, while it boils, a magical formula is uttered over it.
Kaymwaloyo Spell.
“No betel-nut, no doga (ornament of circular boar’s tusk), no betel-pod! My power to change his mind; my mwasila magic, my mwase, mwasare, mwaserewai.” This last sentence contains a play on words very characteristic of Kiriwinian magic. It is difficult to interpret the opening sentence. Probably it means something like this: “No betel-nut or pod, no gift of a doga, can be as strong as my mwasila and its power of changing my partner’s mind in my favour!”
Now comes the main part of the spell: “There is one sulumwoya (mint) of mine, a sulumwoya of Laba’i which I shall place on top of Gumasila.”
“Thus shall I make a quick Kula on top of Gumasila; thus shall I hide away my Kula on top of Gumasila; thus shall I rob my Kula on top of Gumasila; thus shall I forage my Kula on top of Gumasila; thus shall I steal my Kula on top of Gumasila.”
These last paragraphs are repeated several times, inserting instead of the name of the island of Gumasila the following ones: Kuyawaywo, Domdom, Tewara, Siyawawa, Sanaroa, Tu’utauna, Kamsareta, Gorebubu. All these are the successive names of places in which Kula is made. In this long spell, the magician follows the course of a Kula expedition, enumerating its most conspicuous landmarks. The last part in this formula is identical with the last part of the Yawarapu Spell, previously quoted: “I shall kick the mountain, etc.”
After the recital of this spell over the oil and mint, the magician takes these substances, and places them in a receptacle made of banana leaf toughened by grilling. Nowadays a glass bottle is sometimes used instead. The receptacle is then attached to a stick thrust through the prow boards of the canoe and protruding slantwise over the nose. As we shall see later on, the aromatic oil will be used in anointing some objects on arrival at Dobu.
With this, however, the series of magical rites is not finished. The next day, early in the morning, the ritual bundle of representative trade goods, called lilava, is made up with the recital of a magical spell. A few objects of trade, a plaited armlet, a comb, a lime pot, a bundle of betel-nut are placed on a clean, new mat, and into the folded mat the spell is recited. Then the mat is rolled up, and over it another mat is placed, and one or two may be wrapped round; thus it contains, hermetically sealed, the magical virtue of the spell. This bundle is placed afterwards in a special spot in the centre of the canoe, and is not opened till the expedition arrives in Dobu. There is a belief that a magical portent (kariyala) is associated with it. A gentle rain, accompanied by thunder and lightning, sets in whenever the lilava is opened. A sceptical European might add, that in the monsoon season it almost invariably rains on any afternoon, with the accompaniment of thunder, at the foot or on the slopes of such high hills as are found in the d’Entrecasteaux group. Of course when, in spite of that, a kariyala does not make its appearance, we all know something has been amiss in the performance of the magical rite over the lilava! This is the spell recited over the tabooed lilava bundle.
Lilava Spell.
“I skirt the shore of the beach of Kaurakoma; the beach of Kayli, the Kayli of Muyuwa.” I cannot add any explanation which would make this phrase clearer. It obviously contains some mythological references to which I have no key. The spell runs on:
“I shall act magically on my mountain … Where shall I lie? I shall lie in Legumatabu; I shall dream, I shall have dream visions; rain will come as my magical portent … his mind is on the alert; he lies not, he sits not, he stands up and trembles, he stands up and is agitated; the renown of Kewara is small, my own renown flares up …”
This whole period is repeated over and over again, each time the name of another place being inserted instead of that of Legumatabu. Legumatabu is a small coral island some two hundred yards long and a hundred yards wide, with a few pandanus trees growing on it, wild fowl and turtle laying their eggs in its sand. In this island, half way between Sinaketa and the Amphletts, the Sinaketan sailors often spend a night or two, if overtaken by bad weather or contrary winds.
This period contains first a direct allusion to the magical portent of the lilava. In its second half it describes the state of agitation of the Dobuan partner under the influence of this magic, a state of agitation which will prompt him to be generous in the Kula. I do not know whether the word Kewara is a proper name or what else it may mean, but the phrase contains a boast of the magician’s own renown, very typical of magical formulæ.
The localities mentioned instead of Legumatabu in the successive repetitions of the period are: Yakum, another small coral island, Urasi, the Dobuan name for Gumasila, Tewara, Sanaro’a, and Tu’utauna, all localities known to us already from our description of Dobu.
This is a very long spell. After the recital, and a very lengthy one, of the last period with its variants, yet another change is introduced into it. Instead of the first phrase “where shall I lie? etc.” the new form runs “Where does the rainbow stand up? It stands up on the top of Koyatabu,” and after this the rest of the period is repeated: “I shall dream, I shall have dream visions, etc.” This new form is again varied by uttering instead of Koyatabu, Kamsareta, Koyava’u, and Gorebubu.[2] This again carries us through the landscape; but here, instead of the sleeping places we follow the beacons of the sailing expedition by mentioning the tops of the high mountains. The end part of this spell is again identical with that of the Yawarapu Spell.
This magical rite takes place on the morning of the last day. Immediately after the recital of the spell, and the rolling up of the lilava, it is carried to the canoe, and put into its place of honour. By that time the usagelu (members of the crew) have already made the canoe ready for sailing.
Each masawa canoe is divided into ten, eleven, or twelve compartments by the stout, horizontal poles called riu, which join the body of the canoe with the outrigger. Such a compartment is called liku, and each liku has its name and its function. Starting from the end of the canoe, the first liku, which, as is easily seen, is both narrow and shallow, is called ogugwau, ‘in the mist,’ and this is the proper place for the conch-shell. Small boys will sit there and blow the conch-shell on ceremonial occasions.
The next compartment is called likumakava, and there some of the food is stowed away. The third division is called kayliku and water-bottles made of coco-nut shells have their traditional place in it. The fourth liku, called likuguya’u, is, as its name indicates, the place for the guya’u or chief, which, it may be added, is unofficially used as a courtesy title for any headman, or man of importance. The baler, yalumila, always remains in this compartment. Then follow the central compartments, called gebobo, one, two or three, according to the size of the canoe. This is the place where the lilava is put on the platform, and where are placed the best food, not to be eaten till the arrival in Dobu, and all valuable trade articles. After that central division, the same divisions, as in the first part are met in inverse order (see [Plate XXXIX]).