But this first explanation has been too general, for it is applicable to every sort of society indifferently, and consequently to every sort of religion. Let us attempt to determine exactly what form this collective action takes in the clan and how it arouses the sensation of sacredness there. For there is no place where it is more easily observable or more apparent in its results.
III
The life of the Australian societies passes alternately through two distinct phases.[696] Sometimes the population is broken up into little groups who wander about independently of one another, in their various occupations; each family lives by itself, hunting and fishing, and in a word, trying to procure its indispensable food by all the means in its power. Sometimes, on the contrary, the population concentrates and gathers at determined points for a length of time varying from several days to several months. This concentration takes place when a clan or a part of the tribe[697] is summoned to the gathering, and on this occasion they celebrate a religious ceremony, or else hold what is called a corrobbori[698] in the usual ethnological language.
These two phases are contrasted with each other in the sharpest way. In the first, economic activity is the preponderating one, and it is generally of a very mediocre intensity. Gathering the grains or herbs that are necessary for food, or hunting and fishing are not occupations to awaken very lively passions.[699] The dispersed condition in which the society finds itself results in making its life uniform, languishing and dull.[700] But when a corrobbori takes place, everything changes. Since the emotional and passional faculties of the primitive are only imperfectly placed under the control of his reason and will, he easily loses control of himself. Any event of some importance puts him quite outside himself. Does he receive good news? There are at once transports of enthusiasm. In the contrary conditions, he is to be seen running here and there like a madman, giving himself up to all sorts of immoderate movements, crying, shrieking, rolling in the dust, throwing it in every direction, biting himself, brandishing his arms in a furious manner, etc.[701] The very fact of the concentration acts as an exceptionally powerful stimulant. When they are once come together, a sort of electricity is formed by their collecting which quickly transports them to an extraordinary degree of exaltation. Every sentiment expressed finds a place without resistance in all the minds, which are very open to outside impressions; each re-echoes the others, and is re-echoed by the others. The initial impulse thus proceeds, growing as it goes, as an avalanche grows in its advance. And as such active passions so free from all control could not fail to burst out, on every side one sees nothing but violent gestures, cries, veritable howls, and deafening noises of every sort, which aid in intensifying still more the state of mind which they manifest. And since a collective sentiment cannot express itself collectively except on the condition of observing a certain order permitting co-operation and movements in unison, these gestures and cries naturally tend to become rhythmic and regular; hence come songs and dances. But in taking a more regular form, they lose nothing of their natural violence; a regulated tumult remains tumult. The human voice is not sufficient for the task; it is reinforced by means of artificial processes: boomerangs are beaten against each other; bull-roarers are whirled. It is probable that these instruments, the use of which is so general in the Australian religious ceremonies, are used primarily to express in a more adequate fashion the agitation felt. But while they express it, they also strengthen it. This effervescence often reaches such a point that it causes unheard-of actions. The passions released are of such an impetuosity that they can be restrained by nothing. They are so far removed from their ordinary conditions of life, and they are so thoroughly conscious of it, that they feel that they must set themselves outside of and above their ordinary morals. The sexes unite contrarily to the rules governing sexual relations. Men exchange wives with each other. Sometimes even incestuous unions, which in normal times are thought abominable and are severely punished, are now contracted openly and with impunity.[702] If we add to all this that the ceremonies generally take place at night in a darkness pierced here and there by the light of fires, we can easily imagine what effect such scenes ought to produce on the minds of those who participate. They produce such a violent super-excitation of the whole physical and mental life that it cannot be supported very long: the actor taking the principal part finally falls exhausted on the ground.[703]
To illustrate and make specific this necessarily schematic picture, let us describe certain scenes taken from Spencer and Gillen.
One of the most important religious ceremonies among the Warramunga is the one concerning the snake Wollunqua. It consists in a series of ceremonies lasting through several days. On the fourth day comes the following scene.
According to the ceremonial used among the Warramunga, representatives of the two phratries take part, one as officiants, the other as preparers and assistants. Only the members of the Uluuru phratry are qualified to celebrate the rite, but the members of the Kingilli phratry must decorate the actors, make ready the place and the instruments, and play the part of an audience. In this capacity, they were charged with making a sort of mound in advance out of wet sand, upon which a design is marked with red down which represents the snake Wollunqua. The real ceremony only commenced after nightfall. Towards ten or eleven o'clock, the Uluuru and Kingilli men arrived on the ground, sat down on the mound and commenced to sing. Everyone was evidently very excited. A little later in the evening, the Uluuru brought up their wives and gave them over to the Kingilli,[704] who had intercourse with them. Then the recently initiated young men were brought in and the whole ceremony was explained to them in detail, and until three o'clock in the morning singing went on without a pause. Then followed a scene of the wildest excitement. While fires were lighted on all sides, making the whiteness of the gum-trees stand out sharply against the surrounding darkness, the Uluuru knelt down one behind another beside the mound, then rising from the ground they went around it, with a movement in unison, their two hands resting upon their thighs, then a little farther on they knelt down again, and so on. At the same time they swayed their bodies, now to the right and now to the left, while uttering at each movement a piercing cry, a veritable yell, "Yrrsh! Yrrsh! Yrrsh!" In the meantime the Kingilli, in a state of great excitement, clanged their boomerangs and their chief was even more agitated than his companions. When the procession of the Uluuru had twice gone around the mound, quitting the kneeling position, they sat down and commenced to sing again; at moments the singing died away, then suddenly took up again. When day commenced to dawn, all leaped to their feet; the fires that had gone out were relighted and the Uluuru, urged on by the Kingilli, attacked the mound furiously with boomerangs, lances and clubs; in a few minutes it was torn to pieces. The fires died away and profound silence reigned again.[705]
A still more violent scene at which these same observers assisted was in connection with the fire ceremonies among the Warramunga.
Commencing at nightfall, all sorts of processions, dances and songs had taken place by torchlight; the general effervescence was constantly increasing. At a given moment, twelve assistants each took a great lighted torch in their hands, and one of them holding his like a bayonet, charged into a group of natives. Blows were warded off with clubs and spears. A general mêlée followed. The men leaped and pranced about, uttering savage yells all the time; the burning torches continually came crashing down on the heads and bodies of the men, scattering lighted sparks in every direction. "The smoke, the blazing torches, the showers of sparks falling in all directions and the masses of dancing, yelling men," say Spencer and Gillen, "formed altogether a genuinely wild and savage scene of which it is impossible to convey any adequate idea in words."[706]
One can readily conceive how, when arrived at this state of exaltation, a man does not recognize himself any longer. Feeling himself dominated and carried away by some sort of an external power which makes him think and act differently than in normal times, he naturally has the impression of being himself no longer. It seems to him that he has become a new being: the decorations he puts on and the masks that cover his face figure materially in this interior transformation, and to a still greater extent, they aid in determining its nature. And as at the same time all his companions feel themselves transformed in the same way and express this sentiment by their cries, their gestures and their general attitude, everything is just as though he really were transported into a special world, entirely different from the one where he ordinarily lives, and into an environment filled with exceptionally intense forces that take hold of him and metamorphose him. How could such experiences as these, especially when they are repeated every day. for weeks, fail to leave in him the conviction that there really exist two heterogeneous and mutually incomparable worlds? One is that where his daily life drags wearily along; but he cannot penetrate into the other without at once entering into relations with extraordinary powers that excite him to the point of frenzy. The first is the profane world, the second, that of sacred things.