The lex talionis forms part of the Australian traditional law, and is sometimes exercised after a rather ludicrous fashion. A young man had committed some light offence, and was severely beaten by two natives, who broke his arm with a club, and laid his head open with a fishing spear. Considerable confusion took place, and at last the elders decided that the punishment was much in excess of the offence, and that, when the wounded man recovered, the two assailants were to offer their heads to him, so that he might strike them a certain number of blows with his waddy.
In the description of the intertribal feuds, it has been mentioned that the men who assisted in killing the victims of reprisal partook of the eyes and cheeks of the murdered person. This leads us to examine the question of cannibalism, inasmuch as some travellers have asserted that the Australians are cannibals and others denying such a propensity as strongly.
That the flesh of human beings is eaten by the Australians is an undeniable fact: but it must be remarked that such an act is often intended as a ceremonial, and not merely as a means of allaying hunger or gratifying the palate. It has been ascertained that some tribes who live along the Murray River have been known to kill and eat children, mixing their flesh with that of the dog. This, however, only occurs in seasons of great scarcity; and that the event was exceptional and not customary, is evident from the fact that a man was pointed out as having killed his children for food. Now it is plain, that, if cannibalism was the custom, such a man would not be sufficiently conspicuous to be specially mentioned. These tribes have a horrible custom of killing little boys for the sake of their fat, with which they bait fish-hooks.
Another example of cannibalism is described by Mr. Angas as occurring in New South Wales. A lad had died, and his body was taken by several young men, who proceeded to the following remarkable ceremonies. They began by removing the skin, together with the head, rolling it round a stake, and drying it over the fire. While this was being done, the parents, who had been uttering loud lamentations, took the flesh from the legs, cooked, and ate it. The remainder of the body was distributed among the friends of the deceased, who carried away their portions on the points of their spears; and the skin and bones were kept by the parents, and always carried about in their wallets.
It may seem strange that the mention of the weapons and mode of fighting should lead us naturally to the dances of the Australians. Such, however, is the case; for in most of their dances weapons of some sort are introduced. The first which will be mentioned is the Kuri dance, which was described to Mr. Angas by a friend who had frequently seen it, and is [illustrated] on the next page. This dance is performed by the natives of the Adelaide district. It seems to have one point in common with the cotillon of Europe, namely, that it can be varied, shortened, or lengthened, according to the caprice of the players; so that if a spectator see the Kuri dance performed six or seven times, he will never see the movements repeated in the same order. The following extract describes a single Kuri dance, and from it the reader may form his impressions of its general character:—
“But first the dramatis personæ must be introduced, and particularly described. The performers were divided into five distinct classes, the greater body comprising about twenty-five young men, including five or six boys, painted and decorated as follows: in nudity, except the yoodna which is made expressly for the occasion, with bunches of gum-leaves tied round the legs just above the knee, which, as they stamped about, made a loud switching noise. In their hands they held a katta or wirri, and some a few gum-leaves. The former were held at arm’s length, and struck alternately with their legs as they stamped. They were painted, from each shoulder down to the hips, with five or six white stripes, rising from the breast; their faces also, with white perpendicular lines, making the most hideous appearance. These were the dancers.
“Next came two groups of women, about five or six in number, standing on the right and left of the dancers, merely taking the part of supernumeraries; they were not painted, but had leaves in their hands, which they shook, and kept beating time with their feet during the whole performance, but never moved from the spot where they stood.
“Next followed two remarkable characters, painted and decorated like the dancers, but with the addition of the palyertatta—a singular ornament made of two pieces of stick put crosswise, and bound together by the mangna, in a spreading manner, having at the extremities feathers opened, so as to set it off to the best advantage. One had the palyertatta stick sideways upon his head, while the other, in the most wizard-like manner, kept waving it to and fro before him, corresponding with the action of his head and legs.
“Then followed a performer distinguished by a long spear, from the top of which a bunch of feathers hung suspended, and all down the spear the mangna was wound; he held the koonteroo (spear and feathers) with both hands behind his back, but occasionally altered the position, and waved it to the right and left over the dancers. And last came the singers—two elderly men in their usual habiliments; their musical instruments were the katta and wirri, on which they managed to beat a double note; their song was one unvaried, gabbling tone.
“The night was mild; the new moon shone with a faint light, casting a depth of shade over the earth, which gave a sombre appearance to the surrounding scene that highly conduced to enhance the effect of the approaching play. In the distance, a black mass could be discerned under the gum-trees, whence occasionally a shout and a burst of flame arose. These were the performers dressing for the dance, and no one approached them while thus occupied.