When a death had taken place, the corpse was carried out of the house and set on a staging supported by four forked posts and covered by a roof of mats. The office of attending to the body devolved properly on the brothers-in-law (imi) of the deceased, who, while they were engaged in the duties of the office, bore the special title of mariget or "ghost-hand." It deserves to be noticed that these men were always of a different totem from the deceased; for if the dead person was a man, the mariget were his wife's brothers and therefore had the same totem as the dead man's wife, which, on account of the law of exogamy, always differed from the totem of her husband. And if the dead person was a woman, the mariget were her husband's brothers and therefore had his totem, which necessarily differed from hers. When they had discharged the preliminary duties to the corpse, the brothers-in-law went and informed the relations and friends. This they did not in words but by a prescribed pantomime. For example, if the deceased had had the crocodile for his totem, they imitated the ungainly gait of crocodiles waddling and resting, if the deceased had the snake for his totem, they in like manner mimicked the crawling of a snake. The relations then painted their bodies with white coral mud, cut their hair, plastered mud over their heads, and cut off their ear ornaments or severed the distended lobe of the ear as a sign of mourning. Then, armed with bows and arrows, they came out to the stage where the corpse was lying and let fly arrows at the men who were in attendance on it, that is, at the brothers-in-law of the deceased, who warded off the shafts as best they could.[292] The meaning of this sham attack on the men who were discharging the last offices of respect to the dead comes out clearly in another ceremony which was performed some time afterwards, as we shall see presently. For five or six days the corpse remained on the platform or bier watched by the brothers-in-law, who had to prevent certain large lizards from devouring it and to frighten away any prowling ghosts that might be lured to the spot by the stench. After the lapse of several days the relations returned to the body, mourned, and beat the roof of the bier, while they raised a shout to drive off any part of the dead man's spirit that might be lingering about his mouldering remains. The reason for doing so was, that the time had now arrived for cutting off the head of the corpse, and they thought that the head would not come off easily if the man's spirit were still in the body; he might reasonably be expected to hold on tight to it and not to resign, without a struggle, so valuable a part of his person. When the poor ghost had thus been chased away with shouts and blows, the principal brother-in-law came forward and performed the amputation by sawing off the head. Having done so, he usually placed it in a nest of termites or white ants in order that the insects might pick it clean; but sometimes for the same purpose he deposited it in a creek. When it was thoroughly clean, the grinning white skull was painted red all over and placed in a decorated basket. Then followed the ceremony of formally handing over this relic of the dead to the relations. The brothers-in-law, who had been in attendance on the body, painted themselves black all over, covered their heads with leaves, and walked in solemn procession, headed by the chief brother-in-law, who carried the skull in the basket. Meantime the male relatives were awaiting them, seated on a large mat in the ceremonial ground, while the women grouped themselves in the background. As the procession of men approached bearing the skull, the mourners shot arrows over their heads as a sign of anger at them for having decapitated their relation. But this was a mere pretence, probably intended to soothe and flatter the angry ghost: the arrows flew over the men without hurting them.[293] Similarly in ancient Egypt the man who cut open a corpse for embalmment had no sooner done his office than he fled precipitately, pursued by the relations with stones and curses, because he had wounded and mangled the body of their kinsman.[294] Sometimes the skull was made up to resemble the head of a living man: an artificial nose of wood and beeswax supplied the place of a nose of flesh; pearl-shells were inserted in the empty eye-balls; and any teeth that might be missing were represented by pieces of wood, while the lower jaw was lashed firmly to the cranium.[295] Whether thus decorated or not, the skulls of the dead were preserved and used in divination. Whenever a skull was to be thus consulted, it was first cleaned, repainted, and either anointed with certain plants or placed upon them. Then the enquirer enjoined the skull to speak the truth, and placing it on his pillow at night went to sleep. The dream which he dreamed that night was the answer of the skull, which spoke with a clappering noise like that of teeth chattering together. When people went on voyages, they used to take a divining skull with them in the stern of the canoe.[296]
Great death-dance of the Western Islanders. The dead personated by masked actors.
The great funeral ceremony, or rather death-dance, of the Western Islanders took place in the island of Pulu. When the time came for it, a few men would meet and make the necessary preparations. The ceremony was always performed on the sacred or ceremonial ground (kwod), and the first thing to do was to enclose this ground, for the sake of privacy, with a screen of mats hung on a framework of wood and bamboos. When the screen had been erected, the drums which were to be used by the orchestra were placed in position beside it. Then the relations were summoned to attend the performance. The ceremony might be performed for a number of recently deceased people at once, and it varied in importance and elaboration according to the importance and the number of the deceased whose obsequies were being celebrated. The chief differences were in the number of the performers and the greater or less display of scenic apparatus. The head-dresses or leafy masks worn by the actors in the sacred drama were made secretly in the bush; no woman or uninitiated man might witness the operation. When all was ready, and the people were assembled, the men being stationed in front and the women and children in the background, the disguised actors appeared on the scene and played the part of the dead, each one of them mimicking the gait and actions of the particular man or woman whom he personated; for all the parts were played by men, no woman might act in these ceremonies. The order in which the various ghosts were to appear on the scene was arranged beforehand; so that when the actors came forward from behind the screen, the spectators knew which of the dead they were supposed to have before them. The performers usually danced in pairs, and vanished behind the screen when their dance was finished. Thus one pair would follow another till the play was over. Besides the actors who played the serious and solemn part of the dead, there was usually a clown who skipped about and cut capers, tumbling down and getting up again, to make the spectators laugh and so to relieve the strain on their emotions, which were deeply stirred by this dance of death. The beat of the drums proclaimed that the sacred drama was at an end. Then followed a great feast, at which special portions of food were assigned by the relatives of the deceased to the actors who had personated them.[297]
Intention of the ceremonies.
As to the intention of these curious dramatic performances we have no very definite information. Dr. Haddon says: "The idea evidently was to convey to the mourners the assurance that the ghost was alive and that in the person of the dancer he visited his friends; the assurance of his life after death comforted the bereaved ones."[298]
Funeral ceremonies observed by the Eastern Islanders. The soul of the dead carried away by a masked actor.
In the Eastern Islands of Torres Straits the funeral ceremonies seem to have been even more numerous and elaborate. The body was at first laid on the ground on a mat outside the house, if the weather were fine. There friends wept and wailed over it, the nearest relations, such as the wife and mother, sitting at the head of the corpse. About an hour after the sun had set, the drummers and singers arrived. All night the drums beat and the people sang, but just as the dawn was breaking the wild music died away into silence. The wants of the living were now attended to: the assembled people breakfasted on green coco-nuts; and then, about an hour after sunrise, they withdrew from the body and took up a position a little further off to witness the next act of the drama of death. The drums now struck up again in quicker time to herald the approach of an actor, who could be heard, but not seen, shaking his rattle in the adjoining forest. Faster and faster beat the drums, louder and louder rose the singing, till the spectators were wound up to a pitch of excitement bordering on frenzy. Then at last a strange figure burst from the forest and came skipping and posturing towards the corpse. It was Terer, a spirit or mythical being who had come to fetch the soul of the departed and to bear it far away to its place of rest in the island beyond the sea. On his head he wore a wreath of leaves: a mask made of the mid-ribs of coco-nut leaves or of croton leaves hid his face: a long feather of the white tern nodded on his brow; and a mantle of green coco-nut leaves concealed his body from the shoulders to the knees. His arms were painted red: round his neck he wore a crescent of pearl-shell: in his left hand he carried a bow and arrows, and in his mouth a piece of wood, to which were affixed two rings of green coco-nut leaf. Thus attired he skipt forwards, rattling a bunch of nuts in his right hand, bending his head now to one side and now to another, swaying his body backwards and forwards, but always keeping time to the measured beat of the drums. At last, after a series of rapid jumps from one foot to the other, he ended his dance, and turning round fled away westward along the beach. He had taken the soul of the dead and was carrying it away to the spirit-land. The excitement of the women now rose to the highest pitch. They screamed and jumped from the ground raising their arms in air high above their heads. Shrieking and wailing all pursued the retreating figure along the beach, the mother or widow of the dead man casting herself again and again prostrate on the sand and throwing it in handfuls over her head. Among the pursuers was another masked man, who represented Aukem, the mother of Terer. She, or rather he, was dressed in dried banana leaves: long tufts of grass hung from her head over her face and shoulders; and in her mouth she carried a lighted bundle of dry coco-nut fibre, which emitted clouds of smoke. With an unsteady rickety gait the beldame hobbled after her rapidly retreating son, who turned round from time to time, skipping and posturing derisively as if to taunt her, and then hurrying away again westward. Thus the two quaint figures retreated further and further, he in front and she behind, till they were lost to view. But still the drums continued to beat and the singers to chant their wild song, when nothing was to be seen but the deserted beach with the sky and the drifting clouds above and the white waves breaking on the strand. Meantime the two actors in the sacred drama made their way westward till their progress was arrested by the sea. They plunged into it and swimming westward unloosed their leafy envelopes and let them float away to the spirit-land in the far island beyond the rolling waters. But the men themselves swam back to the beach, resumed the dress of ordinary mortals, and quietly mingled with the assembly of mourners.[299]
Personation of ghosts by masked men.
Such was the first act of the drama. The second followed immediately about ten o'clock in the morning. The actors in it were twenty or thirty men disguised as ghosts or spirits of the dead (zera markai). Their bodies were blackened from the neck to the ankles, but the lower part of their faces and their feet were dyed bright red, and a red triangle was painted on the front of their bodies. They wore head-dresses of grass with long projecting ribs of coco-nut leaves, and a long tail of grass behind reaching down to the level of the knees. In their hands they held long ribs of coco-nut leaf. They were preceded by a curious figure called pager, a man covered from head to foot with dry grass and dead banana leaves, who sidled along with an unsteady rolling gait in a zigzag course, keeping his head bowed, his red-painted hands clasped in front of his face, and his elbows sticking out from both sides of his body. In spite of his erratic course and curious mode of progression he drew away from the troop of ghosts behind him and came on towards the spectators, jerking his head from side to side, his hands shaking, and wailing as he went. Behind him marched the ghosts, with their hands crossed behind their backs and their faces looking out to sea. When they drew near to the orchestra, who were singing and drumming away, they halted and formed in two lines facing the spectators. They now all assumed the familiar attitude of a fencer on guard, one foot and arm advanced, the other foot and arm drawn back, and lunged to right and left as if they were stabbing something with the long ribs of the coco-nut leaves which they held in their hands. This manœuvre they repeated several times, the orchestra playing all the time. Then they retreated into the forest, but only to march out again, form in line, stand on guard, and lunge again and again at the invisible foe. This appears to have been the whole of the second act of the drama. No explanation of it is given. We can only conjecture that the band of men, who seem from their name (zera markai) to have represented the ghosts or spirits of the dead, came to inform the living that the departed brother or sister had joined the majority, and that any attempt to rescue him or her would be vain. That perhaps was the meaning of the solemn pantomime of the lines of actors standing on guard and lunging again and again towards the spectators. But I must acknowledge that this is a mere conjecture of my own.[300]
Blood and hair offered to the dead.