Magical images among the American Indians.
Perhaps the most familiar application of the principle that like produces like is the attempt which has been made by many peoples in many ages to injure or destroy an enemy by injuring or destroying an image of him, in the belief that, just as the image suffers, so does the man, and that when it perishes he must die. A few instances out of many may be given to prove at once the wide diffusion of the practice over the world and its remarkable persistence through the ages. For thousands of years ago it was known to the sorcerers of ancient India, Babylon, and Egypt, as well as of Greece and Rome,[192] and at this day it is still resorted to by cunning and malignant savages in Australia, Africa, and Scotland. Thus the North American Indians, we are told, believe that by drawing the figure of a person in sand, ashes, or clay, or by considering any object as his body, and then pricking it with a sharp stick or doing it any other injury, they inflict a corresponding injury on the person represented.[193] For example, when an Ojebway Indian desires to work evil on any one, he makes a little wooden image of his enemy and runs a needle into its head or heart, or he shoots an arrow into it, believing that wherever the needle pierces or the arrow strikes the image, his foe will the same instant be seized with a sharp pain in the corresponding part of his body; but if he intends to kill the person outright, he burns or buries the puppet, uttering certain magic words as he does so.[194] So when a Cora Indian {p56} of Mexico wishes to kill a man, he makes a figure of him out of burnt clay, strips of cloth, and so forth, and then, muttering incantations, runs thorns through the head or stomach of the figure to make his victim suffer correspondingly. Sometimes the Cora Indian makes a more beneficent use of this sort of homoeopathic magic. When he wishes to multiply his flocks or herds, he models a figure of the animal he wants in wax or clay, or carves it from tuff, and deposits it in a cave of the mountains; for these Indians believe that the mountains are masters of all riches, including cattle and sheep. For every cow, deer, dog, or hen he wants, the Indian has to sacrifice a corresponding image of the creature.[195] This may help us to understand the meaning of the figures of cattle, deer, horses, and pigs which were dedicated to Diana at Nemi.[196] They may have been the offerings of farmers or huntsmen who hoped thereby to multiply the cattle or the game. Similarly when the Todas of Southern India desire to obtain more buffaloes, they offer silver images of these animals in the temples.[197] The Peruvian Indians moulded images of fat mixed with grain to imitate the persons whom they disliked or feared, and then burned the effigy on the road where the intended victim was to pass. This they called burning his soul. But they drew a delicate distinction between the kinds of materials to be used in the manufacture of these images, according as the victim was an Indian or a Viracocha, that is, a Spaniard. To kill an Indian they employed maize and the fat of a llama, to kill a Spaniard they used wheat and the fat of a pig, because Viracochas did not eat llamas and preferred wheat to maize.[198] {p57}
Magical images among the Malays.
A Malay charm of the same sort is as follows. Take parings of nails, hair, eyebrows, spittle, and so forth of your intended victim, enough to represent every part of his person, and then make them up into his likeness with wax from a deserted bees’ comb. Scorch the figure slowly by holding it over a lamp every night for seven nights, and say:
“It is not wax that I am scorching,
It is the liver, hearty and spleen of So-and-so that I scorch.”
After the seventh time burn the figure, and your victim will die. This charm obviously combines the principles of homoeopathic and contagious magic; since the image which is made in the likeness of an enemy contains things which once were in contact with him, namely, his nails, hair, and spittle. Another form of the Malay charm, which resembles the Ojebway practice still more closely, is to make a corpse of wax from an empty bees’ comb and of the length of a footstep; then pierce the eye of the image, and your enemy {p58} is blind; pierce the stomach, and he is sick; pierce the head, and his head aches; pierce the breast, and his breast will suffer. If you would kill him outright, transfix the image from the head downwards; enshroud it as you would a corpse; pray over it as if you were praying over the dead; then bury it in the middle of a path where your victim will be sure to step over it. In order that his blood may not be on your head, you should say:
“It is not I who am burying him,
It is Gabriel who is burying him.”
Thus the guilt of the murder will be laid on the shoulders of the archangel Gabriel, who is a great deal better able to bear it than you are.[199] In eastern Java an enemy may be killed by means of a likeness of him drawn on a piece of paper, which is then incensed or buried in the ground.[200] Among the Minangkabauers of Sumatra a man who is tormented by the passion of hate or of unrequited love will call in the help of a wizard in order to cause the object of his hate or love to suffer from a dangerous ulcer known as a tinggam. After giving the wizard the necessary instructions as to the name, bodily form, dwelling, and family of the person in question, he makes a puppet which is supposed to resemble his intended victim; and repairs with it to a wood, where he hangs the image on a tree that stands quite by itself. Muttering a spell, he then drives an instrument through the navel of the puppet into the tree, till the sap of the tree oozes through the hole thus made. The instrument which inflicts the wound bears the same name (tinggam) as the ulcer which is to be raised on the body of the victim, and the oozing sap is believed to be his or her life-spirit. Soon afterwards the person against whom the charm is directed begins to suffer from an ulcer, which grows worse and worse till he dies, unless a friend can procure a piece of the wood of the tree to which the image is attached.[201] {p59}