When Galelareese men are going away to war, they are accompanied down to the boats by the women. But after the leave-taking is over, the women, in returning to their houses, must be careful not to stumble or fall, and in the house they may neither be angry nor lift up weapons against each other; otherwise the men will fall and be killed in battle.[435] Similarly, we saw that among the Chams domestic brawls at home are supposed to cause the searcher for eagle-wood to fall a prey to wild beasts on the mountains.[436] Further, Galelareese women may not lay down the chopping knives in the house while their husbands are at the wars; the knives must always be hung up on hooks.[437] The reason for the rule is not given; we may conjecture that it is a fear lest, if the chopping knives were laid down by the women at home, the men would be apt to lay down their weapons in the battle or at other inopportune moments. In the Kei Islands, when the warriors have departed, the women return indoors and bring out certain baskets containing fruits and stones. These fruits and stones they anoint and place on a board, murmuring as they do so, “O lord sun, moon, let the bullets rebound from our husbands, brothers, betrothed, and other relations, just as raindrops rebound from these objects which are smeared with oil.” As soon as the first shot is heard, the baskets are put aside, and the women, seizing their fans, rush out of the houses. Then, waving their fans in the direction of the enemy, they run through the village, while they sing, “O golden fans! let our bullets hit, and those of the enemy miss.”[438] In this custom the ceremony of anointing stones, in order that the bullets may recoil from the men like raindrops from the stones, is a piece of pure homoeopathic or imitative magic; but the prayer to the sun, that he will be pleased to give effect to the charm, is a religious and perhaps later addition. The waving of the fans seems to be a charm to direct the bullets towards or away from their {p131} mark, according as they are discharged from the guns of friends or foes.
Telepathy in war among the Malagasy.
An old historian of Madagascar informs us that “while the men are at the wars, and until their return, the women and girls cease not day and night to dance, and neither lie down nor take food in their own houses. And although they are very voluptuously inclined, they would not for anything in the world have an intrigue with another man while their husband is at the war, believing firmly that if that happened, their husband would be either killed or wounded. They believe that by dancing they impart strength, courage, and good fortune to their husbands; accordingly during such times they give themselves no rest, and this custom they observe very religiously.”[439] Similarly a traveller of the seventeenth century writes that in Madagascar “when the man is in battle or under march, the wife continually dances and sings, and will not sleep or eat in her own house, nor admit of the use of any other man, unless she be desirous to be rid of her own; for they entertain this opinion among them, that if they suffer themselves to be overcome in an intestin war at home, their husbands must suffer for it, being ingaged in a forreign expedition; but, on the contrary, if they behave themselves chastely, and dance lustily, that then their husbands, by some certain sympathetical operation, will be able to vanquish all their combatants.”[440] We have seen that among hunters in various parts of the world the infidelity of the wife at home is believed to have a disastrous effect on her absent husband. In the Babar Archipelago, and among the Wagogo of East Africa, when the men are at the wars the women at home are bound to chastity, and in the Babar Archipelago they must fast besides.[441] Under similar circumstances in the islands of Leti, Moa, and Lakor the women and children are forbidden to remain inside of the houses and to twine thread or weave.[442] {p132}
Telepathy in war among the natives of West Africa.
Telepathy in war among the American Indians.
Telepathy in war among the Kafirs of the Hindoo Koosh.
Among the Tshi-speaking peoples of the Gold Coast the wives of men who are away with the army paint themselves white, and adorn their persons with beads and charms. On the day when a battle is expected to take place, they run about armed with guns, or sticks carved to look like guns, and taking green paw-paws (fruits shaped somewhat like a melon), they hack them with knives, as if they were chopping off the heads of the foe.[443] The pantomime is no doubt merely an imitative charm, to enable the men to do to the enemy as the women do to the paw-paws. In the West African town of Framin, while the Ashantee war was raging some years ago, Mr. Fitzgerald Marriott saw a dance performed by women whose husbands had gone as carriers to the war. They were painted white and wore nothing but a short petticoat. At their head was a shrivelled old sorceress in a very short white petticoat, her black hair arranged in a sort of long projecting horn, and her black face, breasts, arms, and legs profusely adorned with white circles and crescents. All carried long white brushes made of buffalo or horse tails, and as they danced they sang, “Our husbands have gone to Ashanteeland; may they sweep their enemies off the face of the earth!”[444] Among the Thompson Indians of British Columbia, when the men were on the war-path, the women performed dances at frequent intervals. These dances were believed to ensure the success of the expedition. The dancers flourished their knives, threw long sharp-pointed sticks forward, or drew sticks with hooked ends repeatedly backward and forward. Throwing the sticks forward was symbolic of piercing or warding off the enemy, and drawing them back was symbolic of drawing their own men from danger. The hook at the end of the stick was particularly well adapted to serve the purpose of a life-saving apparatus. The women always pointed their weapons towards the enemy’s country. They painted their faces red and sang as they danced, and they prayed to the weapons to preserve their husbands and help them to kill many foes. Some had {p133} eagle-down stuck on the points of their sticks. When the dance was over, these weapons were hidden. If a woman whose husband was at the war thought she saw hair or a piece of a scalp on the weapon when she took it out, she knew that her husband had killed an enemy. But if she saw a stain of blood on it, she knew he was wounded or dead.[445] When the men of the Yuki tribe of Indians in California were away fighting, the women at home did not sleep; they danced continually in a circle, chanting and waving leafy wands. For they said that if they danced all the time, their husbands would not grow tired.[446] Among the Haida Indians of the Queen Charlotte Islands, when the men had gone to war, the women at home would get up very early in the morning and pretend to make war by falling upon their children and feigning to take them for slaves. This was supposed to help their husbands to go and do likewise. If a wife were unfaithful to her husband while he was away on the war-path, he would probably be killed. For ten nights all the women at home lay with their heads towards the point of the compass to which the war-canoes had paddled away. Then they changed about, for the warriors were supposed to be coming home across the sea. At Masset the Haida women danced and sang war-songs all the time their husbands were away at the wars, and they had to keep everything about them in a certain order. It was thought that a wife might kill her husband by not observing these customs.[447] In the Kafir district of the Hindoo Koosh, while the men are out raiding, the women abandon their work in the fields and assemble in the villages to dance day and night. The dances are kept up most of each day and the whole of each night. Sir George Robertson, who reports the custom, more than once watched the dancers dancing at midnight and in the early morning, and could see by the fitful glow of the {p134} woodfire how haggard and tired they looked, yet how gravely and earnestly they persisted in what they regarded as a serious duty.[448] The dances of these Kafirs are said to be performed in honour of certain of the national gods, but when we consider the custom in connexion with the others which have just been passed in review, we may reasonably surmise that it is or was originally in its essence a sympathetic charm intended to keep the absent warriors wakeful, lest they should be surprised in their sleep by the enemy. When a band of Carib Indians of the Orinoco had gone on the war-path, their friends left in the village used to calculate as nearly as they could the exact moment when the absent warriors would be advancing to attack the enemy. Then they took two lads, laid them down on a bench, and inflicted a most severe scourging on their bare backs. This the youths submitted to without a murmur, supported in their sufferings by the firm conviction, in which they had been bred from childhood, that on the constancy and fortitude with which they bore the cruel ordeal depended the valour and success of their comrades in the battle.[449]
Homoeopathic magic at making drums.
Various applications of homoeopathic magic.
So much for the savage theory of telepathy in war and the chase. We pass now to other cases of homoeopathic or imitative magic. While marriageable boys of the Mekeo district in British New Guinea are making their drums, they have to live alone in the forest and to observe a number of rules which are based on the principle of homoeopathic magic. The drums will be used in the dances, and in order that they may give out a resonant sonorous note, great care must be taken in their construction. The boys may spend from two days to a week at the task. Having chosen a suitable piece of wood, they scrape the outside into shape with a shell, and hollow out the inside by burning it with a hot coal till the sides are very thin. The skin of an iguana, made supple by being steeped in coco-nut milk, is then stretched over the hollow and tightened with string and glue. All the time a boy is at work on his drum, he must carefully avoid {p135} women; for if a woman or a girl were to see him, the drum would split and sound like an old cracked pot. If he ate fish, a bone would prick him and the skin of the drum would burst. If he ate a red banana it would choke him, and the drum would give a dull stifled note; if he tasted grated coco-nut, the white ants, like the white particles of the nut, would gnaw the body of the drum; if he cooked his food in the ordinary round-bellied pot, he would grow fat and would not be able to dance, and the girls would despise him and say, “Your belly is big; it is a pot!” Moreover, he must strictly shun water; for if he accidentally touched it with his feet, his hands, or his lips before the drum was quite hollowed out, he would throw the instrument away, saying: “I have touched water; my hot coal will be put out, and I shall never be able to hollow out my drum.”[450] A Highland witch can sink a ship by homoeopathic or imitative magic. She has only to set a small round dish floating in a milk-pan full of water, and then to croon her spell. When the dish upsets in the pan, the ship will go down in the sea. They say that once three witches from Harris left home at night after placing the milk-pan thus on the floor, and strictly charging a serving-maid to let nothing come near it. But while the girl was not looking a duck came in and squattered about in the water on the floor. Next morning the witches returned and asked if anything had come near the pan. The girl said “No,” whereupon one of the witches said to the others, “What a heavy sea we had last night coming round Cabag head!”[451] If a wolf has carried off a sheep or a pig, the Esthonians have a very simple mode of making him drop it. They let fall anything that they happen to have at hand, such as a cap or a glove, or, what is perhaps still better, they lift a heavy stone and then let it go. By that act, on the principle of homoeopathic magic, they compel the wolf to let go his booty.[452]