He is in no hurry, but takes his time,—for as you may guess from its effects, the performance is not one so often repeated as that of ordinary snuff-taking. When the niopo dust is laid to his liking, another implement is brought into play, the construction of which it is also necessary to describe. It is a “machine” of six to eight inches in length, and is made of two quills from the wing of the gaviao real, or “harpy eagle” (Harpyia destructor). These quills are placed side by side for the greater part of their length, forming two parallel tubes, and they are thus neatly whipped together by a thread. At one end they are pressed apart so as to diverge to a width corresponding to the breadth between the Mundrucu’s nostrils,—where it is intended they shall be placed during the ceremony of snuff-taking.
And thus are they placed,—one end of each quill being slightly intruded within the line of the septum, while the other end rests upon the snuff, or wanders over the surface of the saucer, till all the powder placed there is drawn up and inhaled, producing the convulsive effects already detailed.
The shank-bone of a species of bird—thought to be a plover—is sometimes used instead of the quills. It is hollow, and has a forking-tube at the end. This kind is not common or easily obtained, for the niopo-taker who has one, esteems it as the most valuable item of his apparatus.
Snuffing the niopo is not exclusively confined to the Mundrucu. We have seen elsewhere that it is also a habit of the dirt-eating Ottomacs; and other tribes on the upper Amazon practise it. But the Mahües, already mentioned as the allies of the Mundrucus, are the most confirmed snuff-takers of all.
Another odd custom of the Mundrucus is their habit of “tatooing.” I speak of real tatooing,—that is, marking the skin with dots and lines that cannot be effaced, in contradistinction to mere painting, or staining, which can easily be washed off. The Mundrucus paint also, with the anotto, huitoc, caruta, and other pigments, but in this they only follow the practice of hundreds of other tribes. The true tatoo is a far different affair, and scarcely known among the aborigines of America, though common enough in the islands of the South Sea. A few other Indian tribes practise it to a limited extent,—as is elsewhere stated,—but among the Mundrucus it is an “institution;” and painful though the process be, it has to be endured by every one in the nation, “every mother’s son,” and daughter as well, that are cursed with a Mundrucu for their father.
It is upon the young people the infliction is performed,—when they are about eight or ten years of age.
The tatoo has been so often described, that I should not repeat it here; but there are a few “points” peculiar to Mundrucu tatooing, and a few others, not elsewhere understood.
The performance is usually the work of certain old crones, who, from long practice, have acquired great skill in the art.
The chief instrument used is a comb of thorns,—not a single thorn, as is generally stated,—but a tier or row of them set comb-fashion. These thorns are the spines of the “murumuru,” or “pupunha” palm (Gullielmia speciosa). Humboldt states that this palm is smooth and spineless, but in this the great, good man was in error. Its trunk is so covered with thorns or spines, that when the Indians require to climb it—for the purpose of procuring the valuable fruits, which they eat variously prepared—they have to erect a staging, or rude sort of ladder, to be able to get at them.
The comb, then, is pressed down upon the skin of the “tatooee,” till all the points have penetrated the flesh, and a row of holes is laid open, from which the blood flows profusely. As soon as this can be wiped off, ashes of a burnt gum or pitch are rubbed into the wounds, which, when healed, appear like so many dots of a deep bluish or black color. In this way the young Mundrucus, both boys and girls, get those regular rows of dotted lines, which traverse their forehead and cheeks, their arms and limbs, breasts, and bodies in such eccentric fashion. It has often been asked how these lines of dots were carried over the skin in such straight and symmetrical rows, forming regular parallel lines, or other geometrical patterns. The “comb” will explain the mystery.