As to the use of fetich by those who did not really believe in it, it was true that some Europeans, non-Christian men in their trade with the natives, seeing what a power the fetich was in the native thought, and knowing that it was exercised against themselves, deemed it a matter simply of sharp practice to adopt a fetich themselves, and play the native at his own game. To my knowledge this was done by an Englishman now dead. I was intimately acquainted with him; and though his morals were objectionable and his religion agnosticism, I enjoyed his society. He was a gentleman in manners, intelligent, well-read, interested, in common with myself, in African philology and ethnology, and his river steamers often generously helped me in my itinerations. His trade interests were large; he spoke the native language well, was practically acquainted with native customs and native mode of thought. He was a good hater and a firm friend, strict with subordinates to the point of severity, but on occasions free-handedly generous. Naturally such a character, while it made for him many friends, developed some enemies. A few hated him, most liked him, even while all feared him. To checkmate them on their own ground and to carry prestige in dealing with the heathen chiefs of wild tribes, he caused to be made for himself, and allowed it to be known in advance that he carried, a powerful fetich. The effect was very decided in increasing his power, influence, and trade success, so successful that I am not sure but that he grew himself to have some faith in it,—an illustration of the oft-noted fact in moral philosophy that non-Christian credulity often leads men’s beliefs further than does Christian faith. The after history of my trader friend is a sad illustration of the wings that ill-gotten wealth develops. His fetich assisted in amassing a fortune several times over, but it did not retain it for him. He died in pitiful want.
Practice of this white art holds all over South Africa and among all its tribes. “They believe in charms, fetiches, and witchcraft. The latter is the source of great dread to a Mashona, who fears that death or accident may overtake him through the instrumentality of some fellow-being who may perchance hold against him a grudge. For the purpose of avoiding these calamities, charms are worn about the person, usually around the neck. Divining bones or blocks of wood called ‘akata’ are thrown by the witch-doctors to discover a witch or evil spirit, and they are also employed to ascertain the probable results of a journey, a hunt, or a battle,—in short, any and all of the events of life.”[45]
“The tribes we have passed through seem to have one common religion, if it can be called by that name. They say there is one great spirit, who rules over all the other spirits; but they worship and sacrifice to the spirits of ancestors, so far as I can learn, and have a mass of fetich medicines and enchantments. The hunter takes one kind of charm with him; the warrior another. For divining they have a basket filled with bones, teeth, finger-nails, claws, seeds, stones, and such articles, which are rattled by the diviner till the spirit comes and speaks to him by the movement of these things. When the spirit is reluctant to be brought up, a solemn dirge is chanted by the people. All is attention while the diviner utters a string of short sentences in different tones, which are repeated after him by the audience.”[46]
CHAPTER IX
THE FETICH—WITCHCRAFT—A BLACK ART—DEMONOLOGY
The distinction sought to be made by the half-civilized Negro between a white art and a black art, as a justification of his practice of fetich enchantments, lies in the object to be obtained by their use. He vainly tries to find a parallel to them in Christian use of fire-arms,—proper for defence, improper for unprovoked assault. The black art he admits is wrong, its object being to kill or injure some one else; the white he thinks allowable, because with it he acts simply on the defensive. He wishes to ward off a possible blow of an unseen foe aimed at himself. He professes his intention not to strike or take otherwise active measures to injure any known person. After every allowance made, the distinction between the arts as moral and immoral is not a clear one. They differ only in their degree of immorality. The means both use are immoral, not justified by the possible goodness of the desired end, and not sanctified by the intention of the user. Both use fetiches. Fetich, if it has power at all, is not of God; if it is powerless, it is folly. Thus, in every and any case, it dishonors God.
But whatever doubt there might have been as to the allowability of white art practice, there is no doubt as to the immorality of black art. It always contemplates a possible taking of life.
The term “witchcraft,” which attaches itself to all fetichism, localizes itself in the black art practice, which is thus pre-eminently known as “witchcraft.” Its practitioners are all “wizards” or “witches.” The user of the white is not so designated. He or she does not deny the use; it is open and without any sense of criminality in the eyes of the community, however much he or she may endeavor to suppress the fact from the knowledge of church officers. But a practitioner of the black art denies it and carries on his practice secretly.