Argonauts of the Western Pacific

by Bronisław Malinowski

In explaining this commentary it must be noted that the informant was a Sinaketan man, hence his local patriotism, for there is no definite, mythological version connecting the early practice of the mwasila with the village of Sinaketa. As we saw, Tokosikuna is indeed one of the mythical heroes with whose story the magic of mwasila is associated. Monikiniki is the name of one of the systems of the mwasila magic, which usually is said to come from a man of that name.

Phrase 2 of this spell contains four couples, each consisting of a compound and a verb. The substantival compounds have all, according to the alliterative symmetry so dear to Kiriwinian magic, the prefix silimway-, derived from sulumwoya, the mint plant. Such play on words, especially on what is the leading word in a spell, as sulumwoya is here, shows that the purely phonetic handling of words must be associated with the idea or feeling of their inherent power. The keyword of the tapwana (phrase 3), has been translated, literally „it boils”. Perhaps it might have been translated in its other slightly different meaning „it foams”. Probably it has both meanings to the mind of the native reciter. I think that the use of a word fraught with two meanings at the same time is one of the characteristics of native language. In this spell, for instance, the word polu appears as one in a series of such verbs as „to roar”, „to quake”, „to sough”, all carrying the meaning of „noise”, „commotion”, „stir”, a meaning which is in harmony with the magical effects to be produced by the mwasila magic. In this context the obvious translation of the word would be: „to foam”. On the other hand, this spell is said over a piece of mint, which will be preserved in boiled coco-nut oil, and the double meaning here contained might be paraphrased in this manner: „as the oil of the sulumwoya boils, so may my renown (or the eagerness of my partner?) foam up”. Thus the word polu would link up the meaning of the rite of boiling with the context of this spell. This explanation, however, has not been obtained from a native informant, though it is undoubtedly in keeping with the general type of current explanations. What I have called before the magical concatenation of magical ideas consists in just such connections of words and their meanings.

The dogina (final part) contains one or two typical features. For instance, in phrase 4, the maternal uncle of the present reciter is asked to breathe the spell over the head of Monikiniki. In this, the present owner of the spell identifies his canoe with that of the mythical hero. In 5, 6 and 7, we have several grandiloquent expressions such as that refering to the commotion on the mountain; that comparing his renown to thunder, and his treading to the noise made by mulukwausi; and that describing how the waga will sink, through being overfilled with valuables. The last part would, as usual, be recited in a much more perfunctory and quick manner, giving it the effect of piling up words, one forceful phrase following another. It ends with the onomatopoetic sound tudududu, which stands for the roll of the thunder.

VI

The two specimens of magic here given in the original with a verbal translation, show how the linguistic analysis allows us a much deeper insight into the magical value of words, as it is felt by the natives. On the one hand, the various phonetic characteristics show the handling of words when these have to convey magical force. On the other hand, only an analysis word for word of the spells could give us a good insight into the frequently mentioned magical concatenation of ideas and verbal expressions. It is, however, impossible to adduce here all the spells in their full original version with linguistic comments, as this would lead us into a treatise on the language of magic. We may, however, quickly pass over some of the other spells and point out in them the salient features of magical expression, and thus amplify the results so far obtained by the detailed analysis of these two spells.

Of course these two examples belong to the longer type consisting of three parts. Many of the spells previously quoted in free translation contain no main part, though it is possible to distinguish their u’ula (exordium) from their dogina (finale). The very first spell quoted in Chapter VI, the formula of the Vabusi Tokway (the expulsion of the wood sprite) is an anomalous one. It is an invocation, and it is not even chanted but has to be spoken in a low persuasive voice. It consists of two parts: in the first one the word kubusi („thou comest down”) used as an imperative, „come down!”, is repeated with all sorts of descriptions and circumscriptions of the woodsprites. In the second part, several sentences are repeated to make the wood-sprite feel that he has been chased away. Both the keyword of the first part, kubusi, and the sentences of the second part have a direct force of their own. It must be realised that, for the natives, it is a great insult to be told to go away. Yoba, the „expulsion”, the „command to go” stands in a category of its own. People are yoba’d, expelled from communities in certain circumstances, and a man would never dream of remaining, when thus treated. Therefore the words in this spell possess a force due to social sanctions of native custom. The next spell, given in Chapter VI, the Kaymomwa’u, is also anomalous for it consists of one part only. The word kubusi, „come down”, is also repeated here, with various words designating defilements and broken taboos. These qualities are, however, not thought of as personified beings. The force of the word is probably also derived from the ideas about the yoba.

The second spell, which is a pendant to the Kaymomwa’u, the Kaygagabile, or spell of lightness, begins with a typical u’ula:

Susuwayliguwa (repeated) (He fails to outrun me); Titavaguwa (repeated) (the canoe trembles with speed);mabuguwa (repeated) (magical word); mabugu (mabugu), mabugamugwa (mabugu-ancient);mabugu (mabugu),mabuguva’u (mabugu-new).

The first two words are compounds with prefixes and suffixes added for magical purposes, as a sort of magical trimming. The untranslatable word, said by the natives to be megwa wala („just magic”) is repeated several times in symmetry with the previous two words and then with the two suffixes; ancient and new. Such repetitions with prefixes or suffixes of antithetic meaning are a frequent feature of magical trimming of words. This exordium affords a clear example of the magical play on words, of transformations for the sake of rhythm and symmetry; of repetitions of the same words with antithetic affixes. In the following part of the spell, the word ka’i (tree) is repeated with verbs: „the tree flies” etc., and it functions as a key-word. It is difficult to decide whether this part is a true tapwana or only one of the not infrequent examples of an u’ula with a keyword.

Let us survey a few more of the u’ula (first parts) of the canoe spells, and then proceed to the examination of the middle parts and ends. In the next spell of Chapter VI, the Kapitunena Duku spell, the word bavisivisi, „I shall wave them back” (that is: the other canoes), is repeated ponderously several times. The opening of a spell with one word, which summarises in a metaphorical manner the aim of the spell, is often found in Kiriwinian magic. In this spell there follow the words: