We find more than one totem among the Arunta themselves which has no other Intichiuma. We have seen that among this people, the irregularities and depressions of the land, which mark the places where some ancestor sojourned, sometimes serve as totems.[1212] Ceremonies are attached to these totems which are manifestly incapable of physical effects of any sort. They can consist only in representations whose object is to commemorate the past, and they can aim at no end beyond this commemoration.[1213]

While they enable us to understand the nature of the cult better, these ritual representations also put into evidence an important element of religion: this is the recreative and esthetic element.

We have already had occasion to show that they are closely akin to dramatic representations.[1214] This kinship appears with still greater clarity in the latter ceremonies of which we have spoken. Not only do they employ the same processes as the real drama, but they also pursue an end of the same sort: being foreign to all utilitarian ends, they make men forget the real world and transport them into another where their imagination is more at ease; they distract. They sometimes even go so far as to have the outward appearance of a recreation: the a.s.sistants may be seen laughing and amusing themselves openly.[1215]

Representative rites and collective recreations are even so close to one another that men pa.s.s from one sort to the other without any break of continuity. The characteristic feature of the properly religious ceremonies is that they must be celebrated on a consecrated ground, from which women and non-initiated persons are excluded.[1216] But there are others in which this religious character is somewhat effaced, though it has not disappeared completely. They take place outside the ceremonial ground, which proves that they are already laicized to a certain degree; but profane persons, women and children, are not yet admitted to them.

So they are on the boundary between the two domains. They generally deal with legendary personages, but ones having no regular place in the frame-work of the totemic religion. They are spirits, more generally malevolent ones, having relations with the magicians rather than the ordinary believers, and sorts of bugbears, in whom men do not believe with the same degree of seriousness and firmness of conviction as in the proper totemic beings and things.[1217] As the bonds by which the events and personages represented are attached to the history of the tribe relax, these take on a proportionately more unreal appearance, while the corresponding ceremonies change in nature. Thus men enter into the domain of pure fancy, and pa.s.s from the commemorative rite to the ordinary corrobbori, a simple public merry-making, which has nothing religious about it and in which all may take part indifferently. Perhaps some of these representations, whose sole object now is to distract, are ancient rites, whose character has been changed. In fact, the distinction between these two sorts of ceremonies is so variable that it is impossible to state with precision to which of the two kinds they belong.[1218]

It is a well-known fact that games and the princ.i.p.al forms of art seem to have been born of religion and that for a long time they retained a religious character.[1219] We now see what the reasons for this are: it is because the cult, though aimed primarily at other ends, has also been a sort of recreation for men. Religion has not played this role by hazard or owing to a happy chance, but through a necessity of its nature. Though, as we have established, religious thought is something very different from a system of fictions, still the realities to which it corresponds express themselves religiously only when religion transfigures them. Between society as it is objectively and the sacred things which express it symbolically, the distance is considerable. It has been necessary that the impressions really felt by men, which served as the original matter of this construction, should be interpreted, elaborated and transformed until they became unrecognizable. So the world of religious things is a partially imaginary world, though only in its outward form, and one which therefore lends itself more readily to the free creations of the mind. Also, since the intellectual forces which serve to make it are intense and tumultuous, the unique task of expressing the real with the aid of appropriate symbols is not enough to occupy them. A surplus generally remains available which seeks to employ itself in supplementary and superfluous works of luxury, that is to say, in works of art. There are practices as well as beliefs of this sort.

The state of effervescence in which the a.s.sembled worshippers find themselves must be translated outwardly by exuberant movements which are not easily subjected to too carefully defined ends. In part, they escape aimlessly, they spread themselves for the mere pleasure of so doing, and they take delight in all sorts of games. Besides, in so far as the beings to whom the cult is addressed are imaginary, they are not able to contain and regulate this exuberance; the pressure of tangible and resisting realities is required to confine activities to exact and economical forms. Therefore one exposes oneself to grave misunderstandings if, in explaining rites, he believes that each gesture has a precise object and a definite reason for its existence. There are some which serve nothing; they merely answer the need felt by worshippers for action, motion, gesticulation. They are to be seen jumping, whirling, dancing, crying and singing, though it may not always be possible to give a meaning to all this agitation.

Therefore religion would not be itself if it did not give some place to the free combinations of thought and activity, to play, to art, to all that recreates the spirit that has been fatigued by the too great slavishness of daily work: the very same causes which called it into existence make it a necessity. Art is not merely an external ornament with which the cult has adorned itself in order to dissimulate certain of its features which may be too austere and too rude; but rather, in itself, the cult is something aesthetic. Owing to the well-known connection which mythology has with poetry, some have wished to exclude the former from religion;[1220] the truth is that there is a poetry inherent in all religion. The representative rites which have just been studied make this aspect of the religious life manifest; but there are scarcely any rites which do not present it to some degree.

One would certainly commit the gravest error if he saw only this one aspect of religion, or if he even exaggerated its importance. When a rite serves only to distract, it is no longer a rite. The moral forces expressed by religious symbols are real forces with which we must reckon and with which we cannot do what we will. Even when the cult aims at producing no physical effects, but limits itself to acting on the mind, its action is in quite a different way from that of a pure work of art.

The representations which it seeks to awaken and maintain in our minds are not vain images which correspond to nothing in reality, and which we call up aimlessly for the mere satisfaction of seeing them appear and combine before our eyes. They are as necessary for the well working of our moral life as our food is for the maintenance of our physical life, for it is through them that the group affirms and maintains itself, and we know the point to which this is indispensable for the individual. So a rite is something different from a game; it is a part of the serious life. But if its unreal and imaginary element is not essential, nevertheless it plays a part which is by no means negligible. It has its share in the feeling of comfort which the worshipper draws from the rite performed; for recreation is one of the forms of the moral remaking which is the princ.i.p.al object of the positive rite. After we have acquitted ourselves of our ritual duties, we enter into the profane life with increased courage and ardour, not only because we come into relations with a superior source of energy, but also because our forces have been reinvigorated by living, for a few moments, in a life that is less strained, and freer and easier. Hence religion acquires a charm which is not among the slightest of its attractions.

This is why the very idea of a religious ceremony of some importance awakens the idea of a feast. Inversely, every feast, even when it has purely lay origins, has certain characteristics of the religious ceremony, for in every case its effect is to bring men together, to put the ma.s.ses into movement and thus to excite a state of effervescence, and sometimes even of delirium, which is not without a certain kinship with the religious state. A man is carried outside himself and diverted from his ordinary occupation and preoccupations. Thus the same manifestations are to be observed in each case: cries, songs, music, violent movements, dances, the search for exciteants which raise the vital level, etc. It has frequently been remarked that popular feasts lead to excesses, and cause men to lose sight of the distinction separating the licit from the illicit;[1221] there are also religious ceremonies which make it almost necessary to violate the rules which are ordinarily the most respected.[1222] Of course this does not mean that there is no way to distinguish these two forms of public activity. The simple merry-making, the profane corrobbori, has no serious object, while, as a whole, a ritual ceremony always has an important end. Still it is to be remembered that there is perhaps no merry-making in which the serious life does not have some echo. The difference consists rather in the unequal proportions in which the two elements are combined.

III

A more general fact confirms the views which precede.

In their first book, Spencer and Gillen presented the Intichiuma as a perfectly definite ritual ent.i.ty: they spoke of it as though it were an operation destined exclusively for the a.s.surance of the reproduction of the totemic species, and it seemed as though it ought to lose all meaning, if this unique function were set aside. But in their _Northern Tribes of Central Australia_, the same authors use a different language, though perhaps without noticing it. They recognize that these same ceremonies may take place either in the regular Intichiuma or in the initiation rites.[1223] So they serve equally in the making of animals or plants of the totemic species, or in conferring upon novices the qualities necessary to make them regular members of the men's society.[1224] From this point of view, the Intichiuma takes on a new aspect. It is no longer a distinct ritual mechanism, resting upon principles of its own, but a particular application of more general ceremonies which may be utilized for very different ends. For this reason, in their later work, before speaking of the Intichiuma and the initiation they consecrate a special chapter to the totemic ceremonies in general, making abstraction of the diverse forms which they may take, according to the ends for which they are employed.[1225]

This fundamental indetermination of the totemic ceremonies was only indicated by Spencer and Gillen, and rather indirectly at that; but it has now been confirmed by Strehlow in more explicit terms. "When they lead the young novices through the different feasts of the initiation,"

he says, "they perform before them a series of ceremonies which, though reproducing, even in their most characteristic details, the rites of the regular cult (viz. _the rites which Spencer and Gillen call the Intichiuma_), do not have, nevertheless, the end of multiplying the corresponding totem and causing it to prosper."[1226] It is the same ceremony which serves in the two cases; the name alone is not the same.

When its special object is the reproduction of the species, they call it _mbatjalkatiuma_ and it is only when it is a part of the process of initiation that they give it the name Intichiuma.[1227]

Moreover, these two sorts of ceremonies are distinguished from one another among the Arunta by certain secondary characteristics. Though the structure of the rite is the same in both cases, still we know that the effusions of blood and, more generally, the oblations characteristic of the Arunta Intichiuma are not found in the initiation ceremonies.

Moreover, among this same people, the Intichiuma takes place at a spot regularly fixed by tradition, to which men must make a pilgrimage, while the scene of the initiation ceremonies is purely conventional.[1228] But when the Intichiuma consists in a simple dramatic representation, as is the case among the Warramunga, the lack of distinction between the two rites is complete. In the one as in the other, they commemorate the past, they put the myth into action, they play--and one cannot play in two materially different ways. So, according to the circ.u.mstances, one and the same ceremony serves two distinct functions.[1229]

It may even lend itself to other uses. We know that as blood is a sacred thing, women must not see it flow. Yet it happens sometimes that a quarrel breaks out in their presence and ends in the shedding of blood.

Thus an infraction of the ritual is committed. Among the Arunta, the man whose blood flowed first must, to atone for this fault, "celebrate a ceremony connected with the totem either of his father or of his mother";[1230] this ceremony has a special name, _Alua uparilima_, which means the washing away of blood. But in itself, it does not differ from those celebrated at the time of the initiation or in the Intichiuma: it represents an event of ancestral history. So it may serve equally to initiate, to act upon the totemic species or to expiate a sacrilege. We shall see that a totemic ceremony may also take the place of a funeral rite.[1231]

MM. Hubert and Mauss have already pointed out a functional ambiguity of this same sort in the case of sacrifice, and more especially, in that of Hindu sacrifice.[1232] They have shown how the sacrifice of communion, that of expiation, that of a vow and that of a contract are only variations of one and the same mechanism. We now see that the fact is much more primitive, and in no way limited to the inst.i.tution of sacrifice. Perhaps no rite exists which does not present a similar indetermination. The ma.s.s serves for marriages as for burials; it redeems the faults of the dead and wins the favours of the deity for the living, etc. Fasting is an expiation and a penance; but it is also a preparation for communion; it even confers positive virtues. This ambiguity shows that the real function of a rite does not consist in the particular and definite effects which it seems to aim at and by which it is ordinarily characterized, but rather in a general action which, though always and everywhere the same, is nevertheless capable of taking on different forms according to the circ.u.mstances. Now this is just what is demanded by the theory which we have proposed. If the real function of the cult is to awaken within the worshippers a certain state of soul, composed of moral force and confidence, and if the various effects imputed to the rites are due only to a secondary and variable determination of this fundamental state, it is not surprising if a single rite, while keeping the same composition and structure, seems to produce various effects. For the mental dispositions, the excitation of which is its permanent function, remain the same in every case; they depend upon the fact that the group is a.s.sembled, and not upon the special reasons for which it is a.s.sembled. But, on the other hand, they are interpreted differently according to the circ.u.mstances to which they are applied. Is it a physical result which they wish to obtain? The confidence they feel convinces them that the desired result is or will be obtained by the means employed. Has some one committed a fault for which he wishes to atone? The same state of moral a.s.surance will lead him to attribute expiatory virtues to these same ritual gestures. Thus, the apparent efficacy will seem to change while the real efficacy remains invariable, and the rite will seem to fulfil various functions though in fact it has only one, which is always the same.

Inversely, just as a single rite may serve many ends, so many rites may produce the same effect and mutually replace one another. To a.s.sure the reproduction of the totemic species, one may have recourse equally to oblations, to imitative practices or to commemorative representations.

This apt.i.tude of rites for subst.i.tuting themselves for one another proves once more both their plasticity and the extreme generality of the useful action which they exercise. The essential thing is that men are a.s.sembled, that sentiments are felt in common and expressed in common acts; but the particular nature of these sentiments and acts is something relatively secondary and contingent. To become conscious of itself, the group does not need to perform certain acts in preference to all others. The necessary thing is that it partakes of the same thought and the same action; the visible forms in which this communion takes place matter but little. Of course, these external forms do not come by chance; they have their reasons; but these reasons do not touch the essential part of the cult.

So everything leads us back to this same idea: before all, rites are means by which the social group reaffirms itself periodically. From this, we may be able to reconstruct hypothetically the way in which the totemic cult should have arisen originally. Men who feel themselves united, partially by bonds of blood, but still more by a community of interest and tradition, a.s.semble and become conscious of their moral unity. For the reasons which we have set forth, they are led to represent this unity in the form of a very special kind of consubstantiality: they think of themselves as all partic.i.p.ating in the nature of some determined animal. Under these circ.u.mstances, there is only one way for them to affirm their collective existence: this is to affirm that they are like the animals of this species, and to do so not only in the silence of their own thoughts, but also by material acts.

These are the acts which make up the cult, and they obviously can consist only in movements by which the man imitates the animal with which he identifies himself. When understood thus, the imitative rites appear as the first form of the cult. It will be thought that this is attributing a very considerable historical importance to practices which, at first view, give the effect of childish games. But, as we have shown, these nave and awkward gestures and these crude processes of representation translate and maintain a sentiment of pride, confidence and veneration wholly comparable to that expressed by the worshippers in the most idealistic religions when, being a.s.sembled, they proclaim themselves the children of the almighty G.o.d. For in the one case as in the other, this sentiment is made up of the same impressions of security and respect which are awakened in individual consciousnesses by this great moral force which dominates them and sustains them, and which is the collective force.

The other rites which we have been studying are probably only variations of this essential rite. When the close union of the animal and men has once been admitted, men feel acutely the necessity of a.s.suring the regular reproduction of the princ.i.p.al object of the cult. These imitative practices, which probably had only a moral end at first, thus became subordinated to utilitarian and material ends, and they were thought of as means of producing the desired result. But proportionately as, through the development of mythology, the ancestral hero, who was at first confused with the totemic animal, distinguished himself more and more, and became a more personal figure, the imitation of the ancestor was subst.i.tuted for the imitation of the animal, or took a place beside it, and then representative ceremonies replaced or completed the imitative rites. Finally, to be surer of attaining the end they sought, men felt the need of putting into action all the means at their disposal. Close at hand they had reserves of living forces acc.u.mulated in the sacred rocks, so they utilized them; since the blood of the men was of the same nature as that of the animal, they used it for the same purpose and shed it. Inversely, owing to this same kinship, men used the flesh of the animal to remake their own substance. Hence came the rites of oblation and communion. But, at bottom, all these different practices are only variations of one and the same theme: everywhere their basis is the same state of mind, interpreted differently according to the situations, the moments of history and the dispositions of the worshippers.

CHAPTER V

PIACULAR RITES AND THE AMBIGUITY OF THE NOTION OF SACREDNESS

Howsoever much they may differ from one another in the nature of the gestures they imply, the positive rites which we have been pa.s.sing under review have one common characteristic: they are all performed in a state of confidence, joy and even enthusiasm. Though the expectation of a future and contingent event is not without a certain uncertainty, still it is normal that the rain fall when the season for it comes, and that the animal and vegetable species reproduce regularly. Oft-repeated experiences have shown that the rites generally do produce the effects which are expected of them and which are the reason for their existence.

Men celebrate them with confidence, joyfully antic.i.p.ating the happy event which they prepare and announce. Whatever movements men perform partic.i.p.ate in this same state of mind: of course, they are marked with the gravity which a religious solemnity always supposes, but this gravity excludes neither animation nor joy.

These are all joyful feasts. But there are sad celebrations as well, whose object is either to meet a calamity, or else merely to commemorate and deplore it. These rites have a special aspect, which we are going to attempt to characterize and explain. It is the more necessary to study them by themselves since they are going to reveal a new aspect of the religious life to us.

We propose to call the ceremonies of this sort piacular. The term _piaculum_ has the advantage that while it suggests the idea of expiation, it also has a much more extended signification. Every misfortune, everything of evil omen, everything that inspires sentiments of sorrow or fear necessitates a _piaculum_ and is therefore called piacular.[1233] So this word seems to be very well adapted for designating the rites which are celebrated by those in a state of uneasiness or sadness.

I

Mourning offers us a first and important example of piacular rites.

However, a distinction is necessary between the different rites which go to make up mourning. Some consist in mere abstentions: it is forbidden to p.r.o.nounce the name of the dead,[1234] or to remain near the place where the death occurred;[1235] relatives, especially the female ones, must abstain from all communication with strangers;[1236] the ordinary occupations of life are suspended, just as in feast-time,[1237] etc. All these practices belong to the negative cult and are explained like the other rites of the same sort, so they do not concern us at present. They are due to the fact that the dead man is a sacred being. Consequently, everything which is or has been connected with him is, by contagion, in a religious state excluding all contact with things from profane life.

But mourning is not made up entirely of interdicts which have to be observed. Positive acts are also demanded, in which the relatives are both the actors and those acted upon.

Very frequently these rites commence as soon as the death appears imminent. Here is a scene which Spencer and Gillen witnessed among the Warramunga. A totemic ceremony had just been celebrated and the company of actors and spectators was leaving the consecrated ground when a piercing cry suddenly came from the camp: a man was dying there. At once, the whole company commenced to run as fast as they could, while most of them commenced to howl. "Between us and the camp," say these observers, "lay a deep creek, and on the bank of this, some of the men, scattered about here and there, sat down, bending their heads forwards between their knees, while they wept and moaned. Crossing the creek we found that, as usual, the men's camp had been pulled to pieces. Some of the women, who had come from every direction, were lying prostrate on the body, while others were standing or kneeling around, digging the sharp ends of yam-sticks into the crown of their heads, from which the blood streamed down over their faces, while all the time they kept up a loud, continuous wail. Many of the men, rushing up to the spot, threw themselves upon the body, from which the women arose when the men approached, until in a few minutes we could see nothing but a struggling ma.s.s of bodies all mixed up together. To one side, three men of the Thapungarti cla.s.s, who still wore their ceremonial decorations, sat down wailing loudly, with their backs towards the dying man, and in a minute or two another man of the same cla.s.s rushed on to the ground yelling and brandishing a stone knife. Reaching the camp, he suddenly gashed both thighs deeply, cutting right across the muscles, and, unable to stand, fell down into the middle of the group, from which he was dragged out after a time by three or four female relatives, who immediately applied their mouths to the gaping wounds while he lay exhausted on the ground."

The man did not actually die until late in the evening. As soon as he had given up his last breath, the same scene was re-enacted, only this time the wailing was still louder, and men and women, seized by a veritable frenzy, were rushing about cutting themselves with knives and sharp-pointed sticks, the women battering one another's heads with fighting clubs, no one attempting to ward off either cuts or blows.

Finally, after about an hour, a torchlight procession started off across the plain, to a tree in whose branches the body was left.[1238]

Howsoever great the violence of these manifestations may be, they are strictly regulated by etiquette. The individuals who make b.l.o.o.d.y incisions in themselves are designated by usage: they must have certain relations of kinship with the dead man. Thus, in the case observed by Spencer and Gillen among the Warramunga, those who slashed their thighs were the maternal grandfather of the deceased, his maternal uncle, and the maternal uncle and brother of his wife.[1239] Others must cut their whiskers and hair, and then smear their scalps with pipe-clay. Women have particularly severe obligations. They must cut their hair and cover the whole body with pipe-clay; in addition to this, a strict silence is imposed upon them during the whole period of mourning, which may last as long as two years. It is not rare among the Warramunga that, as a result of this interdiction, all the women of a camp are condemned to the most absolute silence. This becomes so habitual to them that even after the expiration of the period of mourning, they voluntarily renounce all spoken language and prefer to communicate with gestures--in which, by the way, they acquire a remarkable ability. Spencer and Gillen knew one old woman who had not spoken for over twenty-four years.[1240]

The ceremony which we have described opens a long series of rites which succeed one another for weeks and even for months. During the days which follow, they are renewed in various forms. Groups of men and women sit on the ground, weeping and lamenting, and kissing each other at certain moments. These ritual kissings are repeated frequently during the period of mourning. It seems as though men felt a need of coming close together and communicating most closely; they are to be seen holding to each other and wound together so much as to make one single ma.s.s, from which loud groans escape.[1241] Meanwhile, the women commence to lacerate their heads again, and, in order to intensify the wounds they make, they even go so far as to burn them with the points of fiery sticks.[1242]

Practices of this sort are general in all Australia. The funeral rites, that is, the ritual cares given to the corpse, the way in which it is buried, etc., change with different tribes,[1243] and in a single tribe they vary with the age, s.e.x and social importance of the individual.[1244] But the real ceremonies of mourning repeat the same theme everywhere; the variations are only in the details. Everywhere we find this same silence interrupted by groans,[1245] the same obligation of cutting the hair and beard,[1246] or of covering one's head with pipe-clay or cinders, or perhaps even with excrements;[1247] everywhere, finally, we find this same frenzy for beating one's self, lacerating one's self and burning one's self. In central Victoria, "when death visits a tribe there is great weeping and lamentation amongst the women, the elder portion of whom lacerate their temples with their nails. The parents of the deceased lacerate themselves fearfully, especially if it be an only son whose loss they deplore. The father beats and cuts his head with a tomahawk until he utters bitter groans, the mother sits by the fire and burns her b.r.e.a.s.t.s and abdomen with a small fire-stick.

Sometimes the burns thus inflicted are so severe as to cause death."[1248]

According to an account of Brough Smyth, here is what happens in one of the southern tribes of the same state. As the body is lowered into the grave, "the widow begins her sad ceremonies. She cuts off her hair above her forehead, and becoming frantic, seizes fire-sticks, and burns her b.r.e.a.s.t.s, arms, legs and thighs. She seems to delight in the self-inflicted torture. It would be rash and vain to interrupt her. When exhausted, and when she can hardly walk, she yet endeavours to kick the embers of the fire, and to throw them about. Sitting down, she takes the ashes into her hands, rubs them into her wounds, and then scratches her face (the only part not touched by the fire-sticks) until the blood mingles with the ashes, which partly hide her cruel wounds. In this plight, scratching her face continually, she utters howls and lamentations."[1249]

The description which Howitt gives of the rites of mourning among the Kurnai is remarkably similar to these others. After the body has been wrapped up in opossum skins and put in a shroud of bark, a hut is built in which the relatives a.s.semble. "There they lay lamenting their loss, saying, for instance, 'Why did you leave us?' Now and then their grief would be intensified by some one, for instance, the wife, uttering an ear-piercing wail, 'My spouse is dead,' or another would say, 'My child is dead.' All the others would then join in with the proper term of relationship, and they would gash themselves with sharp stones and tomahawks until their heads and bodies streamed with blood. This bitter wailing and weeping continued all night."[1250]

Sadness is not the only sentiment expressed during these ceremonies; a sort of anger is generally mixed with it. The relatives feel a need of avenging the death in some way or other. They are to be seen throwing themselves upon one another and trying to wound each other. Sometimes the attack is real; sometimes it is only pretended.[1251] There are even cases when these peculiar combats are organized. Among the Kaitish, the hair of the deceased pa.s.ses by right to his son-in-law. But he, in return, must go, in company with some of his relatives and friends, and provoke a quarrel with one of his tribal brothers, that is, with a man belonging to the same matrimonial cla.s.s as himself and one who might therefore have married the daughter of the dead man. This provocation cannot be refused and the two combatants inflict serious wounds upon each other's shoulders and thighs. When the duel is terminated, the challenger pa.s.ses on to his adversary the hair which he had temporarily inherited. This latter then provokes and fights with another of his tribal brothers, to whom the precious relic is next transmitted, but only provisionally; thus it pa.s.ses from hand to hand and circulates from group to group.[1252] Also, something of these same sentiments enters into that sort of rage with which each relative beats himself, burns himself or slashes himself: a sorrow which reaches such a paroxysm is not without a certain amount of anger. One cannot fail to be struck by the resemblances which these practices present to those of the vendetta.

Both proceed from the same principle that death demands the shedding of blood. The only difference is that in one case the victims are the relatives, while in the other they are strangers. We do not have to treat especially of the vendetta, which belongs rather to the study of juridic inst.i.tutions; but it should be pointed out, nevertheless, how it is connected with the rites of mourning, whose end it announces.[1253]

In certain societies, the mourning is terminated by a ceremony whose effervescence reaches or surpa.s.ses that produced by the inaugural ceremonies. Among the Arunta, this closing rite is called _Urpmilchima_.

Spencer and Gillen a.s.sisted at two of these rites. One was celebrated in honour of a man, the other of a woman. Here is the description they give of the latter.[1254]

They commence by making some ornaments of a special sort, called _Chimurilia_ by the men and _Aramurilia_ by the women. With a kind of resin, they fixed small animal bones, which had previously been gathered and set aside, to locks of hair furnished by the relatives of the dead woman. These are then attached to one of the head-bands which women ordinarily wear and the feathers of black c.o.c.katoos and parrots are added to it. When these preparations are completed, the women a.s.semble in their camp. They paint their bodies different colours, according to their degree of kinship with the deceased. After being embraced by one another for some ten minutes, while uttering uninterrupted groans, they set out for the tomb. At a certain distance, they meet a brother by blood of the dead woman, who is accompanied by some of his tribal brothers. Everybody sits down on the ground, and the lamentations recommence. A _pitchi_[1255] containing the Chimurilia is then presented to the elder brother, who presses it against his stomach; they say that this is a way of lessening his sorrow. They take out one of the Chimurilia and the dead woman's mother puts it on her head for a little while; then it is put back into the _pitchi_, which each of the other men presses against his breast, in his turn. Finally, the brother puts the Chimurilia on the heads of two elder sisters and they set out again for the tomb. On the way, the mother throws herself on the ground several times, and tries to slash her head with a pointed stick. Every time, the other women pick her up, and seem to take care that she does not hurt herself too much. When they arrive at the tomb, she throws herself on the knoll and endeavours to destroy it with her hands, while the other women literally dance upon her. The tribal mothers and aunts (sisters of the dead woman's father) follow her example; they also throw themselves on the ground, and mutually beat and tear each other; finally their bodies are all streaming with blood. After a while, they are dragged aside. The elder sisters then make a hole in the earth of the tomb, in which they place the Chimurilia, which had previously been torn to pieces. Once again the tribal mothers throw themselves on the ground and slash each other's heads. At this moment, "the weeping and wailing of the women who were standing round seemed to drive them almost frenzied, and the blood, streaming down their bodies over the white pipe-clay, gave them a ghastly appearance. At last only the old mother was left crouching alone, utterly exhausted and moaning weakly on the grave."[1256] Then the others raised her up and rubbed off the pipe-clay with which she was covered; this was the end of the ceremony and of the mourning.[1256]

Among the Warramunga, the final rite presents some rather particular characteristics. There seems to be no shedding of blood here, but the collective effervescence is translated in another manner.

Among his people, before the body is definitely interred, it is exposed upon a platform placed in the branches of a tree; it is left there to decompose slowly, until nothing remains but the bones. Then these are gathered together and, with the exception of the humerus, they are placed inside an ant-hill. The humerus is wrapped up in a bark box, which is decorated in different manners. The box is then brought to camp, amid the cries and groans of the women. During the following days, they celebrate a series of totemic rites, concerning the totem of the deceased and the mythical history of the ancestors from whom the clan is descended. When all these ceremonies have been terminated, they proceed to the closing rite.

A trench one foot deep and fifteen feet long is dug in the field of the ceremony. A design representing the totem of the deceased and certain spots where the ancestor stopped is made on the ground a little distance from it. Near this design, a little ditch is dug in the ground. Ten decorated men then advance, one behind another, and with their hands crossed behind their heads and their legs wide apart they stand astraddle the trench. At a given signal, the women run from the camp in a profound silence; when they are near, they form in Indian file, the last one holding in her hands the box containing the humerus. Then, after throwing themselves on the ground, they advance on their hands and knees, and pa.s.s all along the trench, between the legs of the men. The scene shows a state of great s.e.xual excitement. As soon as the last woman has pa.s.sed, they take the box from her, and take it to the ditch, near which is an old man; he breaks the bone with a sharp blow, and hurriedly buries it in the debris. During this time, the women have remained at a distance, with their backs turned upon the scene, for they must not see it. But when they hear the blow of the axe, they flee, uttering cries and groans. The rite is accomplished; the mourning is terminated.[1257]