[Sidenote: Sanctity of the churinga.]

Thus in these Central Australian tribes every man, woman, and child has his or her sacred birth-stone or stick. But though every woman, like every man, has her sacred birth-stone or stick, she is never allowed to see it under pain of death or of being blinded with a fire-stick. Indeed none but old women are aware even of the existence of such things. Uninitiated men are likewise forbidden under the same severe penalties ever to look upon these most sacred objects.[120] The sanctity ascribed to the sticks and stones is intelligible when we remember that the spirits of all the people both living and dead are believed to be intimately associated with them. Each of them, we are told, is supposed to be so closely bound up with a person's spirit that it may be regarded as his or her representative, and those of dead people are believed to be endowed with the attributes of their former owners and actually to impart them to any one who happens to carry them about with him. Hence these apparently insignificant sticks and stones are, in the opinion of the natives, most potent instruments for conveying to the living the virtues and powers of the dead. For example, in a fight the possession of one of these holy sticks or stones is thought to endow the possessor with courage and accuracy of aim and also to deprive his adversary of these qualities. So firmly is this belief held, that if two men were fighting and one of them knew that the other carried a sacred birth-stone or stick while he himself did not, he would certainly lose heart and be beaten. Again, when a man is sick, he will sometimes have one of these sacred stones brought to him and will scrape a little dust off it, mix the dust with water, and drink it. This is supposed to strengthen him. Clearly he imagines that with the scrapings of the stone he absorbs the strength and other qualities of the person to whom the stone belonged.[121]

[Sidenote: Sacred store-houses (ertnatulunga) of the churinga.]

All the birth-stones or sticks (churinga) belonging to any particular totemic group are kept together, hidden away from the eyes of women and uninitiated men, in a sacred store-house or ertnatulunga, as the Arunta and Unmatjera call it. This store-house is always situated in one of the local totem centres or oknanikilla, which, as we have seen, vary in size from a few yards to many square miles. In itself the sacred treasure-house is usually a small cave or crevice in some lonely spot among the rugged hills. The entrance is carefully blocked up with stones arranged so artfully as to simulate nature and to awake no suspicion in the mind of passing strangers that behind these tumbled blocks lie concealed the most prized possessions of the tribe. The immediate neighbourhood of any one of these sacred store-houses is a kind of haven of refuge for wild animals, for once they have run thither, they are safe; no hunter would spear a kangaroo or opossum which cowered on the ground at one of these hallowed spots. The very plants which grow there are sacred and may not be plucked or broken or interfered with in any way. Similarly, an enemy who succeeds in taking refuge there, is safe from his pursuer, so long as he keeps within the sacred boundaries: even the avenger of blood, pursuing the murderer hot-foot, would not dare to lift up his hand against him on the holy ground. Thus, these places are sanctuaries in the strict sense of the word; they are probably the most primitive examples of their class and contain the germ out of which cities of refuge for manslayers and others might be developed. It is instructive, therefore, to observe that these rudimentary sanctuaries in the heart of the Australian wilderness derive their sacredness mainly, it would seem, from their association with the spirits of the dead, whose repose must not be disturbed by tumult, violence, and bloodshed. Even when the sacred birth-stones and sticks have been removed from the store-house in the secret recesses of the hills and have been brought into the camp for the performance of certain solemn ceremonies, no fighting may take place, no weapons may be brandished in their neighbourhood: if men will quarrel and fight, they must take their weapons and go elsewhere to do it.[122] And when the men go to one of the sacred store-houses to inspect the treasures which it contains, they must each of them put his open hand solemnly over the mouth of the rocky crevice and then retire, in order to give the spirits due notice of the approach of strangers; for if they were disturbed suddenly, they would be angry.[123]

[Sidenote: Exhibition of the churinga to young men.]

It is only after a young man has passed through the severe ceremonies of initiation, which include most painful bodily mutilations, that he is deemed worthy to be introduced to the tribal arcana, the sacred sticks and stones, which repose in their hallowed cave among the mountain solitudes. Even when he has passed through all the ordeals, many years may elapse before he is admitted to a knowledge of these mysteries, if he shews himself to be of a light and frivolous disposition. When at last by the gravity of his demeanour he is judged to have proved himself indeed a man, a day is fixed for revealing to him the great secret. Then the headman of his local group, together with other grave and reverend seniors, conducts him to the mouth of the cave: the stones are rolled away from the entrance: the spirits within are duly warned of the approach of visitors; and then the sacred sticks and stones, tied up in bundles, are brought forth. The bundles are undone, the sticks and stones are taken out, one by one, reverently scrutinised, and exhibited to the novice, while the old men explain to him the meaning of the patterns incised on each and reveal to him the persons, alive or dead, to whom they belong. All the time the other men keep chanting in a low voice the traditions of their remote ancestors in the far-off dream times. At the close the novice is told the secret and sacred name which he is thenceforth to bear, and is warned never to allow it to pass his lips in the hearing of anybody except members of his own totemic group.[124] Sometimes this secret name is that of an ancestor of whom the man or woman is supposed to be a reincarnation: for women as well as men have their secret and sacred names.[125]

[Sidenote: Number of churinga in a store-house. Significance of the churinga. Use of the churinga in magic.]

The number of sacred birth-stones and sticks kept in any one store-house naturally varies from group to group; but whatever their number, whether more or less, in any one store-house they all normally belong to the same totem, though a few belonging to other totems may be borrowed and deposited for a time with them. For example, a sacred store-house of the honey-ant totem was found to contain sixty-eight birth-sticks of that totem with a few of the lizard totem and two of the wild-cat totem.[126] Any store-house will usually contain both sticks and stones, but as a rule perhaps the sticks predominate in number.[127] Time after time these tribal repositories are visited by the men and their contents taken out and examined. On each examination the sacred sticks and stones are carefully rubbed over with dry and powdered red ochre or charcoal, the sticks being rubbed with red ochre only, but the stones either with red ochre or charcoal.[128] Further, it is customary on these occasions to press the sacred objects against the stomachs and thighs of all the men present; this is supposed to untie their bowels, which are thought to be tightened and knotted by the emotion which the men feel at the sight of these venerated sticks and stones. Indeed, the emotion is sometimes very real: men have been seen to weep on beholding these mystic objects for the first time after a considerable interval.[129] Whenever the sacred store-house is visited and its contents examined, the old men explain to the younger men the marks incised on the sticks and stones, and recite the traditions associated with the dead men to whom they belonged;[130] so that these rude objects of wood and stone, with the lines and dots scratched on them, serve the savages as memorials of the past; they are in fact rudimentary archives as well as, we may almost say, rudimentary idols; for a stone or stick which represents a revered ancestor and is supposed to be endowed with some portion of his spirit, is not far from being an idol. No wonder, therefore, that they are guarded and treasured by a tribe as its most precious possession. When a group of natives have been robbed of them by thoughtless white men and have found the sacred store-house empty, they have tried to kill the traitor who betrayed the hallowed spot to the strangers, and have remained in camp for a fortnight weeping and wailing for the loss and plastering themselves with pipeclay, which is their token of mourning for the dead.[131] Yet, as a great mark of friendship, they will sometimes lend these sacred sticks and stones to a neighbouring group; for believing that the sticks and stones are associated with the spiritual parts of their former and present owners, they naturally wish to have as many of them as possible and regard their possession as a treasure of great price, a sort of reservoir of spiritual force,[132] which can be turned to account not only in battle by worsting the enemy, but in various other ways, such as by magically increasing the food supply. For instance, when a man of the grass-seed totem wishes to increase the supply of grass-seed in order that it may be eaten by people of other totems, he goes to the sacred store-house, clears the ground all around it, takes out a few of the holy sticks and stones, smears them with red ochre and decorates them with birds' down, chanting a spell all the time. Then he rubs them together so that the down flies off in all directions; this is supposed to carry with it the magical virtue of the sticks or stones and so to fertilise the grass-seed.[133]

[Sidenote: Elements of a worship of the dead. Marvellous powers attributed by the Central Australians to their remote ancestors of the alcheringa or dream time.]

On the whole, when we survey these practices and beliefs of the Central Australian aborigines, we may perhaps conclude that, if they do not amount to a worship of the dead, they at least contain the elements out of which such a worship might easily be developed. At first sight, no doubt, their faith in the transmigration of souls seems and perhaps really is a serious impediment to a worship of the dead in the strict sense of the word. For if they themselves are the dead come to life again, it is difficult to see how they can worship the spirits of the dead without also worshipping each other, since they are all by hypothesis simply these worshipful spirits reincarnated. But though in theory every living man and woman is merely an ancestor or ancestress born again and therefore should be his or her equal, in practice they appear to admit that their forefathers of the remote alcheringa or dream time were endowed with many marvellous powers which their modern reincarnations cannot lay claim to, and that accordingly these ancestral spirits were more to be reverenced, were in fact more worshipful, than their living representatives. On this subject Messrs. Spencer and Gillen observe: "The Central Australian native is firmly convinced, as will be seen from the accounts relating to their alcheringa ancestors, that the latter were endowed with powers such as no living man now possesses. They could travel underground or mount into the sky, and could make creeks and water-courses, mountain-ranges, sand-hills, and plains. In very many cases the actual names of these natives are preserved in their traditions, but, so far as we have been able to discover, there is no instance of any one of them being regarded in the light of a 'deity.' Amongst the Central Australian natives there is never any idea of appealing for assistance to any one of these Alcheringa ancestors in any way, nor is there any attempt made in the direction of propitiation, with one single exception in the case of the mythic creature called Wollunqua, amongst the Warramunga tribe, who, it may be remarked, is most distinctly regarded as a snake and not as a human being."[134] Thus far Messrs. Spencer and Gillen. From their testimony it appears that with a single possible exception, to which I will return immediately, the Central Australian aborigines are not known to worship any of their dead ancestors; they indeed believe their remote forefathers of the alcheringa age to have been endowed with marvellous powers which they themselves do not possess; but they do not regard these ancestral spirits as deities, nor do they pray and sacrifice to them for help and protection. The single possible exception to this general rule known to Messrs. Spencer and Gillen is the case of the mythical water-snake called Wollunqua, who is in a sense revered and propitiated by the Warramunga tribe. The case is interesting and instructive as indicative of an advance from magic towards religion in the strict sense of the word. Accordingly I propose to consider it somewhat fully.

[Sidenote: The Wollunqua, a mythical water-snake, one of the Warramunga totems.]

The Wollunqua is one of the many totems of the Warramunga tribe. It is to be borne in mind that, though every Australian tribe has many totems which are most commonly animals or plants and more rarely other natural objects, all the totems are not respected by all the members of the tribe; each totem is respected only by a particular group of men and women in the tribe, who believe themselves to be descended from the same totemic ancestor. Thus the whole tribe is broken up into many groups or bodies of men and women, each group knit together by a belief in a common descent from the totem, by a common respect for the totemic species, whether it be a species of animals or plants, or what not, and finally by the possession of a common name derived from the totem. Thus, for example, we have a group of men and women who believe themselves descended from an ancestor who had the bandicoot for his totem; they all respect bandicoots; and they are all called bandicoot people. Similarly with all the other totemic groups within the tribe. It is convenient to have a name for these totemic groups or tribal subdivisions, and accordingly we may call them clans, provided we remember that a totemic clan in this sense is not an independent political community such as the Scottish Highland clans used to be; it is merely a subdivision of the tribe, and the members of it do not usually keep to themselves but live more or less interfused with members of all the other totemic clans which together compose the tribe. Now amongst the Warramunga the Wollunqua or mythical water-snake is the totem of such a clan or tribal subdivision, the members of which believe themselves to be descended from the creature and call themselves by its name. So far, therefore, the Wollunqua is merely a totem of the ordinary sort, an object of respect for a particular section of the tribe. Like other totemic ancestors the Wollunqua is supposed to have wandered about the country leaving supplies of spirit individuals at various points, individuals who are constantly undergoing reincarnation. But on the other hand the Wollunqua differs from almost all other Australian totems in this, that whereas they are real objects, such as animals, plants, water, wind, the sun and moon, and so on, the Wollunqua is a purely mythical creature, which exists only in the imagination of the natives; for they believe it to be a water-snake so huge that if it were to stand up on its tail, its head would reach far up into the sky. It now lives in a large pool called Thapauerlu, hidden away in a lonely valley of the Murchison Range; but the Warramunga fear that it may at any moment sally out and do some damage. They say that it actually killed a number of them on one of its excursions, though happily they at last succeeded in beating it off. So afraid are they of the creature, that in speaking of it amongst themselves they will not use its proper name of Wollunqua but call it instead urkulu nappaurinnia, because, as they told Messrs. Spencer and Gillen, if they were to name it too often by its real name they would lose control over the beast and it would rush forth and devour them.[135] Thus the natives do not distinguish the Wollunqua from the rest of their actually existing totems, as we do: they have never beheld him with their bodily eyes, yet to them he is just as real as the kangaroos which they see hopping along the sands, as the flies which buzz about their heads in the sunshine, or as the cockatoos which flap screaming past in the thickets. How real this belief in the mythical snake is with these savages, was brought vividly home to Messrs. Spencer and Gillen when they visited, in company with some natives, the deep and lonely pool among the rocky hills in which the awful being is supposed to reside. Before they approached the spot, the natives had been talking and laughing freely, but when they drew near the water their voices were hushed and their demeanour became solemn. When all stood silent on the brink of the deep still pool, enclosed by a sandy margin on one side and by a line of red rocks on the other, two old men, the leaders of the totemic group of the Wollunqua, went down to the edge of the water and, with bowed heads, addressed the Wollunqua in whispers, asking him to remain quiet and do them no harm, for they were mates of his, and had brought two great white men to see where he lived and to tell them all about him. "We could plainly see," add Messrs. Spencer and Gillen, "that it was all very real to them, and that they implicitly believed that the Wollunqua was indeed alive beneath the water, watching them, though they could not see him."[136]

[Sidenote: Religious character of the belief in the Wollunqua.]

I need hardly point out what a near approach all this is to religion in the proper sense of the word. Here we have a firm belief in a purely imaginary being who is necessarily visible to the eye of faith alone, since I think we may safely assume that a water-snake, supposed to be many miles long and capable of reaching up to the sky, has no real existence either on the earth or in the waters under the earth. Yet to these savages this invisible being is just as real as the actually existing animals and men whom they perceive with their bodily senses; they not only pray to him but they propitiate him with a solemn ritual; and no doubt they would spurn with scorn the feeble attempts of shallow sceptics to question the reality of his existence or the literal truth of the myths they tell about him. Certainly these savages are far on the road to religion, if they have not already passed the Rubicon which divides it from the common workaday world. If an unhesitating faith in the unseen is part of religion, the Warramunga people of the Wollunqua totem are unquestionably religious.

[Footnote 108: On the zoological peculiarities of Australia regarded as effects of its geographical isolation, see Alfred Newton, Dictionary of Birds (London, 1893-96), pp. 317-319. He observes (p. 318) that "the isolation of Australia is probably the next oldest in the world to that of New Zealand, having possibly existed since the time when no mammals higher than marsupials had appeared on the face of the earth."]

[Footnote 109: For details see Totemism and Exogamy, i. 314 sqq.]

[Footnote 110: Baldwin Spencer and F. J. Gillen, Northern Tribes of Central Australia (London, 1904), p. 491.]

[Footnote 111: Spencer and Gillen, Northern Tribes of Central Australia, p. xi.]

[Footnote 112: Spencer and Gillen, op. cit. p. 545.]

[Footnote 113: Spencer and Gillen, op. cit. p. 546.]

[Footnote 114: Baldwin Spencer and F. J. Gillen, Native Tribes of Central Australia (London, 1899), pp. 119-127, 335-338, 552; id., Northern Tribes of Central Australia, pp. 145-153, 162, 271, 330 sq., 448-451, 512-515. Compare Totemism and Exogamy, i. 188 sqq.]

[Footnote 115: Spencer and Gillen, Northern Tribes of Central Australia, p. 147.]

[Footnote 116: See Totemism and Exogamy, i. 155 sqq., iv. 40 sqq.]

[Footnote 117: Spencer and Gillen, Native Tribes of Central Australia, pp. 123, 126.]

[Footnote 118: Spencer and Gillen, Native Tribes of Central Australia, pp. 119-127, 128 sqq., 513; id., Northern Tribes of Central Australia, pp. 145 sqq., 257 sqq.]

[Footnote 119: Spencer and Gillen, Native Tribes of Central Australia, pp. 132-135; id., Northern Tribes of Central Australia, pp. 258, 268 sqq.]

[Footnote 120: Spencer and Gillen, Native Tribes of Central Australia, pp. 128, 134.]

[Footnote 121: Spencer and Gillen, Native Tribes of Central Australia, pp. 134 sq.]

[Footnote 122: Spencer and Gillen, Native Tribes of Central Australia, pp. 133, 135; id., Northern Tribes of Central Australia, p. 269.]

[Footnote 123: Spencer and Gillen, Northern Tribes of Central Australia, p. 267.]

[Footnote 124: Spencer and Gillen, Native Tribes of Central Australia, pp. 139 sq.]

[Footnote 125: Spencer and Gillen, Northern Tribes of Central Australia, p. 273.]

[Footnote 126: Spencer and Gillen, Native Tribes of Central Australia, p. 141.]

[Footnote 127: Spencer and Gillen, op. cit. p. 140]

[Footnote 128: Spencer and Gillen, Native Tribes, pp. 144, 145.]

[Footnote 129: Spencer and Gillen, Native Tribes, pp. 164, sq.; id., Northern Tribes, pp. 261, 264.]

[Footnote 130: Spencer and Gillen, Native Tribes, p. 145.]

[Footnote 131: Spencer and Gillen, Native Tribes, p. 136.]

[Footnote 132: Spencer and Gillen, Native Tribes, pp. 158 sq.]

[Footnote 133: Spencer and Gillen, Northern Tribes, pp. 271 sq.]

[Footnote 134: Spencer and Gillen, Northern Tribes of Central Australia, pp. 490 sq.]

[Footnote 135: Spencer and Gillen, Northern Tribes of Central Australia, pp. 226 sq. Another mythical being in which the Warramunga believe is the pau-wa, a fabulous animal, half human and somewhat resembling a dog. See Spencer and Gillen, op. cit. pp. 195, 197, 201, 210 sq. But the creature seems not to be a totem, for it is not included in the list of totems given by Messrs. Spencer and Gillen (op. cit. pp. 768-773).]

[Footnote 136: Spencer and Gillen, Northern Tribes of Central Australia, pp. 252 sq.]



LECTURE V

THE BELIEF IN IMMORTALITY AMONG THE ABORIGINES OF CENTRAL AUSTRALIA (continued)

[Sidenote: Beliefs of the Central Australian aborigines concerning the reincarnation of the dead. The mythical water-snake Wollunqua.]

In the last lecture we began our survey of the belief in immortality and the practices to which it has given rise among the aboriginal tribes of Central Australia. I shewed that these primitive savages hold a very remarkable theory of birth and death. They believe that the souls of the dead do not perish but are reborn in human form after a longer or shorter interval. During that interval the spirits of the departed are supposed to congregate in certain parts of the country, generally distinguished by some conspicuous natural feature, which accordingly the natives account sacred, believing them to be haunted by the souls of the dead. From time to time one of these disembodied spirits enters into a passing woman and is born as an infant into the world. Thus according to the Central Australian theory every living person without exception is the reincarnation of a dead man, woman, or child. At first sight the theory seems to exclude the possibility of any worship of the dead, since it appears to put the living on a footing of perfect equality with the dead by identifying the one with the other. But I pointed out that as a matter of fact these savages do admit, whether logically or not, the superiority of their remote ancestors to themselves: they acknowledge that these old forefathers of theirs did possess many marvellous powers to which they themselves can lay no claim. In this acknowledgment, accordingly, we may detect an opening or possibility for the development of a real worship of ancestors. Indeed, as I said at the close of last lecture, something closely approaching to ancestor worship has actually grown up in regard to the mythical ancestor of the Wollunqua clan in the Warramunga tribe. The Wollunqua is a purely fabulous water-snake, of gigantic dimensions, which is supposed to haunt the waters of a certain lonely pool called Thapauerlu, in the Murchison Range of mountains. Unlike the ancestors of the other totemic clans, this mythical serpent is never reborn in human form; he always lives in his solitary pool among the barren hills; but the natives think that he has it in his power to come forth and do them an injury, and accordingly they pray to him to remain quiet and not to harm them. Indeed so afraid of him are they that speaking of the creature among themselves they avoid using his proper name of Wollunqua and call him by a different name, lest hearing himself called by his true name he should rush forth and devour them. More than that they even endeavour to propitiate him by the performance of certain rites, which, however childish and absurd they may seem to us, are very solemn affairs for these simple folk. The rites were witnessed by Messrs. Spencer and Gillen, whose description I will summarise. It offers an interesting and instructive example of a ritual observed by primitive savages, who are clearly standing on, if they have not already crossed, the threshold of religion.

[Sidenote: Wanderings of the Wollunqua. Dramatic ceremonies in honour of the Wollunqua.]

Like all other totemic ancestors the Wollunqua is said to have arisen at a particular spot, to have wandered about the country, and finally to have gone down into the ground. Starting from the deep rocky pool in the Murchison Range he travelled at first underground, coming up, however, at various points where he performed ceremonies and left many spirit children, who issued from his body and remained behind, forming local totemic centres when he had passed on. It is these spirit children who have formed the Wollunqua clan ever since, undergoing an endless series of reincarnations. Now the ceremonies which the clan perform in honour of their mythical ancestor the Wollunqua all refer to his wanderings about the country. Thus there is a particular water-hole called Pitingari where the great old water-snake is said to have emerged from the ground and looked about him. Here, accordingly, two men performed a ceremony. Each of them was decorated with a broad band of red down, which curved round both the front and the back of the performer and stood sharply out from the mass of white down with which all the rest of the upper part of his body was covered. These broad red bands represented the Wollunqua. Each man also wore a tall, conical helmet adorned with a curved band of red down, which, no doubt, likewise symbolised the mythical serpent. When the two actors in the little drama had been attired in this quaint costume of red and white down, they retired behind a bush, which served for the side scenes of a theatre. Then, when the orchestra, composed of adult men, struck up the music on the ceremonial ground by chanting and beating boomerangs and sticks together, the performers ran in, stopping every now and then to shake themselves in imitation of the snake. Finally, they sat down close together with their heads bowed down on a few green branches of gum-trees. A man then stepped up to them, knocked off their head-dresses, and the simple ceremony came to an end.[137]

[Sidenote: Ceremony in honour of the Wollunqua.]

The next ceremony was performed on the following day at another place called Antipataringa, where the mythical snake is said to have halted in his wanderings. The same two men acted as before, but this time one of them carried on his head a curious curved bundle shaped like an enormous boomerang. It was made of grass-stalks bound together with human hair-string and decorated with white down. This sacred object represented the Wollunqua himself.[138] From this spot the snake was believed to have travelled on to another place called Tjunguniari, where he popped up his head among the sand-hills, the greater part of his body remaining underground. Indeed, of such an enormous length was the serpent, that though his head had now travelled very many miles his tail still remained at the starting-point and had not yet begun to take part in the procession. Here accordingly the third ceremony, perhaps we may say the third act in the drama, was performed on the third day. In it one of the actors personated the snake himself, while the other stood for a sand-hill.[139]

[Sidenote: Further ceremony in honour of the Wollunqua: the white mound with the red wavy band to represent the mythical snake.]

After an interval of three days a fourth ceremony was performed of an entirely different kind. A keel-shaped mound was made of wet sand, about fifteen feet long by two feet high. The smooth surface of the mound was covered with a mass of little dots of white down, except for a long wavy band of red down which ran all along both sides of the mound. This wavy red band represented the Wollunqua, his head being indicated by a small round swelling at one end and his tail by a short prolongation at the other. The mound itself represented a sand-hill beside which the snake is said to have stood up and looked about. The preparation of this elaborate emblem of the Wollunqua occupied the greater part of the day, and it was late in the afternoon before it was completed. When darkness fell, fires were lighted on the ceremonial ground, and as the night grew late more fires were kindled, and all of the men sat round the mound singing songs which referred to the mythical water-snake. This went on for hours. At last, about three o'clock in the morning, a ring of fires was lit all round the ceremonial ground, in the light of which the white trunks of the gum-trees and the surrounding scrub stood out weird and ghastly against the blackness of darkness beyond. Amid the wildest excitement the men of the Wollunqua totem now ranged themselves in single file on their knees beside the mound which bore the red image of their great mythical forefather, and with their hands on their thighs surged round and round it, every man bending in unison first to one side and then to the other, each successive movement being accompanied by a loud and simultaneous shout, or rather yell, while the other men, who were not of the Wollunqua totem, stood by, clanging their boomerangs excitedly, and one old man, who acted as a sort of choregus, walked backwards at the end of the kneeling procession of Wollunqua men, swaying his body about and lifting high his knees at every step. In this way, with shouts and clangour, the men of the totem surged twice round the mound on their knees. After that, as the fires died down, the men rose from their knees, and for another hour every one sat round the mound singing incessantly. The last act in the drama was played at four o'clock in the morning at the moment when the first faint streaks of dawn glimmered in the east. At sight of them every man jumped to his feet, the smouldering fires were rekindled, and in their blaze the long white mound stood out in strong relief. The men of the totem, armed with spears, boomerangs, and clubs, ranged themselves round it, and encouraged by the men of the other totems attacked it fiercely with their weapons, until in a few minutes they had hacked it to pieces, and nothing was left of it but a rough heap of sandy earth. The fires again died down and for a short time silence reigned. Then, just as the sun rose above the eastern horizon, the painful ceremony of subincision was performed on three youths, who had recently passed through the earlier stages of initiation.[140]

[Sidenote: The rite aims both at pleasing and at coercing the mythical snake.]

This remarkable rite is supposed, we are informed, "in some way to be associated with the idea of persuading, or almost forcing, the Wollunqua to remain quietly in his home under the water-hole at Thapauerlu, and to do no harm to any of the natives. They say that when he sees the mound with his representation drawn upon it he is gratified, and wriggles about underneath with pleasure. The savage attack upon the mound is associated with the idea of driving him down, and, taken altogether, the ceremony indicates their belief that, at one and the same time, they can both please and coerce the mythic beast. It is necessary to do things to please him, or else he might grow sulky and come out and do them harm, but at the same time they occasionally use force to make him do what they want."[141] In fact the ritual of the mound with its red image of the snake combines the principles of religion and magic. So far as the rite is intended to please and propitiate the mythical beast, it is religious; so far as it is intended to constrain him, it is magical. The two principles are contradictory and the attempt to combine them is illogical; but the savage is heedless, or rather totally unaware, of the contradiction and illogicality: all that concerns him is to accomplish his ends: he has neither the wish nor the ability to analyse his motives. In this respect he is in substantial agreement with the vast majority of mankind. How many of us scrutinise the reasons of our conduct with the view of detecting and eliminating any latent inconsistencies in them? And how many, or rather how few of us, on such a scrutiny would be so fortunate as to discover that there were no such inconsistencies to detect? The logical pedant who imagines that men cannot possibly act on inconsistent and even contradictory motives only betrays his ignorance of life. It is not therefore for us to cast stones at the Warramunga men of the Wollunqua totem for attempting to propitiate and constrain their mythical serpent at the same time. Such contradictions meet us again and again in the history of religion: it is interesting but by no means surprising to find them in one of its rudimentary stages.

[Sidenote: Thunder the voice of the Wollunqua.]

On the evening of the day which succeeded the construction of the emblematic mound the old men who had made the emblem said they had heard the Wollunqua talking, and that he was pleased with what had been done and was sending them rain. What they took for the voice of the Wollunqua was thunder rumbling in the distance. No rain fell, but a few days later thunder was again heard rolling afar off and a heavy bank of clouds lay low on the western horizon. The old men now said that the Wollunqua was growling because the remains of the mound had been left uncovered; so they hastily cut down branches and covered up the ruins. After that the Wollunqua ceased to growl: there was no more thunder.[142]

[Sidenote: Ground drawings of the Wollunqua.]

On the four following days ceremonies of an entirely different kind from all the preceding were performed in honour of the Wollunqua. A space of sandy ground was smoothed down, sprinkled with water, and rubbed so as to form a compact surface. The smooth surface was then overlaid with a coat of red or yellow ochre, and on this coloured background a number of designs were traced, one after the other, by a series of white dots, which together made up a pattern of curved lines and concentric circles. These patterns represented the Wollunqua and some of his traditionary adventures. The snake himself was portrayed by a broad wavy band, but all the other designs were purely conventional; for example, trees, ant-hills, and wells were alike indicated by circles. Altogether there were eight such drawings on the earth, some of them very elaborate and entailing, each of them, not less than six or seven hours' labour: one of them was ten feet long. Each drawing was rubbed out before the next one was drawn. Moreover, the drawings were accompanied by little dramas acted by decorated men. In one of these dramas no fewer than eight actors took part, some of whom wore head-dresses adorned with a long wavy band to represent the Wollunqua. The last drawing of all was supposed to portray the mythical snake as he plunged into the earth and returned to his home in the rocky pool called Thapauerlu among the Murchison Ranges.[143]

[Sidenote: Religious importance of the Wollunqua.]

I have dwelt at some length on these ceremonies of the Wollunqua totem, because they furnish a remarkable and perhaps unique instance in Australia of a totemic ancestor in the act of developing into something like a god. In the Warramunga tribe there are other snake totems besides the Wollunqua; for example, there is the black snake totem and the deaf adder totem. But this purely mythical water-snake, the Wollunqua, is the most important of them all and is regarded as the great father of all the snakes. "It is not easy," say Messrs. Spencer and Gillen, "to express in words what is in reality rather a vague feeling amongst the natives, but after carefully watching the different series of ceremonies we were impressed with the feeling that the Wollunqua represented to the native mind the idea of a dominant totem."[144] Thus he is at once a fabulous animal and the mythical ancestor of a human clan, but his animal nature apparently predominates over his semi-human nature, as shewn by the drawings and effigies of him, all of which are in serpent form. The prayers offered to him at the pool which he is supposed to haunt, and the attempt to please him by drawing his likeness can only be regarded as propitiatory rites and therefore as rudimentary forms of worship. And the idea that thunder is his voice, and that the rain is a gift sent by him in return for the homage paid to him by the people, appears to prove that in course of time, if left to himself, he might easily have been elevated to the sky and have ranked as a celestial deity, who dwells aloft and sends down or withholds the refreshing showers at his good pleasure. Thus the Wollunqua, a rude creation of the savage Australian imagination, possesses a high interest for the historian of religion, since he combines elements of ancestor worship and totem worship with a germ of heaven worship; while on the purely material side his representation, both in plastic form by a curved bundle of grass-stalks and in graphic form by broad wavy bands of red down, may be said in a sense to stand at the starting-point of that long development of religious art, which in so many countries and so many ages has attempted to represent to the bodily eye the mysteries of the unseen and invisible, and which, whatever we may think of the success or failure of that attempt, has given to the world some of the noblest works of sculpture and painting.

[Sidenote: Possible religious evolution of totemism.]

I have already pointed out the difficulty of seeing how a belief in the reincarnation of the dead, such as prevails universally among the aborigines of Central Australia, could ever be reconciled with or develop into a worship of the dead; for by identifying the living with the dead, the theory of reincarnation seems to abolish that distinction between the worshipper and the worshipped which is essential to the existence of worship. But, as I also indicated, what seems a loophole or mode of escape from the dilemma may be furnished by the belief of these savages, that though they themselves are nothing but their ancestors come to life again, nevertheless in their earliest incarnations of the alcheringa or dream times their ancestors possessed miraculous powers which they have admittedly lost in their later reincarnations; for this suggests an incipient discrimination or line of cleavage between the living and the dead; it hints that perhaps after all the first ancestors, with their marvellous endowments, may have been entirely different persons from their feebler descendants, and if this vague hint could only grow into a firm conviction of the essential difference between the two, then the course would be clear for the development of ancestor worship: the dead forefathers, viewed as beings perfectly distinct from and far superior to the living, might easily come to receive from the latter the homage of prayer and sacrifice, might be besought by their descendants to protect them in danger and to succour them in all the manifold ills of life, or at least to abstain from injuring them. Now, this important step in religious evolution appears to have been actually taken by the Wollunqua, the mythical water-snake, who is the totem of one of the Warramunga clans. Unlike all the other totems he is supposed to exist only in his invisible and animal form and never to be reincarnated in a man.[145] Hence, withdrawn as he is from the real world of sense, the imagination is free to play about him and to invest him more and more with those supernatural attributes which men ascribe to their deities. And what has actually happened to this particular totemic ancestor might under favourable circumstances happen to many others. Each of them might be gradually detached from the line of his descendants, might cease to be reincarnated in them, and might gradually attain to the lonely pre-eminence of godhead. Thus a system of pure totemism, such as prevails among the aborigines of Central Australia, might develop through a phase of ancestor worship into a pantheon of the ordinary type.

[Sidenote: Conspicuous features of the landscape associated with ancestral spirits.]

Although none of the other totemic ancestors of the Central Australian aborigines appears to have advanced so far on the road to religion as the Wollunqua, yet they all contain in germ the elements out of which a religion might have been developed. It is difficult for us civilised men to conceive the extent to which the thoughts and lives of these savages are dominated by the memories and traditions of the dead. Every conspicuous feature in the landscape is not only associated with the legendary doings of some ancestors but is commonly said to have arisen as a direct result of their actions. The mountains, the plains, the rivers, the seas, the islands of ancient Greece itself were not more thickly haunted by the phantoms of a fairy mythology than are the barren sun-scorched steppes and stony hills of the Australian wilderness; but great indeed is the gulf which divides the beautiful creations of Greek fancy from the crude imaginings of the Australian savage, whose legendary tales are for the most part a mere tissue of trivial absurdities unrelieved by a single touch of beauty or poetry.

[Sidenote: A journey through the Warramunga country.]

To illustrate at once the nature and the abundance of these legends I will quote a passage in which Messrs. Spencer and Gillen describe a journey they took in company with some Warramunga natives over part of their country:—"For the first two days our way lay across miserable plain country covered with poor scrub, with here and there low ranges rising. Every prominent feature of any kind was associated with some tradition of their past. A range some five miles away from Tennant Creek arose to mark the path traversed by the great ancestor of the Pittongu (bat) totem. Several miles further on a solitary upstanding column of rock represented an opossum man who rested here, looked about the country, and left spirit children behind him; a low range of remarkably white quartzite hills indicated a large number of white ant eggs thrown here in the wingara[146] by the Munga-munga women as they passed across the country. A solitary flat-topped hill arose to mark the spot where the Wongana (crow) ancestor paused for some time to pierce his nose; and on the second night we camped by the side of a waterhole where the same crow lived for some time in the wingara, and where now there are plenty of crow spirit children. All the time, as we travelled along, the old men were talking amongst themselves about the natural features associated in tradition with these and other totemic ancestors of the tribe, and pointing them out to us. On the third day we travelled, at first for some hours, by the side of a river-bed,—perfectly dry of course,—and passed the spot where two hawks first made fire by rubbing sticks together, two fine gum-trees on the banks now representing the place where they stood up. A few miles further on we came to a water-hole by the side of which the moon-man met a bandicoot woman, and while the two were talking together the fire made by the hawks crept upon them and burnt the woman, who was, however, restored to life again by the moon-man, with whom she then went up into the sky. Late in the afternoon we skirted the eastern base of the Murchison Range, the rugged quartzite hills in this part being associated partly with the crow ancestor and partly with the bat. Following up a valley leading into the hills we camped, just after sunset, by the side of a rather picturesque water-pool amongst the ranges. A short distance before reaching this the natives pointed out a curious red cliff, standing out amongst the low hills which were elsewhere covered with thin scrub. This, which is called Tjiti, represents the spot where an old woman spent a long time digging for yams, the latter being indicated by great heaps of stones lying all around. On the opposite side of the valley a column of stone marks the spot where the woman went into the earth. The water-hole by which we were camped was called Wiarminni. It was in reality a deep pool in the bed of a creek coming down from the hills. Behind it the rocks rose abruptly, and amongst them there was, or rather would have been if a stream had been flowing, a succession of cascades and rocky water-holes. Two of the latter, just above Wiarminni, are connected with a fish totem, and represent the spot where two fish men arose in the alcheringa, fought one another, left spirit children behind, and finally went down into the ground. We were now, so to speak, in the very midst of mungai [i.e. of places associated with the totems], for the old totemic ancestors of the tribe, who showed a most commendable fondness for arising and walking about in the few picturesque spots which their country contained, had apparently selected these rocky gorges as their central home. All around us the water-holes, gorges, and rocky crags were peopled with spirit individuals left behind by one or other of the following totemic ancestors:—Wollunqua, Pittongu (bat), Wongana (crow), wild dog, emu, bandicoot, and fish, whose lines of travel in the alcheringa formed a regular network over the whole countryside."[147]

[Sidenote: Dramatic ceremonies to commemorate the doings of ancestors.]

Similar evidence could be multiplied, but this may suffice to teach us how to the minds of these Central Australian savages the whole country is haunted, in the literal sense, not merely by the memories of their dead, but by the spirits which they left behind them and which are constantly undergoing reincarnation. And not only are the minds of the aborigines preoccupied by the thought of their ancestors, who are recalled to them by all the familiar features of the landscape, but they spend a considerable part of their time in dramatically representing the legendary doings of their rude forefathers of the remote past. It is astonishing, we are told, how large a part of a native's life is occupied with the performance of these dramatic ceremonies. The older he grows, the greater is the share he takes in them, until at last they actually absorb the greater part of his thoughts. The rites which seem so trivial to us are most serious matters to him. They are all connected with the great ancestors of the tribe, and he is firmly convinced that when he dies his spirit will rejoin theirs and live in communion with them until the time comes for him to be born again into the world. With such solemnity does he look on the celebration of these commemorative services, as we may call them, that none but initiated men are allowed to witness them; women and children are strictly excluded from the spectacle. These sacred dramas are often, though by no means always, associated with the rites of initiation which young men have to pass through before they are admitted to full membership of the tribe and to participation in its deepest mysteries. The rites of initiation are not all undergone by a youth at the same time; they succeed each other at longer or shorter intervals of time, and at each of them he is privileged to witness some of the solemn ceremonies in which the traditions of the tribal ancestors are dramatically set forth before him, until, when he has passed through the last of the rites and ordeals, he is free to behold and to take part in the whole series of mystery plays or professedly historical dramas. Sometimes the performance of these dramas extends over two or three months, during which one or more of them are acted daily.[148] For the most part, they are very short and simple, each of them generally lasting only a few minutes, though the costumes of the actors are often elaborate and may have taken hours to prepare. I will describe a few of them as samples.

[Sidenote: Ceremony of the Hakea flower totem.]

We will begin with a ceremony of the Hakea flower totem in the Arunta tribe, as to which it may be premised that a decoction of the Hakea flower is a favourite drink of the natives. The little drama was acted by two men, each of whom was decorated on his bare body by broad bands of pearly grey edged with white down, which passed round his waist and over his shoulders, contrasting well with the chocolate colour of his skin. On his head each of them wore a kind of helmet made of twigs, and from their ears hung tips of the tails of rabbit-bandicoots. The two sat on the ground facing each other with a shield between them. One of them held in his hand some twigs representing the Hakea flower in bloom; these he pretended to steep in water so as to brew the favourite beverage of the natives, and the man sitting opposite him made believe to suck it up with a little mop. Meantime the other men ran round and round them shouting wha! wha! This was the substance of the play, which ended as usual by several men placing their hands on the shoulders of the performers as a signal to them to stop.[149]

[Sidenote: Ceremony of a fish totem.]

Again, to take another Arunta ceremony of a fish totem called interpitna. The fish is the bony bream (Chatoessus horni), which abounds in the water-holes of the country. The play was performed by a single actor, an old man, whose face was covered with a mass of white down contrasting strongly with a large bunch of black eagle-hawk feathers which he wore on his head. His body was decorated with bands of charcoal edged with white down. Squatting on the ground he moved his body and extended his arms from his sides, opening and closing them as he leaned forwards, so as to imitate a fish swelling itself out and opening and closing its gills. Then, holding twigs in his hands, he moved along mimicking the action of a man who drives fish before him with a branch in a pool, just as the natives do to catch the fish. Meantime an orchestra of four men squatted beside him singing and beating time with a stick on the ground.[150]

[Sidenote: Ceremony of a plum-tree totem.]

Again, another Arunta ceremony of the plum-tree totem was performed by four actors, who simply pretended to knock down and eat imaginary plums from an imaginary plum-tree.[151] An interesting point in this very simple drama is that in it the men of the plum-tree totem are represented eating freely of their totem, which is quite contrary to the practice of the present day, but taken along with many similar ceremonies it goes far to prove that in the ancient days, to which all these dramatic ceremonies refer, it was the regular practice for men and women of a totem to eat their totemic animals or plants. As another example of a drama in which the performers are represented eating their totem we may take a ceremony of the ant totem in the Warramunga tribe. The legendary personages who figure in it are two women of the ant totem, ancestresses of the ant clan, who are said to have devoted all their time to catching and eating ants, except when they were engaged in the performance of ceremonies. The two men who personated these women in the drama (for no woman is allowed to witness, much less to act in, these sacred dramas) had the whole of the upper parts of their bodies, including their faces and the cylindrical helmets which they wore on their heads, covered with a dense mass of little specks of red down. These specks stood for the ants, alive or dead, and also for the stones and trees on the spots where the two women encamped. In the drama the two actors thus arrayed walked about the ground as if they were searching for ants to eat. Each of them carried a wooden trough and stooping down from time to time he turned over the ground and picked up small stones which he placed in the trough till it was full. The stones represented the masses of ants which the women gathered for food. After carrying on this pantomime for a time the two actors pretended to discover each other with surprise and to embrace with joy, much to the amusement of the spectators.[152]

[Sidenote: In these ceremonies the action is appropriate to the totem. Ceremony of the witchetty grub totem.]

In all these ceremonies you will observe that the action of the drama is strictly appropriate to the totem. In the drama of the Hakea flower totem the actors pretend to make and drink the beverage brewed from Hakea flowers; in the ceremony of the fish totem the actor feigns to be a fish and also to catch fish; in the ceremony of the plum-tree totem the actors pretend to knock down and eat plums; and in the ceremony of the ant totem the actors make believe to gather ants for food. Similarly, to take a few more examples, in a ceremony of the witchetty grub totem of the Arunta tribe the body of the actor was decorated with lines of white and red down, and he had a shield adorned with a number of concentric circles of down. The smaller circles represented the bush on which the grub lives first of all, and the larger circles represented the bush on which the adult insect lays its eggs. When all was ready, the performer seated himself on the ground and imitated the grub, alternately doubling himself up and rising on his knees, while he extended his arms and made them quiver in imitation of the insect's wings; and every now and then he would bend over the shield and sway to and fro, and up and down, in imitation of the insect hovering over the bushes on which it lays its eggs.[153] In another ceremony of the witchetty grub totem, which followed immediately the one I have just described, the actor had two shields beside him. The smaller of the shields was ornamented with zigzag lines of white pipe-clay which were supposed to indicate the tracks of the grub; the larger shield was covered with larger and smaller series of concentric circles, the larger representing the seeds of a bush on which the insect feeds, while the smaller stood for the eggs of the adult insect. As before, the actor wriggled and flapped his arms in imitation of the fluttering of the insect when it first leaves its chrysalis case in the ground and attempts to fly. In acting thus he was supposed to represent a celebrated ancestor of the witchetty grub totem.[154]

[Sidenote: Ceremony of the emu totem.]

The last example of such ceremonies which I shall cite is one of the emu totem in the Arunta tribe. The body of the actor was decorated with perpendicular lines of white down reaching from his shoulders to his knees; and on his head he supported a towering head-piece tipped with a bunch of emu feathers in imitation of the neck and head of an emu. Thus arrayed he stalked backwards and forwards in the aimless fashion of the bird.[155]

[Sidenote: These dramatic ceremonies were probably at first magical rites intended to supply the people with food and other necessaries.]

What are we to think of the intention of these little dramas which the Central Australian aborigines regard as sacred and to the performance of which they devote so much time and labour? At first sight they are simply commemorative services, designed to represent the ancestors as they lived and moved in the far-past times, to recall their adventures, of which legend has preserved the memory, and to set them dramatically before the eyes of their living descendants. So far, therefore, the dramas might be described as purely historical in intention, if not in reality. But there are reasons for thinking that in all cases a deeper meaning underlies, or formerly underlay, the performance of all these apparently simple historical plays; in fact, we may suspect that originally they were all magical ceremonies observed for the practical purpose of supplying the people with food, water, sunshine, and everything else of which they stand in need. This conclusion is suggested first of all by the practice of the Arunta and other Central Australian tribes, who observe very similar ceremonies with the avowed intention of thereby multiplying the totemic animals and plants in order that they may be eaten by the tribe, though not by the particular clan which has these animals or plants for its totem. It is true that the Arunta distinguish these magical ceremonies for the multiplication of the totems from what we may call the more purely commemorative or historical performances, and they have a special name for the former, namely intichiuma, which they do not bestow on the latter. Yet these intichiuma or magical ceremonies resemble the commemorative ceremonies so closely that it is difficult to suppose they can always have been wholly distinct. For example, in the magical ceremonies for the multiplication of witchetty grubs the performers pretend to be the insects emerging from their chrysalis cases,[156] just as the actors do in the similar commemorative ceremony which I have described; and again in a magical ceremony for the multiplication of emus the performers wear head-dresses to represent the long neck and small head of the bird, and they mimic its gait,[157] exactly as the actors do in the commemorative ceremony. It seems reasonable, therefore, to conjecture that the ceremonies which now are, or seem to be, purely commemorative or historical were originally magical in intention, being observed for the practical purpose of multiplying edible animals and plants or supplying other wants of the tribe.

[Sidenote: Among the Warramunga these dramatic ceremonies are avowedly performed as magical rites.]

Now this conjecture is strongly confirmed by the actual usage of the Warramunga tribe, amongst whom the commemorative or historical dramas are avowedly performed as magical rites: in other words, the Warramunga attribute a magical virtue to the simple performance of such dramas: they think that by merely acting the parts of their totemic ancestors they thereby magically multiply the edible animals or plants which these ancestors had for their totems. Hence in this tribe the magical ceremonies and the dramatic performances practically coincide: with them, as Messrs. Spencer and Gillen say, the intichiuma or magical ceremonies (called by the Warramunga thalamminta) "for the most part simply consist in the performance of a complete series representing the alcheringa history of the totemic ancestor. In this tribe each totemic group has usually one great ancestor, who arose in some special spot and walked across the country, making various natural features as he did so,—creeks, plains, ranges, and water-holes,—and leaving behind him spirit individuals who have since been reincarnated. The intichiuma [or magical] ceremony of the totem really consists in tracking these ancestors' paths, and repeating, one after the other, ceremonies commemorative of what are called the mungai spots, the equivalent of the oknanikilla amongst the Arunta—that is, the places where he left the spirit children behind."[158] Apparently the Warramunga imagine that by imitating a totemic ancestor at the very place where he left spirit children of the same totem behind him, they thereby enable these spirit children to be born again and so increase the food supply, whenever their totem is an edible animal or plant; for we must always remember that in the mind of these savages the idea of a man or woman is inextricably confused with the idea of his or her totem; they seem unable to distinguish between the two, and therefore they believe that in multiplying human beings at their local totemic centres (mungai or oknanikilla) they simultaneously multiply their totems; and as the totems are commonly edible animals and plants, it follows that in the opinion of the Warramunga the general effect of performing these ancestral plays is to increase the supply of food of the tribe. No wonder, therefore, that the dramas are sacred, and that the natives attribute the most serious significance to their performance: the neglect to perform them might, in their judgment, bring famine and ruin on the whole tribe. As Messrs. Spencer and Gillen, speaking of these ceremonies, justly observe: "Their proper performance is a matter of very great importance in the eyes of the natives, because, not only do they serve to keep alive and hand down from generation to generation the traditions of the tribe, but they are, at least amongst the Warramunga, intimately associated with the most important object of maintaining the food supply, as every totemic group is held responsible for the maintenance of the material object the name of which it bears."[159]

[Sidenote: General view of the attitude of the Central Australian natives towards their dead.]

To sum up the attitude of the Central Australian natives towards their dead. They believe that their dead are constantly undergoing reincarnation by being born again of women into the world, in fact that every living man, woman, and child is nothing but a dead person come to life again, that so it has been from the beginning and that so it will be to the end. Of a special world of the departed, remote and different from the material world in which they live and from the familiar scenes to which they have been accustomed from infancy, they have no conception; still less, if that is possible, have they any idea of a division of the world of the dead into a realm of bliss and a realm of woe, where the spirits of the good live ineffably happy and the spirits of the bad live unspeakably miserable. To their simple minds the spirits of the dead dwell all about them in the rocky gorges, the barren plains, the wooded dells, the rustling trees, the still waters of their native land, haunting in death the very spots where they last entered into their mothers' wombs to be born, and where in future they will again enter into the wombs of other women to be born again as other children into the world. And so, they think, it will go on for ever and ever. Such a creed seems at first sight, as I have pointed out, irreconcilable with a worship of the dead in the proper sense of the word; and so perhaps it would be, if these savages were strictly consistent and logical in their theories. But they are not. They admit that their remote ancestors, in other words, that they themselves in former incarnations, possessed certain marvellous powers to which in the present degenerate days they can lay no claim; and in this significant admission we may detect a rift, a real distinction of kind, between the living and the dead, which in time might widen out into an impassable gulf. In other words, we may suppose that the Central Australians, if left to themselves, might come to hold that the dead return no more to the land of the living, and that, acknowledging as they do the vast superiority of their remote ancestors to themselves, they might end by worshipping them, at first simply as powerful ancestral spirits, and afterwards as supernatural deities, whose original connexion with humanity had been totally forgotten. In point of fact we saw that among the Warramunga the mythical water-snake Wollunqua, who is regarded as an ancestor of a totemic clan, has made some progress towards deification; for while he is still regarded as the forefather of the clan which bears his name, it is no longer supposed that he is born again of women into the world, but that he lives eternal and invisible under the water of a haunted pool, and that he has it in his power both to help and to harm his people, who pray to him and perform ceremonies in his honour. This awful being, whose voice is heard in the peal of thunder and whose dreadful name may not be pronounced in common life, is not far from godhead; at least he is apparently the nearest approach to it which the imagination of these rude savages has been able to conceive. Lastly, as I have pointed out, the reverence which the Central Australians entertain for their dead ancestors is closely bound up with their totemism; they fail to distinguish clearly or at all between men and their totems, and accordingly the ceremonies which they perform to commemorate the dead are at the same time magical rites designed to ensure an abundant supply of food and of all the other necessaries and conveniences which savage life requires or admits of; indeed, we may with some probability conjecture that the magical intention of these ceremonies is the primary and original one, and that the commemorative intention is secondary and derivative. If that could be proved to be so (which is hardly to be expected), we should be obliged to conclude that in this as in so many enquiries into the remote human past we detect evidence of an Age of Magic preceding anything that deserves to be dignified with the name of religion.

That ends what I have to say at present as to the belief in immortality and the worship of the dead among the Central Australian aborigines. In my next lecture I propose to pursue the enquiry among the other tribes of Australia.

[Footnote 137: Spencer and Gillen, Northern Tribes of Central Australia, pp. 228 sq.]

[Footnote 138: Spencer and Gillen, Northern Tribes of Central Australia, pp. 229 sq.]

[Footnote 139: Spencer and Gillen, op. cit. pp. 230 sq.]

[Footnote 140: Spencer and Gillen, Northern Tribes of Central Australia, pp. 231-238.]

[Footnote 141: Spencer and Gillen, op. cit. p. 238.]

[Footnote 142: Spencer and Gillen, op. cit. pp. 238 sq.]

[Footnote 143: Spencer and Gillen, Northern Tribes of Central Australia, pp. 239-247.]

[Footnote 144: Spencer and Gillen, op. cit. p. 248.]

[Footnote 145: "On the other hand there is a great difference between the Wollunqua and any other totem, inasmuch as the particular animal is purely mythical, and except for the one great progenitor of the totemic group, is not supposed to exist at the present day" (Spencer and Gillen, Northern Tribes of Central Australia, p. 248).]

[Footnote 146: The wingara is the equivalent of the Arunta alcheringa, that is, the earliest legendary or mythical times of which the natives profess to have knowledge.]

[Footnote 147: Spencer and Gillen, Northern Tribes of Central Australia, pp. 249 sq.]

[Footnote 148: Spencer and Gillen, Northern Tribes of Central Australia, pp. 33 sq., 177 sq.]

[Footnote 149: Spencer and Gillen, Native Tribes of Central Australia, pp. 297 sq.]

[Footnote 150: Spencer and Gillen, Native Tribes of Central Australia, pp. 316 sq.]

[Footnote 151: Spencer and Gillen, op. cit. p. 320.]

[Footnote 152: Spencer and Gillen, Northern Tribes of Central Australia, pp. 199-204.]

[Footnote 153: Spencer and Gillen, Northern Tribes of Central Australia, pp. 179 sq.]

[Footnote 154: Spencer and Gillen, Northern Tribes of Central Australia, pp. 179 sq.]

[Footnote 155: Spencer and Gillen, Native Tribes of Central Australia, pp. 358 sq., and p. 343, fig 73.]

[Footnote 156: Spencer and Gillen, Native Tribes of Central Australia, p. 176.]

[Footnote 157: Spencer and Gillen, op. cit. pp. 182 sq.]

[Footnote 158: Spencer and Gillen, Northern Tribes of Central Australia, p. 297.]

[Footnote 159: Spencer and Gillen, Northern Tribes of Central Australia, p. 197.]



LECTURE VI

THE BELIEF IN IMMORTALITY AMONG THE OTHER ABORIGINES OF AUSTRALIA

[Sidenote: Customs and beliefs concerning the dead in the other tribes of Australia.]

In the last lecture I concluded my account of the beliefs and practices of the Central Australian aborigines in regard to the dead. To-day I propose to consider the customs and beliefs concerning the dead which prevail among the native tribes in other parts of Australia. But at the outset I must warn you that our information as to these other tribes is far less full and precise than that which we possess as to the tribes of the centre, which have had the great advantage of being observed and described by two highly qualified scientific observers, Messrs. Spencer and Gillen. Our knowledge of all other Australian tribes is comparatively fragmentary, and accordingly it is impossible to give even an approximately complete view of their notions concerning the state of the human spirit after death, and of the rites which they observe for the purpose of disarming or propitiating the souls of the departed. We must therefore content ourselves with more or less partial glimpses of this side of native religion.

[Sidenote: Belief in the reincarnation of the dead among the natives of Queensland. The ngai spirits.]

The first question we naturally ask is whether the belief in the reincarnation of the dead, which prevails universally among the Central tribes, reappears among tribes in other parts of the continent. It certainly does so, and although the evidence on this subject is very imperfect it suffices to raise presumption that a similar belief in the rebirth or reincarnation of the dead was formerly universal among the Australian aborigines. Unquestionably the belief is entertained by some of the natives of Queensland, who have been described for us by Mr. W. E. Roth. Thus, for example, the aborigines on the Pennefather River think that every person's spirit undergoes a series of reincarnations, and that in the interval between two reincarnations the spirit resides in one or other of the haunts of Anjea, a mythical being who causes conception in women by putting mud babies into their bodies. Such spots, haunted by the fabulous being Anjea and by the souls of the dead awaiting rebirth, may be a tree, a rock, or a pool of water; they clearly correspond to the local totem centres (oknanikilla among the Arunta, mungai among the Warramunga) of the Central Australian tribes which I described in former lectures. The natives of the Pennefather River observe a ceremony at the birth of a child in order to ascertain the exact spot where its spirit tarried in the interval since its last incarnation; and when they have discovered it they speak of the child as obtained from a tree, a rock, or a pool of water, according to the place from which its spirit is supposed to have passed into its mother.[160] Readers of the classics can hardly fail to be reminded of the Homeric phrase to be "born of an oak or a rock,"[161] which seems to point to a similar belief in the possibility of human souls awaiting reincarnation in the boughs of an oak-tree or in the cleft of a rock. In the opinion of the Pennefather natives all disembodied human spirits or choi, as they call them, are mischief-makers and evildoers, for they make people sick or crazy; but the medicine-men can sometimes control them for good or evil. They wander about in the bush, but there are certain hollow trees or clumps of trees with wide-spreading branches, which they most love to haunt, and they can be heard in the rustling of the leaves or the crackling of the boughs at night. Anjea himself, who puts babies into women, is never seen, but you may hear him laughing in the depths of the forest, among the rocks, in the lagoons, and along the mangrove swamps; and when you hear his laugh you may be sure that he has got a baby.[162] If a native happens to hurt himself near a tree, he imagines that the spirit of some dead person is lurking among the branches, and he will never cut that tree down lest a worse thing should befall him at the hands of the vengeful ghost.[163] A curious feature in the beliefs of these Pennefather natives is that apart from the spirit called choi, which lives in a disembodied state between two incarnations, every person is supposed to have a spirit of a different sort called ngai, which has its seat in the heart; they feel it beating within their breast; it talks to them in sleep and so is the cause of dreams. At death a man's ngai spirit does not go away into the bush to await reincarnation like his choi spirit; on the contrary, it passes at once into his children, boys and girls alike; for before their father's death children are supposed not to possess a ngai spirit; if a child dies before its father, they think that it never had a ngai spirit at all. And the ngai spirit may leave a man in his lifetime as well as at death; for example, when a person faints, the natives think that he does so because his ngai spirit has departed from him, and they will stamp on the ground to make it return. On the other hand the choi spirit is supposed never to quit a man during life; it is thought to be in some undefined way related to the shadow, whereas the ngai spirit, as we saw, manifests itself in the beating of the heart. When a woman dies, her ngai spirit goes not into her children but into her sisters, one after the other; and when all the sisters are dead, the woman's ngai spirit goes away among the mangroves and perishes altogether.[164]

Thus these savages explain the phenomena of birth and death, of conscious and unconscious life, by a theory of a double human spirit, one associated with the heart and the other with the shadow. The psychology is rudimentary, still it is interesting as an attempt to solve problems which still puzzle civilised man.

[Sidenote: Beliefs of the natives of Cape Bedford in Queensland.]

Other Queensland aborigines associate the vital principle not with the heart but with the breath. For example, at Cape Bedford the natives call it wau-wu and think that it never leaves the body sleeping or waking till death, when it haunts its place of burial for a time and may communicate with the living. Thus, like the ghost of Hamlet's father, it will often appear to a near kinsman or intimate friend, tell him the pitiful tale how he was done to death by an enemy, and urge him to revenge. Again, the soul of a man's dead father or friend may bear him company on a journey and, like the beryl-stone in Rossetti's poem Rose Mary, warn him of an ambuscade lurking for him in a spot where the man himself sees nothing. But the spirits of the dead do not always come with such friendly intent; they may drive the living distracted; a peculiar form of mental excitement and bewilderment is attributed to their action. Further, these aborigines at Cape Bedford, in Queensland, believe that all spirits of nature are in fact souls of the dead. Such spirits usually leave their haunts in the forests and caves at night. Stout-hearted old men can see and converse with them and receive from them warnings of danger; but women and children fear these spirits and never see them. But some spirits of the dead, when they have ceased to haunt their places of burial, go away eastward and are reincarnated in white people; hence these savages often look for a resemblance to some deceased tribesman among Europeans, and frequently wonder why it is that the white man, on whom their fancy has pitched, remembers nothing about his former life as a black man among blacks.[165]

[Sidenote: Beliefs of the natives of the Tully River in Queensland.]

The natives of the Tully River in Queensland associate the principle of life both with the breath and with the shadow. It departs from the body temporarily in sleep and fainting-fits and permanently in death, after which it may be heard at night tapping on the top of huts or creaking in the branches of trees. It is everlasting, so far as these savages have any idea of eternity, and further it is intangible; hence in its disembodied state it needs no food, and none is set out for it. The disposition of these disembodied spirits of the dead is good or bad, according to their disposition in life. Yet when a man is alone by himself, the spirit even of one of his own dead kinsfolk will sometimes come and do him a mischief. On the other hand it can do nothing to several people together; there is safety in numbers. They may all see and hear the ghost, but he will not attack them. Hence these savages have been taught from childhood to beware of going alone: solitary people are liable at any moment to be assailed by the spirits of the dead. The only means they know of warding off these ghostly assailants is by lighting good fires.[166]

[Sidenote: Belief of the Australian aborigines that their dead are reborn in white people.]

I have mentioned the belief of the Cape Bedford natives that the spirits of their dead are sometimes reincarnated in white people. A similar notion is reported from other and widely separated parts of Australia, and wherever it exists may be taken as evidence of a general belief as to the rebirth or reincarnation of the dead, even where such a belief is not expressly recorded. This superstition has sometimes proved of service to white people who have been cast among the blacks, for it has ensured them a hospitable and even affectionate welcome, where otherwise they might have encountered suspicion and hostility, if not open violence. Thus, for example, the convict Buckley, who escaped from the penal settlement on Port Phillip Bay in 1803, was found by some of the Wudthaurung tribe carrying a piece of a broken spear, which he had abstracted from the grave of one of their people. So they took him to be the dead man risen from the grave; he received the name of the deceased, was adopted by his relations, and lived with the tribe for thirty-two years without ever conversing with a white man; when at last he met one, he had forgotten the English language.[167] Again, a Mr. Naseby, who lived in the Kamilaroi country for fifty years, happened to have the marks of cupping on his back, and the natives could not be persuaded that he was not one of themselves come to life again with the family scars on his body,[168] for the Australian aborigines commonly raise scars on the bodies of young men at initiation. The late Sir George Grey was identified by an old Australian woman as her dead son come to life again. It may be worth while to quote his account of this unlooked-for meeting with his long-lost mother; for it will impress on you, better than any words of mine could do, the firmness of the faith which these savages repose in the resurrection of the body, or at all events in the reincarnation of the soul. Grey writes as follows:—

[Sidenote: Experience of Sir George Grey.]

"After we had tethered the horses, and made ourselves tolerably comfortable, we heard loud voices from the hills above us: the effect was fine,—for they really almost appeared to float in the air; and as the wild cries of the women, who knew not our exact position, came by upon the wind, I thought it was well worth a little trouble to hear these savage sounds under such circumstances. Our guides shouted in return, and gradually the approaching cries came nearer and nearer. I was, however, wholly unprepared for the scene that was about to take place. A sort of procession came up, headed by two women, down whose cheeks tears were streaming. The eldest of these came up to me, and looking for a moment at me, said,—'Gwa, gwa, bundo, bal,'—'Yes, yes, in truth it is him'; and then throwing her arms round me, cried bitterly, her head resting on my breast; and although I was totally ignorant of what their meaning was, from mere motives of compassion, I offered no resistance to her caresses, however disagreeable they might be, for she was old, ugly, and filthily dirty; the other younger one knelt at my feet, also crying. At last the old lady, emboldened by my submission, deliberately kissed me on each cheek, just in the manner a Frenchwoman would have done; she then cried a little more, and at length relieving me, assured me that I was the ghost of her son, who had some time before been killed by a spear-wound in his breast. The younger female was my sister; but she, whether from motives of delicacy, or from any imagined backwardness on my part, did not think proper to kiss me. My new mother expressed almost as much delight at my return to my family, as my real mother would have done, had I been unexpectedly restored to her. As soon as she left me, my brothers, and father (the old man who had previously been so frightened), came up and embraced me after their manner,—that is, they threw their arms round my waist, placed their right knee against my right knee, and their breast against my breast, holding me in this way for several minutes. During the time that the ceremony lasted, I, according to the native custom, preserved a grave and mournful expression of countenance. This belief, that white people are the souls of departed blacks, is by no means an uncommon superstition amongst them; they themselves never having an idea of quitting their own land, cannot imagine others doing it;—and thus, when they see white people suddenly appear in their country, and settling themselves down in particular spots, they imagine that they must have formed an attachment for this land in some other state of existence; and hence conclude the settlers were at one period black men and their own relations. Likenesses, whether real or imagined, complete the delusion; and from the manner of the old woman I have just alluded to, from her many tears, and from her warm caresses, I feel firmly convinced that she really believed I was her son, whose first thought, upon his return to earth, had been to re-visit his old mother, and bring her a present."[169]

[Sidenote: In South-eastern Australia the natives believed that the souls of the dead were not reborn but went up to the sky.]

On the whole then we may conclude that a belief in the reincarnation of the dead has not been confined to the tribes of Central Australia, but has been held by the tribes in many, perhaps at one time in all, other parts of the continent. Yet, if we may judge from the imperfect records which we possess, this faith in the return of the dead to life in human form would seem to have given way and been replaced to some extent by a different creed among many tribes of South-eastern Australia. In this part of the continent it appears to have been often held by the natives that after death the soul is not born again among men, but goes away for ever to some distant country either in the sky or beyond the sea, where all the spirits of the dead congregate. Thus Lieutenant-Colonel Collins, who was Governor of New South Wales in the early days of the colony, at the end of the eighteenth century, reports that when the natives were often questioned "as to what became of them after their decease, some answered that they went either on or beyond the great water; but by far the greater number signified, that they went to the clouds."[170] Again, the Narrinyeri tribe of South Australia believed that all the dead went up to the sky and that some of them at least became stars. We possess an excellent description of the beliefs and customs of this tribe from the pen of a missionary, the Rev. George Taplin, who lived among them for many years. His account of their theory of the state of the dead is instructive. It runs thus:—

[Sidenote: Beliefs of the Narrinyeri concerning the dead.]

"The Narrinyeri point out several stars, and say that they are deceased warriors who have gone to heaven (Wyirrewarre). There are Wyungare, and Nepalle, and the Manchingga, and several others. Every native expects to go to Wyirrewarre after death. They also believe that the dead descend from thence, and walk the earth; and that they are able to injure those whom they dislike. Consequently, men who have been notorious in life for a domineering and revengeful disposition are very much dreaded after death. For instance, there is Karungpe, who comes in the dead of night, when the camp fire has burned low, and like a rushing wind scatters the dying embers, and then takes advantage of the darkness to rob some sleeper of life; and it is considered dangerous to whistle in the dark, for Karungpe is especially attracted by a whistle. There is another restless spirit—the deceased father of a boy whom I well know—who is said to rove about armed with a rope, with which he catches people. All the Narrinyeri, old and young, are dreadfully afraid of seeing ghosts, and none of them will venture into the scrub after dark, lest he should encounter the spirits which are supposed to roam there. I have heard some admirable specimens of ghost stories from them. In one case I remember the ghost was represented to have set fire to a wurley [hut], and ascended to heaven in the flame. The Narrinyeri regard the disapprobation of the spirits of the dead as a thing to be dreaded; and if a serious quarrel takes place between near relatives, some of the friends are sure to interpose with entreaties to the contentious parties to be reconciled, lest the spirits of the dead should be offended at unseemly disputes between those who ought to be at peace. The name of the dead must not be mentioned until his body has decayed, lest a want of sorrow should seem to be indicated by the common and flippant use of his name. A native would have the deceased believe that he cannot hear or speak his name without weeping."[171]

[Sidenote: Narrinyeri fear of the dead. Mourning customs.]

From this account it would appear that the Narrinyeri have no belief in the reincarnation of the dead; they suppose that the souls of the departed live up aloft in the sky, from which they descend at night in the form of ghosts to haunt and trouble the living. On the whole the attitude of the Narrinyeri towards their dead kinsfolk seems to be dominated by fear; of affection there is apparently little or no trace. It is true that like most Australian tribes they indulge in extravagant demonstrations of grief at the death of their kinsfolk. A great lamentation and wailing is made by all the relations and friends of the deceased. They cut off their hair close to the head and besmudge themselves with oil and pounded charcoal. The women besmear themselves with the most disgusting filth. All beat and cut themselves and make a violent show of sorrow; and all the time that the corpse, rubbed over with grease and red ochre, is being dried over a slow fire in the hut, the women take it by turns to weep and wail before it, so that the lamentation never ceases for days. Yet Mr. Taplin was persuaded "that fear has more to do with most of these exhibitions than grief"; and he tells us that "for one minute a woman will appear in the deepest agony of grief and tears; a few minutes after, the conventional amount of weeping having been accomplished, they will laugh and talk with the merriest."[172] The principal motive, in fact, for all this excessive display of sorrow would seem to be a fear lest the jealous ghost should think himself slighted and should avenge the slight on the cold-hearted relatives who do not mourn sufficiently for the irreparable loss they have sustained by his death. We may conjecture that the same train of thought explains the ancient and widespread custom of hiring professional mourners to wail over the dead; the tears and lamentations of his kinsfolk are not enough to soothe the wounded feelings of the departed, they must be reinforced by noisier expressions of regret.

[Sidenote: Deaths attributed by the Narrinyeri to sorcery.]

But there is another powerful motive for all these violent demonstrations of grief, into the secret of which we are let by Mr. Taplin. He says that "all the relatives are careful to be present and not to be wanting in the proper signs of sorrow, lest they should be suspected of complicity in causing the death."[173] In fact the Narrinyeri, like many other savages, attribute all, or most, natural deaths to sorcery. When a person dies, they think that he or she has been killed by the evil magic of some ill-wisher, and one of the first things to be done is to discover the culprit in order that his life may be taken in revenge. For this purpose the Narrinyeri resort to a form of divination. On the first night after the death the nearest relation of the deceased sleeps with his head on the corpse, hoping thus to dream of the sorcerer who has done the mischief. Next day the corpse is placed on a sort of bier supported on men's shoulders. The friends of the deceased gather round and call out the names of suspected persons to see whether the corpse will give any sign. At last the next of kin calls out the name of the person of whom he has dreamed, and if at the sound the corpse makes a movement towards him, which the bearers say they cannot resist, it is regarded as a clear token that the man so named is the malefactor. It only remains for the kinsfolk of the dead to hunt down the culprit and kill him.[174] Thus not only the relations but everybody in the neighbourhood has the strongest motive for assuming at least an appearance of sorrow at a death, lest the suspicion of having caused it by sorcery should fall upon him.