The Eternal Belief in Immortality & Worship of the Dead. James George Frazer

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СКАЧАТЬ acknowledge that this is a mere conjecture of my own.³⁰⁰

      Blood and hair offered to the dead.

Be that as it may, when this act of the drama was over, the mourners took up the body and with weeping and wailing laid it on a wooden framework resting on four posts at a little distance from the house of the deceased. Youths who had lately been initiated, and girls who had attained to puberty, now had the lobes of their ears cut. The blood streamed down over their faces and bodies and was allowed to drip on the feet of the corpse as a mark of pity or sorrow.³⁰¹ The other relatives cut their hair and left the shorn locks in a heap under the body. Blood and hair were probably regarded as offerings made to the departed kinsman or kinswoman. We saw that the Australian aborigines in like manner cut themselves and allow the blood to drip on the corpse; and they also offer their hair to the dead, cutting off parts of their beards, singeing them, and throwing them on the corpse.³⁰² Having placed the body on the stage and deposited their offerings of hair under it, the relatives took some large yams, cut them in pieces, and laid the pieces beside the body in order to serve as food for the ghost, who was supposed to eat it at night.³⁰³ This notion seems inconsistent with the belief that the soul of the departed had already been carried off to Boigu, the island of the dead; but consistency in such matters is as little to be looked for among savages as among ourselves.

      Mummification of the corpse.

When the body had remained a few days on the stage in the open air, steps were taken to convert it into a mummy. For this purpose it was laid in a small canoe manned by some young people of the same sex as the deceased. They paddled it across the lagoon to the reef and there rubbed off the skin, extracted the bowels from the abdomen and the brain from the skull, and having sewed up the hole in the abdomen and thrown the bowels into the sea, they brought the remains back to land and lashed them to the wooden framework with string, while they fixed a small stick to the lower jaw to keep it from drooping. The framework with its ghastly burden was fastened vertically to two posts behind the house, where it was concealed from public view by a screen of coco-nut leaves. Holes were pricked with an arrow between the fingers and toes to allow the juices of decomposition to escape, and a fire was kindled and kept burning under the stage to dry up the body.³⁰⁴

      Garb of mourners. Cuttings for the dead.

About ten days after the death a feast of bananas, yams, and germinating coco-nuts was partaken of by the relations and friends, and portions were distributed to the assembled company, who carried them home in baskets. It was on this occasion that kinsfolk and friends assumed the garb of mourners. Their faces and bodies were smeared with a mixture of greyish earth and water: the ashes of a wood fire were strewn on their heads; and fringes of sago leaves were fastened on their arms and legs. A widow wore besides a special petticoat made of the inner bark of the fig-tree; the ends of it were passed between her legs and tucked up before and behind. She had to leave her hair unshorn during the whole period of her widowhood; and in time it grew into a huge mop of a light yellow colour in consequence of the ashes with which it was smeared. This coating of ashes, as well as the grey paint on her face and body, she was expected to renew from time to time.³⁰⁵ It was also on the occasion of this feast, on or about the tenth day after death, that young kinsfolk of the deceased had certain patterns cut in their flesh by a sharp shell. The persons so operated on were young adults of both sexes nearly related to the dead man or woman. Women generally operated on women and men on men. The patients were held down during the operation, which was painful, and they sometimes fainted under it. The patterns were first drawn on the skin in red paint and then cut in with the shell. They varied a good deal in shape. Some consisted of arrangements of lines and scrolls; a favourite one, which was only carved on women, represented a centipede. The blood which flowed from the wounds was allowed to drip on the corpse, thus forming a sacrifice or tribute to the dead.³⁰⁶

      The Dance of Death. The nocturnal dance.

      When the body had remained some time, perhaps four or six months, on the scaffold, and the process of mummification was far advanced, a dance of death was held to celebrate the final departure of the spirit for its long home. Several men, seldom exceeding four in number, were chosen to act the part of ghosts, including the ghost of him or her in whose honour the performance was specially held. Further, about a dozen men were selected to form a sort of chorus; their business was to act as intermediaries between the living and the dead, summoning up the shades, serving as their messengers, and informing the people of their presence. The costume of the ghosts was simple, consisting of nothing but a head-dress and shoulder-band of leaves. The chorus, if we may call them so, wore girdles of leaves round their waists and wreaths of leaves on their heads. When darkness had fallen, the first act of the drama was played. The chorus stood in line opposite the mummy. Beyond them stood or sat the drummers, and beyond them again the audience was crowded on the beach, the women standing furthest from the mummy and nearest to the sea. The drummers now struck up, chanting at the same time to the beat of the drums. This was the overture. Then a shrill whistle in the forest announced the approach of a ghost. The subdued excitement among the spectators, especially among the women, was intense. Meantime the chorus, holding each other's hands, advanced sidelong towards the mummy with strange gestures, the hollow thud of their feet as they stamped on the ground being supposed to be the tread of the ghosts. Thus they advanced to the red-painted mummy with its grinning mouth. Behind it by this time stood one of the ghosts, and between him and the chorus a dialogue ensued. "Whose ghost is there?" called out the chorus; and a strident voice answered from the darkness, "The ghost of so and so is here." At that the chorus retreated in the same order as they had advanced, and again the hollow thud of their feet sounded in the ears of the excited spectators as the tramp of the dead. On reaching the drummers in their retreat the chorus called out some words of uncertain meaning, which have been interpreted, "Spirit of so-and-so, away at sea, loved little." At all events, the name of a dead person was pronounced, and at the sound the women, thrilled with excitement, leaped from the ground, holding their hands aloft; then hurled themselves prone on the sand, throwing it over their heads and wailing. The drums now beat faster and a wild weird chant rose into the air, then died away and all was silent, except perhaps for the lapping of the waves on the sand or the muffled thunder of the surf afar off on the barrier reef. Thus one ghost after another was summoned from the dusty dead and vanished again into the darkness. When all had come and gone, the leader of the chorus, who kept himself invisible behind the screen save for a moment when he was seen by the chorus to glide behind the mummy on its stage, blew a whistle and informed the spectators in a weird voice that all the ghosts that had been summoned that night would appear before them in broad day light on the morrow. With that the audience dispersed. But the men who had played the parts of the ghosts came forward and sat down with the chorus and the drummers on mats beside the body. There they remained singing to the beat of the drums till the first faint streaks of dawn glimmered in the east.

      The noonday dance. The ghosts represented by masked actors.

Next morning the men assembled beside the body to inspect the actors who were to personate the ghosts, in order to make sure that they had learned their parts well and could mimick to the life the figure and gait of the particular dead persons whom they represented. By the time that these preparations were complete, the morning had worn on to noon. The audience was already assembled on the beach and on the long stretch of sand left by the ebbing tide; for the hour of the drama was always fixed at low water so as to allow ample space for the spectators to stand at a distance from the players, lest they should detect the features of the living under the masks of the dead. All being ready, the drummers marched in and took up their position just above the beach, facing СКАЧАТЬ