But mourning is not made up entirely of interdicts which have to be observed. Positive acts are also demanded, in which the relatives are both the actors and those acted upon.
Very frequently these rites commence as soon as the death appears imminent. Here is a scene which Spencer and Gillen witnessed among the Warramunga. A totemic ceremony had just been celebrated and the company of actors and spectators was leaving the consecrated ground when a piercing cry suddenly came from the camp: a man was dying there. At once, the whole company commenced to run as fast as they could, while most of them commenced to howl. "Between us and the camp," say these observers, "lay a deep creek, and on the bank of this, some of the men, scattered about here and there, sat down, bending their heads forwards between their knees, while they wept and moaned. Crossing the creek we found that, as usual, the men's camp had been pulled to pieces. Some of the women, who had come from every direction, were lying prostrate on the body, while others were standing or kneeling around, digging the sharp ends of yam-sticks into the crown of their heads, from which the blood streamed down over their faces, while all the time they kept up a loud, continuous wail. Many of the men, rushing up to the spot, threw themselves upon the body, from which the women arose when the men approached, until in a few minutes we could see nothing but a struggling mass of bodies all mixed up together. To one side, three men of the Thapungarti class, who still wore their ceremonial decorations, sat down wailing loudly, with their backs towards the dying man, and in a minute or two another man of the same class rushed on to the ground yelling and brandishing a stone knife. Reaching the camp, he suddenly gashed both thighs deeply, cutting right across the muscles, and, unable to stand, fell down into the middle of the group, from which he was dragged out after a time by three or four female relatives, who immediately applied their mouths to the gaping wounds while he lay exhausted on the ground." The man did not actually die until late in the evening. As soon as he had given up his last breath, the same scene was re-enacted, only this time the wailing was still louder, and men and women, seized by a veritable frenzy, were rushing about cutting themselves with knives and sharp-pointed sticks, the women battering one another's heads with fighting clubs, no one attempting to ward off either cuts or blows. Finally, after about an hour, a torchlight procession started off across the plain, to a tree in whose branches the body was left.[1238] Howsoever great the violence of these manifestations may be, they are strictly regulated by etiquette. The individuals who make bloody incisions in themselves are designated by usage: they must have certain relations of kinship with the dead man. Thus, in the case observed by Spencer and Gillen among the Warramunga, those who slashed their thighs were the maternal grandfather of the deceased, his maternal uncle, and the maternal uncle and brother of his wife.[1239] Others must cut their whiskers and hair, and then smear their scalps with pipe-clay. Women have particularly severe obligations. They must cut their hair and cover the whole body with pipe-clay; in addition to this, a strict silence is imposed upon them during the whole period of mourning, which may last as long as two years. It is not rare among the Warramunga that, as a result of this interdiction, all the women of a camp are condemned to the most absolute silence. This becomes so habitual to them that even after the expiration of the period of mourning, they voluntarily renounce all spoken language and prefer to communicate with gestures--in which, by the way, they acquire a remarkable ability. Spencer and Gillen knew one old woman who had not spoken for over twenty-four years.[1240] The ceremony which we have described opens a long series of rites which succeed one another for weeks and even for months. During the days which follow, they are renewed in various forms. Groups of men and women sit on the ground, weeping and lamenting, and kissing each other at certain moments. These ritual kissings are repeated frequently during the period of mourning. It seems as though men felt a need of coming close together and communicating most closely; they are to be seen holding to each other and wound together so much as to make one single mass, from which loud groans escape.[1241] Meanwhile, the women commence to lacerate their heads again, and, in order to intensify the wounds they make, they even go so far as to burn them with the points of fiery sticks.[1242] Practices of this sort are general in all Australia. The funeral rites, that is, the ritual cares given to the corpse, the way in which it is buried, etc., change with different tribes,[1243] and in a single tribe they vary with the age, sex and social importance of the individual.[1244] But the real ceremonies of mourning repeat the same theme everywhere; the variations are only in the details. Everywhere we find this same silence interrupted by groans,[1245] the same obligation of cutting the hair and beard,[1246] or of covering one's head with pipe-clay or cinders, or perhaps even with excrements;[1247] everywhere, finally, we find this same frenzy for beating one's self, lacerating one's self and burning one's self. In central Victoria, "when death visits a tribe there is great weeping and lamentation amongst the women, the elder portion of whom lacerate their temples with their nails. The parents of the deceased lacerate themselves fearfully, especially if it be an only son whose loss they deplore. The father beats and cuts his head with a tomahawk until he utters bitter groans, the mother sits by the fire and burns her breasts and abdomen with a small fire-stick. Sometimes the burns thus inflicted are so severe as to cause death."[1248] According to an account of Brough Smyth, here is what happens in one of the southern tribes of the same state. As the body is lowered into the grave, "the widow begins her sad ceremonies. She cuts off her hair above her forehead, and becoming frantic, seizes fire-sticks, and burns her breasts, arms, legs and thighs. She seems to delight in the self-inflicted torture. It would be rash and vain to interrupt her. When exhausted, and when she can hardly walk, she yet endeavours to kick the embers of the fire, and to throw them about. Sitting down, she takes the ashes into her hands, rubs them into her wounds, and then scratches her face (the only part not touched by the fire-sticks) until the blood mingles with the ashes, which partly hide her cruel wounds. In this plight, scratching her face continually, she utters howls and lamentations."[1249] The description which Howitt gives of the rites of mourning among the Kurnai is remarkably similar to these others. After the body has been wrapped up in opossum skins and put in a shroud of bark, a hut is built in which the relatives assemble. "There they lay lamenting their loss, saying, for instance, 'Why did you leave us?' Now and then their grief would be intensified by some one, for instance, the wife, uttering an ear-piercing wail, 'My spouse is dead,' or another would say, 'My child is dead.' All the others would then join in with the proper term of relationship, and they would gash themselves with sharp stones and tomahawks until their heads and bodies streamed with blood. This bitter wailing and weeping continued all night."[1250] Sadness is not the only sentiment expressed during these ceremonies; a sort of anger is generally mixed with it. The relatives feel a need of avenging the death in some way or other. They are to be seen throwing themselves upon one another and trying to wound each other. Sometimes the attack is real; sometimes it is only pretended.[1251] There are even cases when these peculiar combats are organized. Among the Kaitish, the hair of the deceased passes by right to his son-in-law. But he, in return, must go, in company with some of his relatives and friends, and provoke a quarrel with one of his tribal brothers, that is, with a man belonging to the same matrimonial class as himself and one who might therefore have married the daughter of the dead man. This provocation cannot be refused and the two combatants inflict serious wounds upon each other's shoulders and thighs. When the duel is terminated, the challenger passes on to his adversary the hair which he had temporarily inherited. This latter then provokes and fights with another of his tribal brothers, to whom the precious relic is next transmitted, but only provisionally; thus it passes from hand to hand and circulates from group to group.[1252] Also, something of these same sentiments enters into that sort of rage with which each relative beats himself, burns himself or slashes himself: a sorrow which reaches such a paroxysm is not without a certain amount of anger. One cannot fail to be struck by the resemblances which these practices present to those of the vendetta. Both proceed from the same principle that death demands the shedding of blood. The only difference is that in one case the victims are the relatives, while in the other they are strangers. We do not have to treat especially of the vendetta, which belongs rather to the study of juridic institutions; but it should be pointed out, nevertheless, how it is connected with the rites of mourning, whose end it announces.[1253] In certain societies, the mourning is terminated by a ceremony whose effervescence reaches or surpasses that produced by the inaugural ceremonies. Among the Arunta, this closing rite is called _Urpmilchima_. Spencer and Gillen assisted at two of these rites. One was celebrated in honour of a man, the other of a woman. Here is the description they give of the latter.[1254] They commence by making some ornaments of a special sort, called _Chimurilia_ by the men and _Aramurilia_ by the women. With a kind of resin, they fixed small animal bones, which had previously been gathered and set aside, to locks of hair furnished by the relatives of the dead woman. These are then attached to one of the head-bands which women ordinarily wear and the feathers of black cockatoos and parrots are added to it. When these preparations are completed, the women assemble in their camp. They paint their bodies different colours, according to their degree of kinship with the deceased. After being embraced by one another for some ten minutes, while uttering uninterrupted groans, they set out for the tomb. At a certain distance, they meet a brother by blood of the dead woman, who is accompanied by some of his tribal brothers. Everybody sits down on the ground, and the lamentations recommence. A _pitchi_[1255] containing the Chimurilia is then presented to the elder brother, who presses it against his stomach; they say that this is a way of lessening his sorrow. They take out one of the Chimurilia and the dead woman's mother puts it on her head for a little while; then it is put back into the _pitchi_, which each of the other men presses against his breast, in his turn. Finally, the brother puts the Chimurilia on the heads of two elder sisters and they set out again for the tomb. On the way, the mother throws herself on the ground several times, and tries to slash her head with a pointed stick. Every time, the other women pick her up, and seem to take care that she does not hurt herself too much. When they arrive at the tomb, she throws herself on the knoll and endeavours to destroy it with her hands, while the other women literally dance upon her. The tribal mothers and aunts (sisters of the dead woman's father) follow her example; they also throw themselves on the ground, and mutually beat and tear each other; finally their bodies are all streaming with blood. After a while, they are dragged aside. The elder sisters then make a hole in the earth of the tomb, in which they place the Chimurilia, which had previously been torn to pieces. Once again the tribal mothers throw themselves on the ground and slash each other's heads. At this moment, "the weeping and wailing of the women who were standing round seemed to drive them almost frenzied, and the blood, streaming down their bodies over the white pipe-clay, gave them a ghastly appearance. At last only the old mother was left crouching alone, utterly exhausted and moaning weakly on the grave."[1256] Then the others raised her up and rubbed off the pipe-clay with which she was covered; this was the end of the ceremony and of the mourning.[1256] Among the Warramunga, the final rite presents some rather particular characteristics. There seems to be no shedding of blood here, but the collective effervescence is translated in another manner.
Among his people, before the body is definitely interred, it is exposed upon a platform placed in the branches of a tree; it is left there to decompose slowly, until nothing remains but the bones. Then these are gathered together and, with the exception of the humerus, they are placed inside an ant-hill. The humerus is wrapped up in a bark box, which is decorated in different manners. The box is then brought to camp, amid the cries and groans of the women. During the following days, they celebrate a series of totemic rites, concerning the totem of the deceased and the mythical history of the ancestors from whom the clan is descended. When all these ceremonies have been terminated, they proceed to the closing rite.
A trench one foot deep and fifteen feet long is dug in the field of the ceremony. A design representing the totem of the deceased and certain spots where the ancestor stopped is made on the ground a little distance from it. Near this design, a little ditch is dug in the ground. Ten decorated men then advance, one behind another, and with their hands crossed behind their heads and their legs wide apart they stand astraddle the trench. At a given signal, the women run from the camp in a profound silence; when they are near, they form in Indian file, the last one holding in her hands the box containing the humerus. Then, after throwing themselves on the ground, they advance on their hands and knees, and pass all along the trench, between the legs of the men. The scene shows a state of great sexual excitement. As soon as the last woman has passed, they take the box from her, and take it to the ditch, near which is an old man; he breaks the bone with a sharp blow, and hurriedly buries it in the debris. During this time, the women have remained at a distance, with their backs turned upon the scene, for they must not see it. But when they hear the blow of the axe, they flee, uttering cries and groans. The rite is accomplished; the mourning is terminated.[1257] II II These rites belong to a very different type from those which we have studied hitherto. We do not mean to say that important resemblances cannot be found between the two, which we shall have to note; but the differences are more apparent. Instead of happy dances, songs and dramatic representations which distract and relax the mind, they are tears and groans and, in a word, the most varied manifestations of agonized sorrow and a sort of mutual pity, which occupy the whole scene. Of course the shedding of blood also takes place in the Intichiuma, but this is an oblation made with a movement of pious enthusiasm. Even though the motions may be the same, the sentiments expressed are different and even opposed. Likewise, the ascetic rites certainly imply privations, abstinences and mutilations, but ones which must be borne with an impassive firmness and serenity. Here, on the contrary, dejection, cries and tears are the rule. The ascetic tortures himself in order to prove, in his own eyes and those of his fellows, that he is above suffering. During mourning, men injure themselves to prove that they suffer. By all these signs, the characteristic traits of the piacular rites are to be recognized.
But how are they to be explained?
One initial fact is constant: mourning is not the spontaneous expression of individual emotions.[1258] If the relations weep, lament, mutilate themselves, it is not because they feel themselves personally affected by the death of their kinsman. Of course, it may be that in certain particular cases, the chagrin expressed is really felt.[1259] But it is more generally the case that there is no connection between the sentiments felt and the gestures made by the actors in the rite.[1260] If, at the very moment when the weepers seem the most overcome by their grief, some one speaks to them of some temporal interest, it frequently happens that they change their features and tone at once, take on a laughing air and converse in the gayest fashion imaginable.[1261] Mourning is not a natural movement of private feelings wounded by a cruel loss; it is a duty imposed by the group. One weeps, not simply because he is sad, but because he is forced to weep. It is a ritual attitude which he is forced to adopt out of respect for custom, but which is, in a large measure, independent of his affective state. Moreover, this obligation is sanctioned by mythical or social penalties. They believe, for example, that if a relative does not mourn as is fitting, then the soul of the departed follows upon his steps and kills him.[1262] In other cases, society does not leave it to the religious forces to punish the negligent; it intervenes itself, and reprimands the ritual faults. If a son-in-law does not render to his father-in-law the funeral attentions which are due him, and if he does not make the prescribed incisions, then his tribal fathers-in-law take his wife away from him and give him another.[1263] Therefore, in order to square himself with usage, a man sometimes forces tears to flow by artificial means.[1264] Whence comes this obligation?
Ethnographers and sociologists are generally satisfied with the reply which the natives themselves give to this question. They say that the dead wish to be lamented, that by refusing them the tribute of sorrow which is their right, men offend them, and that the only way of preventing their anger is to conform to their will.[1265] But this mythological interpretation merely modifies the terms of the problem, without resolving it; it is still necessary to explain why the dead imperatively reclaim the mourning. It may be said that it is natural for men to wish to be mourned and regretted. But in making this sentiment explain the complex system of rites which make up mourning, we attribute to the Australian affective exigencies of which the civilized man himself does not always give evidence. Let us admit--as is not evident _a priori_--that the idea of not being forgotten too readily is pleasing to a man who thinks of the future. It is still to be established that it has ever had enough importance in the minds of the living for one to attribute to the dead a state of mind proceeding almost entirely from this preoccupation. It seems especially improbable that such a sentiment could obsess and impassion men who are seldom accustomed to thinking beyond the present moment. So far is it from being a fact that the desire to survive in the memory of those who are still alive is to be regarded as the origin of mourning, that we may even ask ourselves whether it was not rather mourning itself which, when once established, aroused the idea of and the taste for posthumous regrets.
The classic interpretation appears still more unsustainable when we know what the primitive mourning consists in. It is not made up merely of pious regrets accorded to him who no longer is, but also of severe abstinences and cruel sacrifices. The rite does not merely demand that one think of the deceased in a melancholy way, but also that he beat himself, bruise himself, lacerate himself and burn himself. We have even seen that persons in mourning sometimes torture themselves to such a degree that they do not survive their wounds. What reason has the dead man for imposing such torments upon them? Such a cruelty on his part denotes something more than a desire not to be forgotten. If he is to find pleasure in seeing his own suffer, it is necessary that he hate them, that he be thirsty for their blood. This ferocity would undoubtedly appear natural to those for whom every spirit is necessarily an evil and redoubted power. But we know that there are spirits of every sort; how does it happen that the soul of the dead man is necessarily an evil spirit? As long as the man is alive, he loves his relatives and exchanges services with them. Is it not strange that as soon as it is freed from his body, his soul should instantly lay aside its former sentiments and become an evil and tormenting genius? It is a general rule that the dead man retains the personality of the living, and that he has the same character, the same hates and the same affections. So this metamorphosis is not easily understandable by itself. It is true that the natives admit it implicitly when they explain the rite by the exigencies of the dead man, but the question now before us is to know whence this conception came. Far from being capable of being regarded as a truism, it is as obscure as the rite itself, and consequently cannot account for it.
Finally, even if we had found the reasons for this surprising transformation, we would still have to explain why it is only temporary. For it does not last beyond the period of mourning; after the rites have once been accomplished, the dead man becomes what he was when alive, an affectionate and devoted relation. He puts the new powers which he receives from his new condition at the service of his friends.[1266] Thenceforth, he is regarded as a good genius, always ready to aid those whom he was recently tormenting. Whence come these successive transfers? If the evil sentiments attributed to the soul come solely from the fact that it is no longer in life, they should remain invariable, and if the mourning is due to this, it should be interminable.
These mythical explanations express the idea which the native has of the rite, and not the rite itself. So we may set them aside and face the reality which they translate, though disfiguring it in doing so. If mourning differs from the other forms of the positive cult, there is one feature in which it resembles them: it, too, is made up out of collective ceremonies which produce a state of effervescence among those who take part in them. The sentiments aroused are different; but the arousal is the same. So it is presumable that the explanation of the joyous rites is capable of being applied to the sad rites, on condition that the terms be transposed.
When some one dies, the family group to which he belongs feels itself lessened and, to react against this loss, it assembles. A common misfortune has the same effects as the approach of a happy event: collective sentiments are renewed which then lead men to seek one another and to assemble together. We have even seen this need for concentration affirm itself with a particular energy: they embrace one another, put their arms round one another, and press as close as possible to one another. But the affective state in which the group then happens to be only reflects the circumstances through which it is passing. Not only do the relatives, who are effected the most directly, bring their own personal sorrow to the assembly, but the society exercises a moral pressure over its members, to put their sentiments in harmony with the situation. To allow them to remain indifferent to the blow which has fallen upon it and diminished it, would be equivalent to proclaiming that it does not hold the place in their hearts which is due it; it would be denying itself. A family which allows one of its members to die without being wept for shows by that very fact that it lacks moral unity and cohesion: it abdicates; it renounces its existence. An individual in his turn, if he is strongly attached to the society of which he is a member, feels that he is morally held to participating in its sorrows and joys; not to be interested in them would be equivalent to breaking the bonds uniting him to the group; it would be renouncing all desire for it and contradicting himself. When the Christian, during the ceremonies commemorating the Passion, and the Jew, on the anniversary of the fall of Jerusalem, fast and mortify themselves, it is not in giving way to a sadness which they feel spontaneously. Under these circumstances, the internal state of the believer is out of all proportion to the severe abstinences to which they submit themselves. If he is sad, it is primarily because he consents to being sad, and he consents to it in order to affirm his faith. The attitude of the Australian during mourning is to be explained in the same way. If he weeps and groans, it is not merely to express an individual chagrin; it is to fulfil a duty of which the surrounding society does not fail to remind him.
We have seen elsewhere how human sentiments are intensified when affirmed collectively. Sorrow, like joy, becomes exalted and amplified when leaping from mind to mind, and therefore expresses itself outwardly in the form of exuberant and violent movements. But these are no longer expressive of the joyful agitation which we observed before; they are shrieks and cries of pain. Each is carried along by the others; a veritable panic of sorrow results. When pain reaches this degree of intensity, it is mixed with a sort of anger and exasperation. One feels the need of breaking something, of destroying something. He takes this out either upon himself or others. He beats himself, burns himself, wounds himself or else he falls upon others to beat, burn and wound them. Thus it became the custom to give one's self up to the veritable orgies of tortures during mourning. It seems very probable that blood-revenge and head-hunting have their origin in this. If every death is attributed to some magic charm, and for this reason it is believed that the dead man ought to be avenged, it is because men must find a victim at any price, upon whom the collective pain and anger may be discharged. Naturally this victim is sought outside the group; a stranger is a subject _minoris resistentiæ_; as he is not protected by the sentiments of sympathy inspired by a relative or neighbour, there is nothing in him which subdues and neutralizes the evil and destructive sentiments aroused by the death. It is undoubtedly for this same reason that women serve more frequently than men as the passive objects of the cruellest rites of mourning; since they have a smaller social value, they are more obviously designated as scapegoats.
We see that this explanation of mourning completely leaves aside all ideas of souls or spirits. The only forces which are really active are of a wholly impersonal nature: they are the emotions aroused in the group by the death of one of its members. But the primitive does not know the psychical mechanism from which these practices result. So when he tries to account for them, he is obliged to forge a wholly different explanation. All he knows is that he must painfully mortify himself. As every obligation suggests the notion of a will which obliges, he looks about him to see whence this constraint which he feels may come. Now, there is one moral power, of whose reality he is assured and which seems designated for this rôle: this is the soul which the death has liberated. For what could have a greater interest than it in the effects which its own death has on the living? So they imagine that if these latter inflict an unnatural treatment upon themselves, it is to conform to its exigencies. It was thus that the idea of the soul must have intervened at a later date into the mythology of mourning. But also, since it is thus endowed with inhuman exigencies, it must be supposed that in leaving the body which it animated, the soul lays aside every human sentiment. Hence the metamorphosis which makes a dreaded enemy out of the relative of yesterday. This transformation is not the origin of mourning; it is rather its consequence. It translates a change which has come over the affective state of the group: men do not weep for the dead because they fear them; they fear them because they weep for them.