VI

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

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

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

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

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

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

Sîyá Siya hill   (on) dábanâ top of Tókunâ Takuna ínenâ. the women. Sinegu My mother bwaga’u, sorcerer, tatogu myself bwaga’u. sorcerer.

These words are pronounced with a heavy, thumping rhythm, as indicated by the sharp and circumflex accents. The second line shows a rhythmic and symmetrical arrangement of words. The remainder of the u’ula of this spell is similar to the same part in the wayugo spell, which has been given here in full native text (compare the free translations of both spells in previous Chapters).

In the ligogu spell of the same Chapter, the u’ula opens with another juggling of words:—

virayra’i (repeated); female rayra’i; morayra’i (repeated); male rayra’i; basilabusi I shall penetrate   (at) Wayayla, Wayayla, basilalaguwa I shall emerge   (at) Oyanaki; Oyanaki; basilalaguwa I shall emerge   (at) Wayayla, Wayayla, basilabusi I shall penetrate Oyanaki; Oyanaki;

This part of the u’ula has not been translated in the text, as its meaning is ‘magical’ and can be better grasped in connection with the native text. The word rayra’i is a magical word only. It is first given with the antithetic opposition of the male and female prefixes vi- and mo-. The following phrase is a typical example of a geographical antithesis. The two names refer to the promontories facing one other across the sea passage Kaulokoki, between Boyowa and Kayleula. Why those two points are mentioned I could not find out.

In the kadumiyala spell, given in Chapter IX, we have the following opening:—

Vinapega, pega; vinamwana, mwana;
nam mayouyai, makariyouya’i, odabwana;
nam mayouya’i, makariyouya’i, o’u’ula.

In the first line, we have the symmetrically uttered and prefixed names of the two flying or jumping fishes, pega and mwana. The prefix vina- is probably the female prefix and may convey the meaning of flying’s being associated with women, that is with the flying witches. The second and third verse contain a play on the root yova or yo’u ‘to fly,’ reduplicated and with several affixes added. These two verses are brought into a sort of antithesis by the last two words, odabwana and o’u’ula, or ‘at the top,’ and ‘at the bottom,’ or here, probably, at the one end of the canoe and at the other.

In the Bisila spell, given in the same chapter, we have the beginning:—

Bora’i, bora’i, borayyova, biyova;
Bora’i, bora’i, borayteta, biteta.

The word bora’i seems to be again a purely magical one. The prefix bo- carries the meaning of tabooed, or ritual; the root ra’i suggests similarity with the above quoted magical word rayra’i, which is obviously merely a reduplicated form of ra’i. This is therefore a rhythmically constructed play on the magical root ra’i, and the words yova, ‘to fly,’ and teta, ‘to be poised,’ ‘to soar.’

The Kayikuna veva spell presents the following rhythmic and symmetrical exordium:—

Bosuyasuya (repeated); boraguragu (repeated).
Bosuya olumwalela; boyragu akatalena.

The exact meaning of the two words is not quite clear, except that they represent magical influences. Their arrangement and the antithesis of olumwalela (‘middle part,’ ‘inside’), and katalena (‘body’ or ‘outside’) is in keeping with the features observed in the other beginnings here quoted.