Darwin and Modern Science [348]
is that he has not danced enough and not made enough tesvino, his cereal intoxicant.
Dancing then is to the savage WORKING, DOING, and the dance is in its origin an imitation or perhaps rather an intensification of processes of work. (Karl Bucher, "Arbeit und Rhythmus", Leipzig (3rd edition), 1902, passim.) Repetition, regular and frequent, constitutes rhythm and rhythm heightens the sense of will power in action. Rhythmical action may even, as seen in the dances of Dervishes, produce a condition of ecstasy. Ecstasy among primitive peoples is a condition much valued; it is often, though not always, enhanced by the use of intoxicants. Psychologically the savage starts from the sense of his own will power, he stimulates it by every means at his command. Feeling his will strongly and knowing nothing of natural law he recognises no limits to his own power; he feels himself a magician, a god; he does not pray, he WILLS. Moreover he wills collectively (The subject of collective hallucination as an element in magic has been fully worked out by MM. Hubert and Mauss. "Theorie generale de la Magie", In "L'Annee Sociologique", 1902--3, page 140.), reinforced by the will and action of his whole tribe. Truly of him it may be said "La vie deborde l'intelligence, l'intelligence c'est un retrecissement." (Henri Bergson, "L'Evolution Creatrice", page 50.)
The magical extension and heightening of personality come out very clearly in what are rather unfortunately known as MIMETIC dances. Animal dances occur very frequently among primitive peoples. The dancers dress up as birds, beasts, or fishes, and reproduce the characteristic movements and habits of the animals impersonated. So characteristic is this impersonation in magical dancing that among the Mexicans the word for magic, navali, means "disguise." K. Th. Preuss, "Archiv f. Religionswissenschaft", 1906, page 97.) A very common animal dance is the frog-dance. When it rains the frogs croak. If you desire rain you dress up like a frog and croak and jump. We think of such a performance as a conscious imitation. The man, we think, is more or less LIKE a frog. That is not how primitive man thinks; indeed, he scarcely thinks at all; what HE wants done the frog can do by croaking and jumping, so he croaks and jumps and, for all he can, BECOMES a frog. "L'intelligence animale JOUE sans doute les representations plutot qu'elle ne les pense." (Bergson, "L'Evolution Creatrice", page 205.)
We shall best understand this primitive state of mind if we study the child "born in sin." If a child is "playing at lions" he does not IMITATE a lion, i.e. he does not consciously try to be a thing more or less like a lion, he BECOMES one. His reaction, his terror, is the same as if the real lion were there. It is this childlike power of utter impersonation, of BEING the thing we act or even see acted, this extension and intensification of our own personality that lives deep down in all of us and is the very seat and secret of our joy in the drama.
A child's mind is indeed throughout the best clue to the understanding of savage magic. A young and vital child knows no limit to his own will, and it is the only reality to him. It is not that he wants at the outset to fight other wills, but that they simply do not exist for him. Like the artist he goes forth to the work of creation, gloriously alone. His attitude towards other recalcitrant wills is "they simply must." Let even a grown man be intoxicated, be in love, or subject to an intense excitement, the limitations of personality again fall away. Like the omnipotent child he is again a god, and to him all things are possible. Only when he is old and weary does he cease to command fate.
The Iroquois (Hewitt, "American Anthropologist", IV. I. page 32, 1902, N.S.) of North America have a word, orenda, the meaning of which is easier to describe than to define, but it seems to express the very soul of magic. This orenda is your power to do things, your force, sometimes almost your personality. A man who hunts well has
Dancing then is to the savage WORKING, DOING, and the dance is in its origin an imitation or perhaps rather an intensification of processes of work. (Karl Bucher, "Arbeit und Rhythmus", Leipzig (3rd edition), 1902, passim.) Repetition, regular and frequent, constitutes rhythm and rhythm heightens the sense of will power in action. Rhythmical action may even, as seen in the dances of Dervishes, produce a condition of ecstasy. Ecstasy among primitive peoples is a condition much valued; it is often, though not always, enhanced by the use of intoxicants. Psychologically the savage starts from the sense of his own will power, he stimulates it by every means at his command. Feeling his will strongly and knowing nothing of natural law he recognises no limits to his own power; he feels himself a magician, a god; he does not pray, he WILLS. Moreover he wills collectively (The subject of collective hallucination as an element in magic has been fully worked out by MM. Hubert and Mauss. "Theorie generale de la Magie", In "L'Annee Sociologique", 1902--3, page 140.), reinforced by the will and action of his whole tribe. Truly of him it may be said "La vie deborde l'intelligence, l'intelligence c'est un retrecissement." (Henri Bergson, "L'Evolution Creatrice", page 50.)
The magical extension and heightening of personality come out very clearly in what are rather unfortunately known as MIMETIC dances. Animal dances occur very frequently among primitive peoples. The dancers dress up as birds, beasts, or fishes, and reproduce the characteristic movements and habits of the animals impersonated. So characteristic is this impersonation in magical dancing that among the Mexicans the word for magic, navali, means "disguise." K. Th. Preuss, "Archiv f. Religionswissenschaft", 1906, page 97.) A very common animal dance is the frog-dance. When it rains the frogs croak. If you desire rain you dress up like a frog and croak and jump. We think of such a performance as a conscious imitation. The man, we think, is more or less LIKE a frog. That is not how primitive man thinks; indeed, he scarcely thinks at all; what HE wants done the frog can do by croaking and jumping, so he croaks and jumps and, for all he can, BECOMES a frog. "L'intelligence animale JOUE sans doute les representations plutot qu'elle ne les pense." (Bergson, "L'Evolution Creatrice", page 205.)
We shall best understand this primitive state of mind if we study the child "born in sin." If a child is "playing at lions" he does not IMITATE a lion, i.e. he does not consciously try to be a thing more or less like a lion, he BECOMES one. His reaction, his terror, is the same as if the real lion were there. It is this childlike power of utter impersonation, of BEING the thing we act or even see acted, this extension and intensification of our own personality that lives deep down in all of us and is the very seat and secret of our joy in the drama.
A child's mind is indeed throughout the best clue to the understanding of savage magic. A young and vital child knows no limit to his own will, and it is the only reality to him. It is not that he wants at the outset to fight other wills, but that they simply do not exist for him. Like the artist he goes forth to the work of creation, gloriously alone. His attitude towards other recalcitrant wills is "they simply must." Let even a grown man be intoxicated, be in love, or subject to an intense excitement, the limitations of personality again fall away. Like the omnipotent child he is again a god, and to him all things are possible. Only when he is old and weary does he cease to command fate.
The Iroquois (Hewitt, "American Anthropologist", IV. I. page 32, 1902, N.S.) of North America have a word, orenda, the meaning of which is easier to describe than to define, but it seems to express the very soul of magic. This orenda is your power to do things, your force, sometimes almost your personality. A man who hunts well has