spot and at a very high rate, else they have no efficacy. They are uttered slowly in a subdued, mystic tone;[1] it seems as though they were connected to a certain extent with witchcraft. They remind us forcibly of our old witch-crones and their often meaningless formulas. It seems to me probable that they must be reminiscences of old customs, imported from outside, whose original signification has been lost. According to Rink, charms may also be learnt by listening to the song of birds.[2]
Besides these formulas, magic songs are also in use. The words of these, however, are comprehensible, and they may be sung in the hearing of others.
According to Rink, it is as a rule the deceased relations and ancestors of the person using the charm, and especially his grandparents, whose help is invoked in these formulas and in the songs. From Holm's account, on the other hand, we gather nothing of this sort. It seems to me not unreasonable, however, to suppose that they, and also the amulets, have often a certain connection with the dead, and may thus be the beginning of (or a survival from) a more developed ancestor-worship. When a boy is for the first time placed in a kaiak, the father, by
