cannot well go on "begetting boys" where he is rooted to a crystal rock, and excludes women like a Trappist monastery. The earlier recorded belief does not cease to be a fact in evidence because a contradictory belief is produced from an extremely Europeanised set of natives, not, of course, that they adopted these ideas from Europeans. Again, at this charitably supported recent Bora there was a kangaroo dance, as all kinds of animal dances occur, whether in a totemistic connection or as "medicine-dances" to secure success in hunting.[1] A myth is told of the institution of this dance by Baiame, "this Creator skulks in a tree" (like Zeus in the oak),[2] and his effigy shows him sprawling in a futile effort to catch an emu. I venture to suggest that the dance being practised, an ætiological myth of the usual kind was told to explain the origin of the dance and adventure. "Baiame first danced the dance, and had the tumble." Ritual is the parent of myth, as Mr. Frazer says. In just the same way the rite with an oak-tree bride in Greece was explained by an ætiological myth about Zeus, the tree, and Hera. This did not detract from the honour of Zeus, and I ask no more licence for Australian than for Greek ritual. Both rituals contain humorous or even disgraceful incidents; both are connected with high Gods. The Eleusinia consoled and fortified Pindar and Sophocles, despite the pigs, the buffooneries, the obscenities of Baubo, and perhaps the licentious orgies, which, Mr. Matthews was told, occur in one night in the Wiradthuri rites. I don't want to "shirk" any such details, Greek or Australian, they in no way impede my argument.[3]
- ↑ Collins, 1798, records this dance, or one similar.
- ↑ For Zeus and the Oak see The Golden Bough, vol ii., p. 369, note 2, but I cannot here agree with Mr. Frazer.
- ↑ The bullock represented in the Bora of 1894 may promote success in cattlestealing, for aught I know; of course it could not occur before we brought in bullocks. It can hardly be a totem!
