XVI MAGIC, SPELLS, AND CHARMS 121 



The crowd of people, men and women, sitting 

 round the central figure, join in the Bali Dayong, 

 which recurs as the refrain at the end of each verse, 

 intoning in loud deep voices. It seems clear from 

 the use of the words Bali Dayong that the whole is 

 addressed to some superior power ; for no human 

 Dayong, and indeed no human being, is addressed 

 or spoken of with the title Bali. And it would 

 perhaps be more correct, therefore, to describe 

 the address as a supplication rather than an in- 

 cantation, and the whole operation as a re- 

 ligious rite rather than a magical procedure. 

 But we are here on the disputed borderland 

 between magic and religion, and other features 

 incline us to regard the process as magical rather 

 than religious. 



During the singing of a number of verses in this 

 way, the Dayong seems to become more and more 

 distraught and unconscious of his surroundings ; and 

 when the singing ceases he behaves in a strange 

 manner, which strikes the attendant crowd with awe, 

 starting suddenly and making strange clucking noises. 

 Then he produces the tube mentioned above, and 

 pressing one end upon the skin of the part indicated 

 by the patient as the seat of the pain, he sucks 

 strongly, and, presently withdrawing it, he blows 

 out of it on to his palm a small black pellet, which 

 moves mysteriously upon his hand as he exhibits it 

 to the patient and his friends as the cause of the pain ; 

 and if the patient has complained of more than one 

 seat of pain, the operation is repeated. It only 

 remains for the Dayong to return gradually with 

 some violent gestures and contortions to his normal 

 state, and to receive his fee, which properly consists 

 of the sword used by him in the ceremony, and a 

 live fowl. The whole procedure is very well adapted 

 to secure therapeutic effects by suggestion. The 

 singing and the atmosphere of awe engendered by 



