They had a long rope, a man at each end to swing it. When it is in full swing in goes the skipper. After skipping in an ordinary way for a few rounds, he begins the variations, which consist, amongst other things, of his taking thorns out of his feet, digging as if for larv' of ants, digging yams, grinding grass-seed, jumping like a frog, doing a sort of cobbler's dance, striking an attitude as if looking for something in the distance, running out, snatching up a child, and skipping with it in his arms, or lying flat down on the ground, measuring his full length in that position, rising and letting the rope slip under him; the rope going the whole time, of course, never varying in pace nor pausing for any of the variations.

The one who can most successfully vary the performance is victor. Old men of over seventy seemed the best at skipping.

There is great excitement over Bubberah, or come-back boomerang throwing.

Every candidate has a little fire, where, after having rubbed his bubberah with charred grass and fat, he warms it, eyes it up and down to see that it is true, then out he comes, weapon in hand. He looks at the winning spot, and with a scientific flourish of his arm sends his bubberah forth on its circular flight; you would think it was going into the Beyond, when it curves round and comes gyrating back to the given spot. Here again the old ones score.

Wungoolay is another old game.

A number of black fellows arm themselves with a number of spears, or rather pointed sticks, between four and five feet long, called widyu-widyu. Two men take the wungoolays, which are pieces of bark, either squared or roughly rounded, about fifteen inches in diameter. These men go about fifty yards from each other; first one and then another throws the wungoolays, which roll swiftly along the ground past the men with the spears, who are stationed midway between the other two a few yards from the path of the wungoolays, which, as they come rolling rapidly past, the men try to spear with their widyu-widyu; he who hits the most, wins the game. It looks easy enough, but here again the old men scored.

For Gurril Boodthul, if a bush is not at hand, a bushy branch of a tree is stuck up. The men arm themselves with small boodthuls, or miniature waddies, then stand a few feet behind the bush, which varies from five to eight feet or so in height at competitions. They throw their boodthuls in turn; these have to skim through the top of the bush, which seems to give them fresh impetus instead of slackening them. The distance they go beyond is the test of a good thrower; over three hundred yards is not unusual. As practice in this game is kept up, the young men hold their own.

There is another throwing stick somewhat larger than the gurril boodthul, which only weighs about three ounces, and is about a foot in length. The other stick is thrown to touch the ground, then bound on, sometimes making one high long leap, sometimes a series of jumps, as a flat pebble does when thrown along the water in the game children call 'ducks and drakes.'

Yahweerh is a sort of sham trial fight. One man has a bark shield, and he has to defend himself with it from the bark toy boomerangs the others throw. Here again the old men win. Their games, which old and young alike play, are distinctly childish.

Boogalah, or ball, is one. In playing this all of one Dhe, or totem, are partners. The ball, made of sewn-up kangaroo skin, is thrown in the air; whoever catches it goes with his or her division – for women join in this game – into a group in the middle, the other circling round. The ball is thrown in the air, and if one of the circle outside the centre ring catches it, then his side namely, all his totem – go into the middle, the others circling round, and so on. The totem keeping it longest wins.

Goomboobooddoo, or wrestling, is a great Boorah-time entertainment. Family clan against clan. Kubbee against Hippi, and so on. A Hippi, for example, will go into a ring and plant there a mudgee, or painted stick with a bunch of feathers at the top. In will run a Kubbee and try to make off with the stick; Hippi will grapple with him, and a wrestling match comes off. Into the ring will go others of each side wrestling in their turn. The side that finally throws the most men, and gets the mudgee, wins. Before wrestling matches, there is much greasing of bodies to make them slippery.

Wimberoo was a favourite fireside game. A big fire was made of leafy branches. Each player got a dry Coolabah leaf, warmed it until it bent a little, then placed it on two fingers and hit it with one into where the current of air, caused by the flame, caught it and bore it aloft. They all jerked their leaves together, and anxiously watched whose would go the highest. Each watched his leaf descend, caught it, and began again. So on until tired.

Woolbooldarn is an absolutely infantile game. A low, overhanging branch of a tree is chosen, and as many as it will bear, old and young, men and women, straddle it; and, holding on to the higher overhanging branches, they swing up and down with as much spring as they can get out of the branch they are on.

Whagoo is just like our I hide and seek.'

Gooumoorhs, or corroborees, are of course their greatest entertainment, their opera, ballet, and the rest; only they reverse the usual order of things obtaining elsewhere. The women form the orchestra, the men are the dancers, as a rule, though women do on occasions take part too. The dancers rarely sing while performing their evolutions, though they will end up a measure at times with a loud 'Ooh! Ooh!' or 'Wahl Wah!'

There are two dances they think very clever: one a sort of in and out movement with the knees, while keeping the feet close together. Another, which they called I shivering of the chest,' a sort of drawing in and out of their breath, causing a vibratory motion.

Then they give a sort of Sandow performance all in time to the music. They first start the muscles of their legs showing, then the arms, and down the sides of the chest. I am afraid I was not educated up to be appreciative of any of these special wonders, though Matah and others said their muscular training was marvellous.

From a spectacular point of view I thought much more interesting a corroboree illustrating the coming of the first steamer up the Barwon.

The steamer was made – for the corroboree, I mean – of logs with mud layered over them, painted up, a hollow log for a funnel in the middle. There was a little opening in the far side of the steamer in which a fire was made, the smoke issuing through the hollow log in the most realistic fashion. The blacks who first came on the stage were all supposed to represent various birds disturbed by this strange sight – cranes, pelicans, black swans, and ducks. The peculiarities of each bird were well imitated; and as each section in turn was startled, their cries were realistically given. Hearing which, on the scene came some armed black fellows, who, seeing what the birds had seen, started back in astonishment, seemed to have a great dumb-show palaver, then one by one, clutching their weapons, they came forward to more closely examine the new 'debbil debbil.' Here some one would stoke the fire, out would belch through the funnel a big smoke and a lapping flame, away went the blacks into the bush as if too terrified to stay. But you can't describe a corroboree, it wants the scenic effects of the grim bush: tapering, dark Belahs, Coolabahs contorted into quaint shapes and excrescences by extremes of flood and drought, and their grotesqueness lit up by the flickering fires, until the trees themselves look like demons of the night, and the painted black fellows their attendant spirits stealing into the firelight from what seems a vast, dark, unknown Beyond.

The sing-song seems to suit it, and the well-timed clicking of the boomerangs and thudding of the rolled-up rugs. The blacks are great patrons of art, and encourage native talent in the most praiseworthy way; although, judging from one of their legends, you might think they were not.

This legend tells how Goolahwilleel had the soul of an artist, and when his family sent him out to hunt their daily dinner, he forgot his quest and perfected his art, which was the modelling of a kangaroo in gum. When his work was finished, with the pride of a successful artist he returned for applause.

His family demanded of him meat; he showed his kangaroo.

His masterpiece was unappreciated. Even as did Palissy's – of pottery fame – wife, so did Goolahwilleel's family revile him.

His freedom to wander at will, seeking inspiration and giving it form, was taken from him. He was driven out: daily to slay, that his family might feed, and never again was he let go alone – a crowd of relations went with him!

Figure to yourself what a damper to inspiration must have been that crowd of relations; how it must have slain the artist in Goolahwilleel.

How the old legend repeats itself, and now as then, how often the artist is woman – slain that she by the caterer may live. Surely in the interests of intellect was the prayer made: 'Give us our daily bread.'

Perhaps the old legend of Goolahwilleel was originally told with a moral, and that may be: why black artists are so well treated now.

A maker of new songs or corroborees is always kept well supplied with the luxuries of life; it may be that such an one is a little feared as being supposed to have direct communication with the spirits who teach him his art. A fine frenzy is said to seize some of their poets and playwrights, who, for the time being, are quite under the domination of the spirits – possessed of devils, in fact. When the period of mental incubation is over and the song hatched out, the possessed ones return to their normal condition, the devils are cast out, and the songs are all that remain in evidence that the artist was ever possessed.

Some songs do not require this process of fine frenzy they come along in the course of barter, handed from tribe to tribe.

Ghiribul, or riddles, play a great part in their social life, and he who knows many is much sought after.

Most of these ghiribul are not translatable, being little songs describing the things to be guessed, whose peculiarities the singer acts as he sings – a sort of one-man show, pantomime in miniature, with a riddle running through it.

Some which I will give indicate the nature of others.

What is it that says to the flood-water, 'I am too strong for you; you can not push me back'? ANS. Goodoo, the codfish.

What is it that says, 'You cannot help yourself; you will have to go and let me take your place; you cannot stay when I come'? ANS. The grey hairs in a man's beard to the black ones.

'If a man hide himself so that his wife could not see him, and he wanted her to know where he was, yet had promised not to speak, laugh, cry, sneeze, cough, nor move his hands nor feet, how could he do so?' ANS. Whistle.

'The strongest man cannot stand against me. I can knock him down, yet I do not hurt him. He feels better for my having knocked him down. What am I?' ANS. Sleep.

'I am not water, yet all who are thirsty, seeing me, come toward me to drink, though I am no liquid. What am I?' Ans. Mirage.

'What is it that goes along the creek, across the creek, underneath it, and along it again, and yet has left neither side?' ANS. The yellow-flowering creeping water-weed.

'Here I am, just in front of you. I can't move; but if you kick me, I will knock you down, though I will not move to do it. Who says this?' ANS. A stump that any one falls over.

'You cannot walk without me, yet you grease your body and forget me and let me crack, even though but for me you could neither walk nor run. Who says that?' ANS. A black fellow's feet, which he neglects to grease when doing the rest of his body.

With riddles ends, I think, the list of the blacks' amusements, unless you count fights. The blacks are a bit Celtic in that way; some are real fire-eaters, always spoiling for a row. But in most everyday rows the feelings are more damaged than the bodies.

An old gin in a rage will say more in a given time, without taking breath, than any human being I have ever seen; it is simply physiologically marvellous. From the noise you would think murder at least would result. You listen in dread of a tragedy; you hear the totem and multiplex totems of her opponent being scoffed at, strung out one after another, deadly insult after deadly insult. The insulted returns insult for insult; result, a lively cross fire.

It lulls down; the insults are exhausted, quietude reigns. Some one makes a joke, all are laughing together in amity. From impending tragedy to comedy the work of a few minutes. A mercurial race indeed, but not a forgetful one. A black fellow never forgives a broken promise, and he can cherish a grudge from generation to generation as well as remember a kindness.

Though, when high pitched in quarrels, their voices lose their natural tones, as a rule those of the blacks are remarkably sweet and soft, quite musical; their language noticeable for its freedom from harsh sounds.

CHAPTER XVI

BUSH BOGIES AND FINIS

Weeweemul is a big spirit that flies in the air; he takes the bodies of dead people away and eats them. That is why the dead are so closely watched before burial.

Gwaibooyanbooyan is the hairless red devil of the scrubs, who kills and eats any one he meets, unless they are quick enough to get away before he sees them, as one woman of this tribe is said to have done on the Eurahbah ridge. It would really seem as if there were a debbil debbil on that ridge; every boundary rider who lives there takes to drink. I think the red spirit must be rum.

Marahgoo are man-shaped devils, to be recognised by the white swansdown cap they wear, and the red rugs they carry. Red is a great devil's colour amongst blacks some will never wear it on that account.

These Marahgoo always have with them a mysterious drink, which they offer to any one they meet. It is like drinking dirt, and makes the drinker dream dreams and see visions, in which he is taken down to the underground spirit-world of the Marahgoo, where anything he wishes for appears at once. The entrance to this world is said to be near a never-drying waterhole, in a huge scrub, near Pilliga. If a man drinks the draught, unless he is made Marahgoo, he dies.

Each totem is warned by its bird sub-totems of the coming of Marahgoo, and after such a warning tribes take care, if wise, to stay in camp; or should a man go out, he will smear his face with black, and put rings of black round his wrists and ankles, and probably have a little charm song sung over him.

Birrahmulgerhyerh are blacks with devils in them, who, armed with bags full of poison-sticks, or bones – called gooweera – are invisible to all but wirreenuns or wizards. Others are warned of their coming by hearing the rattle of the gooweeras knocking together. When the Birrahmulgerhyerh are about, all are warned not to carry firesticks, which at other times after dark they are never without in order to scare off spirits, but now such a light would show the Birrahmulgerhyerh where to point their gooweeras. They are said only to point these poison-sticks at law-breakers, and even then only against persons in a strange country. Their own land is down Brewarrina way, but there they make no punitive expeditions, travelling up the Narran and elsewhere for that purpose.

The Euloowayi, or long-nailed devils, are spirits which live where the sun sets. Just as the afterglow dies in the sky, they come out victim-hunting. These Euloowayi demand a tribute of young black men from the camp, to recoup their own ranks.

When this tribute has to be paid, the old men get some ten or so young ones, and march them off to a Minggah at about ten or fifteen miles from the camp. There they make them climb into the Ming-ah, to sit there all day. They must not move, not even so much as wink an eyelid. At night time they are allowed to come down, and are given some meat, which they must eat raw.

The old men from the camp go back leaving their victims with the Euloowayi, who keep the boys up the tree for some days, bringing them raw meat at night. At last they say:

'Come and try if your nails are long and strong enough. See who can best tear this bark off with them.'

They all try, and if all are equally good, the old Euloowayi say:

'You are right. How do you feel?'

'Strong,' they answer.

They are kept on the tree about a month, then taken into the bush to hunt human beings, to deceive whom they take new forms at times. A couple of blacks may be hunting – one will be after honey, another after opossums. The one after opossums will go to a tree, see an opossum, chop into the tree, seize the opossum by the tail as usual. He cannot move him. He'll seize him by the hind legs, still he cannot move him. Then he will hear a voice say, 'Leave him alone, you can't move him.'

The hunter will look down, see nothing but a rainbow at the foot of the tree. Wonderingly he'll come down, and immediately the Euloowayi, who have been in the form of the opossum in the tree and the rainbow on the ground, seize him, tear him open with their long nails, take out all his fat, stuff him up again with grass and leaves, and send him back to the camp. When he reaches there, he starts scolding every one. Probably they guess by his violent words and actions that he is a victim of the Euloowayi. If so, they are careful not to answer him; were they to do so he would drop dead. Any way, he will die that night. When the magpies and butcher-birds sing much it is a sign the Euloowayi are about.

Gineet Gineet, so called from his cry, is the bogy that black children dread. He is a black man who goes about with a goolay or net across his shoulders, into which he pops any children he can steal.

Several waterholes are taboo as bathing-places. They are said to be haunted by Kurreah, which swallow their victims whole, or by Gowargay, the featherless emu, who sucks down in a whirlpool any one who dares to bathe in his holes.

Nahgul is the rejected Gayandil who was found by Byamee too destructive to act as president of the Boorahs.

He principally haunts Boorah grounds. He still has a Boorah gubberrah, a sacred stone, inside him, hence his strength.

He sets string traps for men, touching which they feel ill, and suddenly drop down never to rise again. The wirreenuns know then that Nahgul is about. They find out where he is. Circling, at a good distance, the spot he is on, they corroboree round it. Hearing them, Nahgul comes out. They close in and seize him, kill him, drink his blood, and eat him; by so doing gaining immense additional strength.

Marmbeyah are tree spirits, somewhat akin to the Nats of Burmah. One, a huge, fat spirit – if you can imagine a fat spirit – carried a green boondee, or waddy, with which he tapped people on the backs of their necks: result, heat apoplexy. A few years ago, an old black fellow laid wait for him and 'flattened him out,' since which there has been no heat apoplexy. We think it is because the bad times have made people too poor to overheat themselves with bad spirits of a liquid kind. The blacks differ, and certainly there were some cases of even total abstainers falling victims to the heat wave.

Hatefully frequent devil visitors are those who animate the boolees, or whirlwinds. If these whirl near the house they smother everything with debris and dust.

The Black-but-Comelys say, as they clear the dirt away: 'I wish whoever in this house those boolees are after would go out when they come, not let 'em hunt after 'em here and make this mess.'

The Wurrawilberos chiefly animate these. But sometimes the wirreenuns use whirlwinds as mediums of transit for their Mullee Mullees, or dream spirits, sent in pursuit of some enemy, to capture a woman, or incarnate child spirit; women dread boolees, more even than men, on this account. Great wirreenuns are said to get rid of evil spirits by eating the form in which they appear. I'm sure we all swallowed a good share of the dust devils, but still they came; evidently we were not wizards or witches.

The plain of Weawarra is haunted. Once long ago there was a fight there. Two young warriors but lately married were slain. As their bodies were never recovered, they were supposed to have been stolen and eaten by the enemy. Their young widows spent days searching for them, after the tribe had given up hope of finding them. At last the widows – who had refused to marry again, declaring their husbands yet lived, and that one day they would find them – disappeared.

Time passed; they did not return, so were supposed to be dead too. Then arose the rumour that their ghosts had been seen, and to this day it is said the plain of Weawarra is haunted by them.

Should men camp there at night, these women spirits silently steal into the camp. The men, thinking they are women from some tribe they do not know, speak to them; but silently there they sit, making no answer, and vanish again before the dawn of day, to renew their search night after night.

The high ridges above Warrangilla are haunted by two women, who tradition says were buried alive. Their spirits have never rested, but come out at all times from the huge fissure in the ridges where their bodies were put. Their anguished cries as the stones and earth fell on them are still to be heard echoing through the scrub there; and sometimes it is said one, keener sighted than his fellows, sees their spirit forms flitting through the Budtha bushes, and hears again their tragic cries, as they disappear once more into the fathomless fissure.

There is a tradition – common, I believe, to many black tribes, even outside Australia – that, long before the coming of the white people into this country, two beautiful white girls lived with the blacks. They had long hair to their waists. They were called Bungebah, and were killed as devils by an alien tribe somewhere between Noorahwahgean and Gooroolay. Where their blood was spilled two red-leaved trees have grown, and that place is still haunted by their spirits.

Amid the Cookeran Lake still wanders the woman who arrived late at the big Boorah, having lost her children one by one on the track, arriving at last with only her dead baby in the net at her back. As she died she cursed the tribes who had deserted her, and turned them into trees. Some of the blacks were in groups a little way off; those, too, she cursed, and they were changed into forests of Belah, which look dark and funereal as you drive through them; and the murmuring sound, as the wind wails through their tops, has a very sad sound. She wanders through these forests and round the lake, the dead baby still in the goolay on her back, and sometimes her voice is heard mingling with the voices of the forest; and as the shadows fall, she may be seen flitting past, they say.

Noorahgogo is a very handsome bronze and peacock-blue beetle, said to embody a spirit which always answers the cry of a Noongahburrah in the bush. The bright orange-red fungi on the fallen trees are devils' bread, and should a child touch any he will be spirited away.

Very mournful are the bush nights if you happen to be alone on your verandah. Away on the flat sound the c

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The Euahlayi Tribe: A Study of Aboriginal Life in Australia

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