missionaries. The measure of love, in time of joy or in time of grief, was indicated by the measure of blood drawn from the person of the loving one. Particularly was this the case with the women; perhaps because they, in Otaheite as elsewhere, are more loving in their nature, and readier to give of their very life in love.
“When a woman takes a husband,” says a historian of the first missionary work in Otaheite, “she immediately provides herself with a shark’s tooth, which is fixed, with the bread-fruit gum, on an instrument that leaves about a quarter of an inch of the tooth bare, for the purpose of wounding the head, like a lancet. Some of these have two or three teeth, and struck forcibly they bring blood in copious streams; according to the love they bear the party, and the violence of their grief, the strokes are repeated on the head; and this has been known to bring on fever, and terminate in madness. If any accident happen to the husband, [to] his relations, or friends, or their child, the shark’s tooth goes to work; and even if the child only fall down and hurt itself, the blood and tears mingle together. … They have a very similar way of expressing their joy as well as sorrow; for whether a relation dies, or a dear friend returns from a journey, the shark’s tooth instrument … is again employed, and the blood streams down. … When a person of eminence dies … the relatives and friends … repeat before it [the corpse] some of the tender scenes which happened during their life time, and wiping the blood which the shark’s teeth has drawn, deposit the cloth on the tupapow as the proof of their affection.”[174]
In illustration of this custom, the same writer says, in the course of his narrative: “When we had got within a short mile of the Isthmus, in passing a few houses, an aged woman, mother to the young man who carried my linen, met us, and to express her joy at seeing her son, struck herself several times on the head with a shark’s tooth, till the blood flowed plentifully down her breast and shoulders, whilst the son beheld it with entire insensibility [He saw in it only the common proof of his mother’s devoted love]. … The son seeing that I was not pleased with what was done, observed coolly, that it was the custom of Otaheite.”[175]
This custom is again referred to by Mr. Ellis, as observed by him in the Georgian and the Society Islands, a generation later than the authority above cited. He speaks of the shark’s tooth blood-letter, as employed by men, as well as by women; although more commonly by the latter. He adds another illustration of the truth, that it is the blood itself, and not any suffering caused by its flowing, that is counted the proof of affection; by its representing the outpoured life, in pledge of covenant fidelity.
Describing the scenes of blood-giving grief, over the dead bodies of the mourned loved ones, he says: “The females on these occasions sometimes put on a kind of short apron, of a particular sort of cloth; which they held up with one hand, while they cut themselves with the other. In this apron they caught the blood that flowed from these grief-inflicted wounds, until it [the apron] was almost saturated. It was then dried in the sun, and given to the nearest surviving relatives, as a proof of the affection of the donor, and was preserved by the bereaved family as a token of the estimation in which the departed had been held.”[176] There is even more of vividness in this memorial, than in that suggested by the Psalmist, when he says:
“Put thou my tears into thy bottle.”[177]
There would seem to be a suggestion of this same idea in one of Grimm’s folk-lore fairy tales of the North. A queen’s daughter is going away from her home, attended by a single servant. Her loving mother would fain watch and guard her in her absence. Accordingly, “as soon as the hour of departure had arrived, the mother took her daughter into a chamber, and there, with a knife, she cut her [own] finger with it, so that it bled. Then, she held her napkin beneath, and let three drops of blood fall into it; which she gave to her daughter, saying: ‘Dear child, preserve this well, and it will help you out of trouble.’ ”[178] That blood represented the mother’s very life. It was accustomed to speak out in words of counsel and warning to the daughter. But by and by the napkin which held it was lost, and then the power of the young princess over her mother’s servant was gone, and the poor princess was alone in the wide world, at the mercy of strangers.
Acting on the symbolism of this covenanting with another by the loving proffer of one’s blood, men have reached out toward God, or toward the gods, in desire for a covenant of union, and in expression of fidelity of devotedness, by the giving of their blood God-ward. This, also, has been in the East and in the West, in ancient days and until to-day.
There was a gleam of this, in the Canaanitish worship of Baal, in the contest between his priests and the prophet Elijah, before King Ahab, at Mount Carmel. First, those priests shed the blood of the substitute bullock, at the altar of their god, and “called on the name of Baal from morning even until noon, saying, O Baal hear us! But there was no voice, nor any that answered.” Then they grew more earnest in their supplications, and more demonstrative in their proofs of devotedness. “They leaped [or, limped] about the altar which was made. … And they cried aloud, and cut themselves after their manner with knives and lances, till the blood gushed out upon them.”[179] Similar methods of showing love for God are in vogue among the natives of Armenia, to-day. Describing a scene of worship by religious devotees in that region, Dr. Van Lennep says: “One of them cuts his forehead with a sword, so that ‘the blood gushes out.’ He wears a sheet in front, to protect his clothes, and his face is covered with clots of blood.”[180] Clearly, in this case, as in many others elsewhere, it is not as a means of self-torture, but as a proof of self-devotedness, that the blood is poured out—the life is proffered—by the devotee, toward God.
Among the primitive peoples of North and of South America, it was the custom of priests and people, to draw blood from their own bodies, from their tongues, their ears, their noses, their limbs and members, when they went into their temples to worship, and to anoint with that blood the images of their gods.[181] The thorns of the maguey—a species of aloe—were, in many regions, kept ready at places of sacrifice, for convenient use in this covenant blood-letting.[182] A careful student of these early American customs has said of the obvious purpose of this yielding of one’s blood in worship, that it “might be regarded as an act of individual devotion, a gift made to the gods by the worshiper himself, out of his own very substance [of his very life, as in the blood-covenant]. … The priests in particular owed it to their special character [in their covenant relation to the divinities], to draw their blood for the benefit of the gods [in renewed pledge to the gods]; and nothing could be stranger than the refined methods they adopted to accomplish this end. For instance, they would pass strings or splinters through their lips or ears, and so draw a little blood. But then a fresh string, or a fresh splinter, must be added every day, and so it might go on indefinitely; for the more there were, the more meritorious was the act;”[183] precisely as is the standard of love-showing by blood-letting among Turkish lovers and Otaheitan wives and mothers, in modern times.
A similar giving of blood, in proof of devotedness, and in outreaching for inter-communion with the gods through blood, is reported in India, in recent times. Bishop Caldwell, of Madras, referred to it, a generation ago, in his description of the “Devil Dance” among the Tinnevelly Shawars.[184] The devotee, in this dance, “cuts and lacerates himself till the blood flows, lashes himself with a huge whip, presses a burning torch to his breast, drinks the blood which flows from his own wounds, or drains the blood of the sacrifice; putting the throat of a decapitated goat to his mouth.” Hereby he has given of his own blood to the gods, or to the devils, and has drunk of the substitute blood of the divinities—in the consecrated sacrifice; as if in consummation of the blood-covenant with the supernal powers. “Then as if he had acquired new life [through inter-union with the object of his worship], he begins to brandish his staff of bells, and to dance with a quick but wild unsteady step. Suddenly the afflatus descends; there is no mistaking that glare or those frantic leaps. He snorts, he swears, he gyrates. The demon has now taken bodily possession of him. [The twain are one. The two natures are intermingled]. … The devil-dancer is now worshiped as a present deity, and every bystander consults him respecting his diseases, his wants, the welfare of his absent relations, the offerings to be made
