For Death-magic, as we have seen, it is essential that the person working magic should believe that he has the power, and that others also should believe him to have it; and all that is necessary is that the magician should put forth the power that he possesses; and this he does by means of words and gesture-language. So too in Love-magic, in the Torres Straits, the essential thing is that the young man should anoint himself on the temples with a paste made from certain plants, and ‘think as intently as possible about the girl’ (_Expedition to Torres Straits_, vi. 221), saying to himself, ‘You come! you come! you come!’ for, Mr. Haddon tells us, ‘the power of words and the projection of the will were greatly believed in by the natives’ (220); and when a young man performed the foregoing operations, at a dance or any meeting at which women would be present, ‘the girl could not resist, but was bound to go with him’ (221). In Rome there was the same belief in the power of words: Virgil, in _Eclogue_ viii, imitates Theocritus, but deviates in details, and one such deviation shows the Roman’s belief in the power of words, of the _carmen_. Whereas Theocritus says: ἴυγξ, ἔλκε τὺ τῆνον ἑμὸν ποτὶ δῶμα τὸν ἄνδρα, Virgil says: Ducite ab urbe domum, mea carmina, ducite Daphnin. So, too, the power of the spell is attested by Propertius (iv. 4. 51): O! utinam magicae nossem cantamina Musae, and Ovid (_Her._ vi. 83): Nec facie meritisve placet, sed carmina novit, and Seneca (_Herc. Oet._ 464): Flectemus illum, carmina invenient iter, and Lucan (vi. 452): Carmine Thessalidum dura in praecordia fluxit Non fatis addictus amor. and Tibullus (i. 8. 23): Quid queror heu misero carmen nocuisse, quid herbas? In the next place, as Death-magic was considered to gain in efficiency if the magician did not merely ‘point’ with his stick in the direction of his foe, but made an image and wounded it; so Love-magic used a waxen image, and by melting it consumed with love the person imaged: Haec ut cera liquescit Uno eodemque igni, sic nostro Daphnis amore. _Ecl._ viii. 80. And in Horace the waxen image is thrown into the flames and consumed: imagine cerea Largior arserit ignis. _Sat._ i. 8. 43.