Yet it may be doubted whether the cases alleged by Professor Frazer in the important paper to which reference has been made, as favouring the opinion that mourning clothes are a disguise, are not susceptible of a different interpretation. So inconclusive did he himself think the evidence that he refrained from definitely committing himself to the opinion in question, though others have since done so. The custom of painting the face and body in mourning is so common that it is at least remarkable that the tribes of Borneo, who disguise {247} themselves, as we have seen, from hostile spirits with charcoal, do not seem to attempt this defence against the peevish ghost of a newly deceased person. They content themselves with wearing bark-cloth or clothes stained yellow with clay, with allowing the hair to grow where it is usually shaved, or shaving it where it usually grows, and with laying aside personal ornaments or substituting for the metal earrings commonly worn by the women a wooden makeshift.[247.1] In this way they may be said to conform to the rule already discussed of reversing the ordinary costume. A Bohemian custom required the mourners to put on masks and to practise strange behaviour on their return from the funeral. It may be conjectured that this was a dance or devil-drive, intended to expel, not to deceive. Such dances are not uncommon, both at periodical purification ceremonies[247.2] and on the occasion of a death. The use of masks at funeral dances of this kind has been reported, for example, in recent years among the Bantu-speaking peoples of the prairie-land in the interior of the Kamerun. At these dances wooden masks in the likeness of lower animals as well as of human beings are worn; and two of the latter, hideous enough to horrify any respectable ghost, are figured by the German explorer who discovered them.[247.3] More recently another German explorer has found, on the Upper Aiary in the interior of Brazil, mourning-dances of a similar character, in which masks were used representing various animals and demons, and has given figures from photographs of the dancers, as well as a lively description of one of the dances which he witnessed. This dance began with an attack on the {248} Maloka, or community-house, by a troop of evil spirits, who eventually succeeded in storming it. The mother and widow of the dead man wailed. The attacking party, having forced an entrance, sang. The women were terrified, but the scene ended in weeping and laughter. It was followed by dances and songs by the various animals; and the performance was concluded by a phallic dance--a pantomime of the process of reproduction. The meaning of the masque, the explorer declares, was clear. It was a magic ritual intended to propitiate the angry ghost of the deceased, that he might not return and carry off any of the survivors. The evil demons, to whose charge perhaps the death was laid, and from whose spite mankind