a psychological process which Dr Marett has subtly analysed,[91.1] he is led to perform in pantomime all the acts of a murder in the absence of the victim, either silently, or to the accompaniment of a chant, or of spoken words. His foe, who is as convinced as himself of the power of such a performance, if it come to his knowledge, falls a victim to the terror it inspires, unless he can call in the aid of some other person, objective or imaginary, whose _orenda_ is more powerful still. Nor would the belief lack vindication even in the case of the victim’s ignorance; for any chance misfortune or sickness would be put down to a hostile _orenda_; and if he did escape, it would be due to his own superior _orenda_. Thus what we generally call magic or witchcraft is {92} primarily an application of _orenda_. By his _orenda_ a man bewitches his enemy (or, for a consideration, someone else’s enemy), causes rain or sunshine, raises and protects the crops, gains success in hunting, divines the cause of sickness and cures it, raises the dead, spells out the future. His incantations, his gestures, his apparatus--whether of plants, stones, animal products, magical drawings, or whatever else it may be--would be of no avail without this. In Central Australia the Arunta magician arms his “pointing bone” with _arungquiltha_. In Central Africa the Murundi impregnates his magical implements with evil influence by means of his imprecations, his incantations, and his evocation of spirits. That is, he puts into them his _orenda_ or the _mana_ of the spirits: until then they are absolutely powerless and indifferent.[92.1] This influence, this _orenda_, _mana_, or _arungquiltha_, is the nexus--the copula, as it has been called--which links the subject, the magician, to the object, the result.