This fact, which is certainly not without its parallels in other savage tribes, gives the most convincing proof of the indispensability of pantomimic stimulation to savage warfare. Although less intimately connected with fighting itself, poetry has had for war an importance which can scarcely be estimated at a much lower rate. Words, of course, can never provoke such a direct and almost physiological stimulation as the imitation of actions. But words, on the other hand, have a greater effect on the mind. The suggestive power of the war songs is also attested by the descriptions of travellers among various tribes. In Australia, for instance, four or five mischievously inclined old women can soon stir up forty or fifty men to any deed of blood by means of their chants, which are accompanied by tears and groans, until the men are worked into a perfect state of frenzy.[435] “The savage blood of the Ahts always boiled when the war songs were recited, their fingers worked convulsively on the paddles, and their eyes gleamed ferociously; altogether they were two hundred murderous-looking villains.”[436] In Ashanti and in New Zealand—in short, amongst all the most warlike tribes—the military singers are able to bring themselves and their audience up to a pitch of frenzy which is almost equal to that produced by the dances.[437] In one of the preceding chapters we have already pointed out how invaluable a support historic art has given to national pride. This feeling, on the other hand, is never so indispensable as in time of war. Wherever a tribe has any traditions of its past history, such traditions are always revived and recited to the soldiers before and during the battles.[438] And if a people has no glorious ancestors to boast of, it can none the less gain the necessary confidence by glorifying its own valour and reviling its enemies. Even tribes like the Bakairis, for example, are thus able to “sing themselves full of courage” in boasting and defiant exultation.[439] According to competent observers, such songs are more particularly employed when the natives are afraid.[440] The expression of bravery, even if originally affected, must necessarily awaken some real feeling of pride or confidence. Contempt, on the other hand, however laboriously worked up, is the most effectual means of preserving equanimity under the stress of depressing feelings, admiration, envy, or fear. Songs and pantomimes, such as, for instance, those with which the Polynesians invariably begin their battles, must therefore have a great power of emboldening the warriors.[441] And while such outward shows of valour enable the performers to reconquer their courage, the enemy is intimidated by these manifestations of a feeling which is as yet incipient within themselves. In warfare, where the hostile armies stand within sight and hearing of each other, this consideration must of course be of extreme importance.