So much then for the question of consecration for battle. We turn now to consider the purpose of the sacred dance in connexion with battle among some of the uncivilized races. II As far as one can gather from the evidence there seem to be, in regard to this type of dance in its more primitive forms, two purposes which are apparently quite distinct. The first has for its object the quieting or propitiation of the ghosts of those slain in battle; in this case the dance is not the central rite, but none the less indispensable. The following is an example of this among the natives of the Indian Archipelago: In the island of Timor, when a warlike expedition has returned in triumph bringing the heads of the vanquished foe, the leader of the expedition is forbidden by religion and custom to return at once to his own house. A special hut is prepared for him, in which he has to reside for two months, undergoing bodily and spiritual purification. That these observances are dictated by fear of the ghosts seems certain; for from another account of the ceremonies performed on the return of a successful head-hunter in the same island we learn that the sacrifices are offered on this occasion to appease the soul of the man whose head has been taken off. The people think that some misfortune would befall the victor were such offerings omitted. Moreover, a part of the ceremony consists of a dance accompanied by a song, in which the death of the slain man is lamented and his forgiveness is entreated. An argumentative plea, addressed to the slain man, is then pronounced in extenuation of the unfortunate necessity of his having had to lose his head[297]. It is evident that in this case the entire ceremony is an act of propitiation to the soul of the slain lest his ghost should bring some evil on the head of the slayer; the dance is, of course, performed as a compliment to the enraged ghost. We take another example from a different part of the world: Among the Roro-speaking tribes of British New Guinea homicides were secluded in the warriors’ club-house. They had to pass the night in the building, but during the day they might paint and decorate themselves and dance in front of it.... Finally, those warriors who had never killed a man before assumed a beautiful ornament made of fretted turtle shell, which none but homicides were allowed to flaunt in their head-dresses. Then came a dance, and that same night the men who wore the honourable badge of homicide for the first time were chased about the village; embers were thrown at them and firebrands waved in order, apparently, to drive away the souls of the dead enemies, who seemed to be conceived as immanent in some way in the headgear of their slayers[298].