the final pointing of the bone—even if he has to admit failure in the end. An unwittingly broken taboo is perhaps an important sorcerer’s best excuse for unsuccess; but bad luck in the final application of charmed substances and powerful counter-magic also serve to account for the impotence of his magic. After such failure, the sorcerer bides his time and awaits a suitable opportunity—such, for instance, as his victim actually falling ill. Then he sets to work again. For though the natives believe that real illness (silami) can be produced only by magic, they are perfectly well aware that an indisposition (katoulo) which may be natural forms an excellent soil for the operations of sorcery.
It was necessary to enlarge on the general character of magical systems, and on the distinction between the system which follows the naturally determined progress of activity or enterprise, on the one hand, and the system which follows a course determined by the chance play of unknown factors on the other, in order to lay bare the essential character of love magic. This type also deals with a configuration of chances and elements which do not follow a definite natural course. Here also the belief is very strong that love magic, properly executed and not counteracted, is infallible. The nanola (mind and emotional centre) of man or woman cannot resist the complete consecutive series of rites and spells; even if it were no more than strongly affected by the initial steps, it must succumb to the cumulative ritual—that is if the magic be not magically counteracted. For here also there are causes which account for failure; the performer may not
364
