*Kaýtutúna íyanâ, márabwága iyanâ* …
Symmetrical arrangements of words, with alliterative prefixing of a particle and with antithetic uses of word couples are to be found in several other spells.
The Talo formula (Chapter XIII):
*Talo, talo’udawada, udawada Talo, talomwaylili, mwaylili* …
The Ta’uya spell (Chapter XIII):
*Mwanita, monimwanita; Deriwa, baderideriwa; Derima, baderiderima* …
The Ka’ubana’i spell (Chapter XIII):
*Mose’una Nikiniki, Moga’ina Nikiniki* …
The Kwoygapani spell (Chapter XIV):
*Kwega, kweganubwa’i, nubwa’i; Kwega, kweganuwa’i, nuwa’i; Kwega, kweganuma’i, numa’i* …
I have written them down here without full comment, to show their formal phonetic characteristics, which are indeed in all essentials quite similar to the samples previously quoted and analysed.
X
The main parts of the spells in the magic of the Kula do not essentially differ in their characteristics from the tapwana of the canoe magic. In their form, some key-words are simply verbs used without any transformation in their narrative tense. Thus in the Talo (red paint) formula, the pair of verbs ikata (‘it flares up’), inamila (‘it flashes’) is used with various nouns describing parts of the human head. The key-words of the Kayikuna Tabuyo (Chapter XIII) are also grammatically simple: buribwari, kuvakaku kuvakipusa (‘fish-hawk, fall on thy prey, catch it’)—the verbs being in the second person of the narrative tense.
In other cases we find the key-word transformed by reduplication, composition or by affixes. In the Yawarapu spell (Chapter VII) the pair boraytupa, badederuma repeated as key expressions is a compound which I did not succeed in analysing completely, though the consensus of my informants makes me satisfied