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RELIGIOUS CHARACTER OF THE SONGS
receive heavy alcholic draughts in great haste and return more wildly to his leapings and writhings until he falls in convulsions. He is lifted, restored, and presently conducted to the altar, takes his oath, and by a ceremonial stroke from one of the sovereigns is admitted a full participant in the privileges and obligations of the devilish free masonry. But the dance goes on about the snake. The contortions of the upper part of the body, especially of the neck and shoulders, are such as to threaten to dislocate them. The queen shakes the box and tinkles the bells, the rum bottle gurgles, the chant alternates between king and chorus:
"Eh! Eh! Bomba hone, hone! Canga bafio tay. Canga moon day lay, Canga do keelah. Canga lil"
There are swoonings and ravings, nervous tremblings beyond control, incessant writhings and turnings, tearing of garments, even biting of the flesh—every imaginable invention of the devil.
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