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126 fall to say no, jump upon the head or stomach or other affected part of the patient's body to show where his complaint is, and lie pointing towards the house of the doctor who can cure him. So likewise, where a similar device was practised ages ago in the Old World, the responses were taken from staves which (by the operation of demons) fell backward or forward, to the right or left. But when processes of this kind are developed to complexity, the system has, of course, to be completed by more arbitrary arrangements. This is well shown in one of the divinatory arts mentioned in the last chapter for their connexion with games of chance. In cartomancy, the art of fortune-telling with packs of cards, there is a sort of nonsensical sense in such rules as that two queens mean friendship and four mean chattering, or that the knave of hearts prophesies a brave young man who will come into the family to be useful, unless his purpose be reversed by his card being upside down. But of course the pack can only furnish a limited number of such comparatively rational interpretations, and the rest must be left to such arbitrary fancy as that the seven of diamonds means a prize in the lottery, and the ten of the same suit an unexpected journey.

A remarkable group of divining instruments illustrates another principle. In South-East Asia, the Sgau Karens, at funeral feasts, hang a bangle or metal ring by a thread over a brass basin, which the relatives of the dead approach in succession and strike on the edge with a bit of bamboo; when the one who was most beloved touches the basin, the dead man's spirit responds by twisting and stretching the string till it breaks and the ring falls into the cup, or at least till it rings against it. Nearer Central Asia, in the