204	Tshisahulu tsha Makumbane, At Tshisahulu, the home of (chief) Makumbane,
205	Tshisahulu vha luvha ; At Tshisahulu they honour a house;
206	Vha luvha i no pfi Mutenda- They honour it and call it Mutenda (the Assenter)-
207	Bororo---: Bororo-with-the-four-doorways:
208	Wa in sera khomba. And the fifth crawls into the maiden.
209	Sinngwele, ya , Sinngwele, the house of Satha,
210	Vhulimu a vhu weli . The womb does not fall on the child (i.e. it is a strong shelter).

One master said that line 209 refers to a woman who has been widowed while still young. She should be looked after by her husband's brother, who will not 'build another house', but raise children in his late brother's name (see Stayt 1931: 120-21).

Van Warmelo (1932:67) says that lines 204-206 are meant to "be a jibe because there is no proper ruler" at Tshisahulu. This may indeed be the attitude of Venda who do not accept the legitimacy of pre-conquest rulers, but by no means all subscribe to this. At Tshisahulu there is an abnormally large house of unusual structure, in which drums and sacred objects are kept. For example, the wooden models were all kept in the circular inner chamber of this house, which was entered by a special door (presumably the fifth mentioned in line 208).

Round this inner chamber was a passage, divided into sections by three doors. There was a fourth entrance door opposite the door leading into the inner chamber. The house is mentioned in S.M.Dzivhani's account of Venda chiefs (van Warmelo 1940:150). Sinngwele is the name given to the clay model which is shown to the novices. The comparison of the house with the womb in lines 209-210 is similar to that which occurs in milayo Nos. 75 and 76.

The model made by Jack Makumbila had four doors, made of wood, opening into a hollow interior. The roof was decorated with white, black and red lines, running from the point to the edge of the 'thatch', and black circles about a half inch in diameter. Other parts of the house were decorated with white and black lines, and outside were small clay models of a woman with a mortar for crushing maize.

The model was kept in the master's home on a piece of wood, and shown to the novices on three occasions during domba. It was hidden and covered with a salempore cloth until the master was ready to show it and give the milayo. Finally, after the end of domba, it was shown once more and broken.

One master said that the five doors in lines 207-208 referred to the five orifices of a man's body.

336	Sinngwele ndi yone ine vha Tshisahulu vha luvha: dzina tshi khodwa, vha ri: lines 207-210. Sinngwele is that which the people of Tshisahulu honour: the name of the house when it is praised, is: lines 207-210.
337	One doorway:	(a) Wa vhasiwana For commoners: (b) Wa Tshivhazwini (is called) Tshivhazwini.
338	Another doorway:	(a) Wa vhakololo For nobles. (b) Wa Thovhela For Thovhela (the chief).
339	another doorway:	(a) Wa Vhatonga For the Shangana-Tsonga. (b) Wa Tshisahulu of Tshisahulu. (c) Wa Tshishonge For Tshishonge (see milayo Nos. 48, 91 and 92).
340	another doorway:	(a) Wa Tshihanane Of Tshihanane (see mulayo No. 190, and lines 348-351). (b) Wa For the Kwinda clan. (c) Wa Thovhela For Thovhela (See mulayo No. 339 (c) above).
341	Mivhala mitshena The white colouring:	Vhanna Men.
342	Mivhala mitswu The black colouring:	Vhakegulu Old ladies.
343	Mivhala mitswuku The red colouring:	Vhasadzi Women.
344	() The carved wood with the spike (at the apex of the roof):	Ndamba-lupenyo Lightning conductor (lit. refuser of lightning) (see mulayo No. 95).
345	Suzwa The bundle of grass which forms the apex of the thatch:	Tshilemba tsha vudzi A haircut in the Lemba style.
346	Thanga The roof:	Bonze Nyamukovholwa- rnusumba-mbonzhe The long hair-do of Nyamukovholwa (She-who-was-hit-on-the-head), who shows her bruises (cf. mulayo No. 100).
347	Hafhelelaho the edge of the thatch:	Tsie dza rnulidzi The eyelashes of a mourner (i.e. the water drips off the edge) (see mulayo No. 101).
348	Maguvha The built-in seats round the bottom of the house wall:	Marumbi a vhasidzana (vhakololo) Girls' (nobles') thighs.
349	Musadzi The married woman (a clay model):	Swethani Swethani (in mulayo No. 162 Swethani is a man).
350	Mutuli: vhe ri duli-vhongo the mortar for pounding grain: that is, the wooden mortar, and not a hole in the ground (a clay model: for ground-pounding):	Musadzi: a married woman.
351	Musi The long wooden pestle:	Munna: a man.
352	Musi wo gomedza hu bva vhukopfu: vhukopfu When the pestle groans and fine white flour comes out (of the mortar): the flour:	Vhunna: semen.

The comparison between the man making love and the pestle in the mortar is remarkably astute: as the maize becomes crushed to flour, so the sound of the pestle pounding the grain changes.

353	Nndu yo valwa: when the house is closed:	Musidzana ha ngo tshinyiwa: a girl who is still a virgin.
354	yo vulwa: when the house is opened.	Musidzana o tshinyaho: a girl who has been deflowered.
355	wo valwa When the doorway is closed:	Musadzi a na thumbu A pregnant woman.
356	in tshi vulwa When the doorway is opened.	a tshi begwa: vhakegulu vha a lidza mifhululu musi kwana kwo begwa A baby is born: the old ladies ululate when a tiny baby is born.
357	Phuphu dzayo The verandah posts of the house:	Milenzhe ya vhathu People's legs.
358	Vothi The door:	midza : sa midzi An iron amulet has swallowed the strings: it does not swallow willow trees (see mulayo No. 78).
359	Muhanga-mmbwa wa fhasi The bottom of the door-frame:	Munna a good man (i.e. potent because it is embedded firmly in the ground).
360	Muhanga-mmbwa wa The top of the door-frame:	Munna a si : o sia vhura dzundeni A man who is no good: he has left his bow where he worked in the chief's field (i.e. how will he `shoot' semen into a woman? cf. lines 176-180).