It is this maneuvee, usually too casually referred to as "seeing things from the actor's point of view," too bookishly as "the verstehen approach," or too technically as "emic analysis," that so often leads to the notion that anthropology is a variety of either long-distance mind reading or cannibal-isle fantasizing, and which, for someone anxious to navigatd past the wrecks of a dozen sunken philosophies, must therefore be executed with a great deal of care. Nothing is more necessary to comprehending what anthropological interpretation is and the degree to which it, is interpretation, than exact understanding of what it means-and what it does not mean- to say that our formulations of other peoples' symbol systems must be actor-oriented.