The Hindoos as they Are Part 5

[45] _Jarawya_ jewellery is set in precious stones, the value of which it is not easy to estimate.

[46] A Hindoo _Ayistree_ female, _i. e._, one whose husband is alive, whether young or old, is religiously forbidden to take off _balla_ (bangle) from her hands, if is a badge of _Ayistreeism_, even when dead red thread is subst.i.tuted in the place of the _balla_, so great is the importance attached to it by _Ayistree_ females. When the _balla_ is not seen on the hand, it is called the _raur hatha_, or the hand of a widow, than which there could not be a more reproachful term.

[47] _Gharbasath_ implies dwelling in a father-in-law's house. If the bride do not go there within eight days from the date of marriage, she could not do so for one year, but after _gharbasath_ she can go and come back any time when necessary. The object is to impress on her mind that her father-in-law's house is her future home. It is on this occasion that the wors.h.i.+p of _s...o...b..chini_ already described is performed, and both the bridegroom and bride are taken to _Kally Ghat_ to sanctify the hallowed union and obtain the blessings of the G.o.ddess.

[48] It is perhaps not generally known that some women, not from any malicious design but rather from the ennui of a monotonous life, as well as for the sake of amus.e.m.e.nt in which they might partic.i.p.ate, make a secret combination, and invent some artificial means to prematurely drag the girl--the poor victim of superst.i.tion--into the _Teerghur_ before she actually arrives at the age of p.u.b.erty.

[49] This part of the rite is called _Kada_ or mire. A small pool is dug in the court-yard and some water thrown into it;--two women, the one personating a Rajah (King) and the other, a Ranee (Queen) feign to bathe in the pool, change their clothes, put on straw ornaments and dine on the refuse of vegetables, while the songstress recites all sorts of obscene songs and the females hide their faces through shame. This loose and ludicrous representation proves nauseating even to those for whose amus.e.m.e.nt it is performed. We cannot regard in any other light than as a relic of unmitigated barbarism.

VI.

THE BROTHER FESTIVAL.

Any social inst.i.tution that has a tendency to promote the growth of genuine love and affection between man and woman, is naturally conducive to the happiness of both. In this sublunary vale of tears, where unalloyed felicity is but transient and short lived, even a temporary exemption from the cares and anxieties of the world adds at least some moments of pleasure to life. The _Bhratridvitiya,_ or _fraternal_ rite of the Hindoos, is an inst.i.tution of this nature, being admirably calculated to cement the natural bond of union between brothers and sisters of the same family. Bhratridvitiya, as the name imports, takes place on the second day of the new moon immediately following the Kali Poojah or Dewali. On the morning of this day, a brother comes to the house of a sister, and receives from her hand the usual benedictive present of unhusked rice, doova gra.s.s and sandal, with a wealth of good wishes for his long, prosperous life, and the happy commemoration of the event from year to year. The brother in return reciprocates, and putting a Rupee or two into her hands, expresses a similar good wish, with the addition that she may long continue to enjoy the blessings of a conjugal life,--a benediction which she values over every other worldly advantage. The main object of this festival is to renovate and intensify the warmth of affection between kith and kin of both s.e.xes by blessing each other on a particular day of the year. It is a sort of family reunion, pre-eminently calculated to recall the early reminiscences of life, and to freshen up fraternal and sisterly love. No ritualistic rite or priestly interposition is necessary for the purpose, it being a purely social inst.i.tution, originating in the love that sweetens life.

After interchanging salutations, the sister who has every thing ready thrice invokes a blessing upon the brother in a Bengali verse, and marks his forehead thrice with sandal paste by the tip of her little finger.

She then serves him with the provisions provided for the festive occasion. Here genuine love and true affection almost spontaneously gush forth from the heart of the sister towards one who is united to her by the nearest tie of consanguinity and tenderest remembrances. If the brother be not inclined to relish or taste a particular dish, how affectionately does she cajole him to try it, adding at the same time that it has been prepared by her own hand with the greatest care. Any little dislike evinced by the brother instantly bathes her eyes in tears, and disposes her to exclaim somewhat in the following strain: "Why is this slight towards a poor sister who has been up till twelve o'clock last night to prepare for you the _chunderpooley_ and _Khirarchach_ (two sorts of home-made sweetmeats) regardless of the cries of _Khoka_ (the baby)." Such a pathetic, tender expression bursting from the lips of a loving sister cannot fail to melt a brother's heart, and overcome his dislike.

About four o'clock in the afternoon, the sister sends, as tangible memorials of her affection, presents of clothes and sweetmeats to the house of the brother, fondly indulging in the hope that they may be acceptable to him. On this particular day, Hindoo homes as well as the streets of Calcutta in the native part of the town, present the lively appearance of a national jubilee. Each of the brothers of the family visits each of the sisters in turn. Hundreds of male and female servants are busily engaged in carrying presents, and return home quite delighted. On such occasions the heart of a Hindoo female, naturally soft and tender, becomes doubly expansive when the outflow of love and affection on her part is fully reciprocated by the effusion of good wishes on the part of her brother.

VII.

THE SON-IN-LAW FESTIVAL.

If not precisely a.n.a.logous in all its prominent features to the popular festival described in the preceding Chapter, the following bears a striking resemblance to it, in its adaptation to promote domestic happiness. The festival familiarly known in Bengal by the name of "_Jamai Shasthi_" is an entertainment given in honor of a son-in-law, in order to bind him more closely to his wife's family.

Nothing better ill.u.s.trates the manners and usages of a nation from a social and religious standpoint than the festivals and ceremonies which are observed by it. They form the essential parts of what DeQuincey calls the equipage of life. As a nation, the Hindoos are proverbially fond of festivals, which are engrafted, as it were, on their peculiar domestic and social economy. A designing priesthood had concocted an almost endless round of superst.i.tious rites with the view of acquiring power, and looking for permanent reverence to the credulity of the blind devotees. Such foolish rites are eventually destined to fall into desuetude, as popular enlightenment progresses, but those which are free from the taint of priestcraft by reason of their being interwoven into the social amenities of life, are likely to prevail long after the subversion of priestly ascendency. And _Jamai Shasthi_ is a festival of this un.o.bjectionable type. No superst.i.tious element enters into its observance.

It invariably takes place on the sixth day[50] of the increase of the moon in the Bengali month of May, when ripe mangoes--the prince of Indian fruits--are in full season. Then all the mothers-in-law in Bengal are actually on the _qui vive_ to welcome their sons-in-law and turn a new leaf in the chapter of their joys. A good son-in-law is emphatically the most darling object of a Hindoo mother-in-law. She spares no possible pains to please and satisfy him, even calling to her aid the supernatural agency of charms. Ostensibly and even practically a Hindoo mother-in-law loves her son-in-law more than her son, simply because the son can s.h.i.+ft for himself even if turned adrift in the wide world, but the daughter is absolutely helpless, and the cruel inst.i.tution of perpetual widowhood, with its appalling amount of misery and risk, renders her tenfold more so.

On this festive occasion, the son-in-law is invited to spend the day and night at his father-in-law's house. No pains or expense is spared to entertain him. When he comes in the morning, the first thing he has to do is to go into the female apartment, bow his head down in honor of his mother-in-law, and put on the floor a few Rupees, say five or ten, sometimes more if newly married. The food consists of all the delicacies of the season, and both the quant.i.ty and variety are often too great to be done justice to. The perfection of Hindoo culinary art is unreservedly brought into requisition on such occasions. Surrounded by a galaxy of beauty, the youthful son-in-law is restrained by a sense of shame from freely partaking of the feast specially provided for him. The earnest importunity of the females urges the bashful youth to eat more and more. If this be his first visit as son-in-law he finds himself quite bewildered in the midst of superfluity and superabundance of preparations. Many are the tricks employed to outwit him. With all his natural shrewdness, and forewarned by the females of his own family, he is no match for either the playful humor and frolics of the young, sprightly ladies. Sham articles of food cleverly dressed in close imitation of fruits and sweetmeats are offered him without detection in the full blaze of day, and the attempt to partake of them excites bursts of laughter and merriment. The utmost female ingenuity is here brought into play to call forth amus.e.m.e.nt at the expense of the duped youth. In their own way, the good-natured females are mistresses of jokes and jests, and nothing pleases them better than to find the youthful new comer completely nonplused. This forms the favorite subject of their talk long after the event. Shut up in the cage of a secluded zenana, quite beyond the influence of the outside world, it is no wonder that their minds and thoughts do not rise above the trifles of their own narrow circle.

As in the case of the "Brother" festival, ample presents of clothes, fruits, and sweetmeats are sent to the house of the son-in-law, and every lane and street of Calcutta is thronged with male and female servants trudging along with their loads in full hopes of getting their share of eatables and a Rupee or a half Rupee each into the bargain.

FOOTNOTES:

[50] It appears to me rather anomalous, as far as Hindoo astrology is concerned, that such a national jubilee is fixed to be celebrated on this particular day, which is specially marked as an unlucky day for any good work. The Hindoo almanac places _Shasthi_, the sixth day of the moon, as _dugdha_ or destructive of any good thing in popular estimation. A Hindoo is religiously forbidden to commence any important work or set out on a journey on this day. It portends evil. Respectable Hindoo females who have children do not eat boiled rice on this particular day for fear of becoming Rakha.s.ses, or cannibals p.r.o.ne to destroy their own offspring. The G.o.ddess Shasthi is the protectress of children. She is wors.h.i.+pped by all the women of Bengal six times in the year, except such as are barren or ill-fated enough to become virgin-widows.

VIII.

THE DOORGA POOJAH FESTIVAL.

By far the most popular religious festival of the present day among the Hindoos of Bengal, is the _Doorga Poojah_, which in the North-Western and Central Provinces is called the _Dusserah_ festival. It is believed that the wors.h.i.+p of the G.o.ddess Doorgah has been performed from time out of mind. The following is a description of the image of the G.o.ddess which is set up for wors.h.i.+p: "In one of her right hands is a spear, with which she is piercing the giant, Mohishasur; with one of the left, she holds the tail of a serpent and the hair of the giant, whose breast the serpent is biting. Her other hands are all stretched behind her head and filled with different instruments of war. Against her right leg leans a lion, and against her left, the above giant. The images of Luckee, Saraswathi, Kartick and Gannesh are very frequently made and placed by the side of the G.o.ddess." The majestic deportment of the G.o.ddess, with her three eyes and ten arms, the warlike att.i.tude in which she is represented, her sanguinary character, which was the terror of all other G.o.ds, and the mighty exploits (far surpa.s.sing in feats of strength, courage and heroism, those of the Greek Hercules,) all combine to give her an importance in the eyes of the people, which is seldom vouchsafed to any other deity. Even _Bramah_, _Vishnoo_ and _s.h.i.+va_ the Creator, Preserver and Destroyer of the world, were said to have propitiated her, and _Ram Chunder_, the deified hero, invoked her aid in his contest with _Ravana_, and as he wors.h.i.+pped her in the month of October, her Poojah has, from that particular circ.u.mstance, been ever after appointed to take place in that period of the year.[51] A short description of this festival, the preliminary rites with which it is a.s.sociated, and the national excitement and hilarity which its periodical return produces among the people, will not be altogether uninteresting to European readers.[52]

Twenty-one days before the commencement of the Doorga Poojah festival, a preliminary rite, by way of purifying the body and soul by means of ablution, is performed. The rite is called the "_Aapar pakhaya tarpan_"

so called from its taking place on the first day of _Pratipad_ and ending on the fifteenth day of _Amabashya_, an entire fortnight, immediately preceding the _Debipakhya_ during which the Poojah is celebrated. It generally falls between the fifteenth of September, and the fifteenth of October. As already observed, this popular festival, called Doorga Poojah in Bengal and Dussera "or the tenth" in the North-West, although entirely military in its origin is universally respected. It is commemorative of the day on which the G.o.d Ram Chunder first marched against his enemy, Ravana, in _Lanka_ or Ceylon for the restoration of his wife, Seeta,[53] who was deservedly regarded as the best model of devotion, resignation and love, as is so beautifully painted by the poet:

"A woman's bliss is found, not in the smile Of father, mother, friend, nor in herself: Her husband is her only portion here, Her heaven hereafter. If thou indeed Depart this day into the forest drear, I will precede, and smooth the th.o.r.n.y way."

In the mornings of _Apar pakhaya_, for fifteen days continually, those who live near the sacred stream go thither with a small copper-pan and some teel seeds, which they sprinkle on the water at short intervals, while repeating the formulae in a state of half immersion. To a foreigner quite unacquainted with the meaning of these rites, the scene is well calculated to impress the mind with an idea of the exceeding devotedness of the Hindoos in observing their religious ordinances. The holy water and teel seeds which are sprinkled are intended as offerings to the manes of ancestors for fourteen generations, that their souls may continue to enjoy repose to all eternity. The women, though some of them are in the habit of bathing in the holy stream every morning, are, however, precluded by their s.e.x from taking a part in this ceremony.

Precisely on the last day of the fortnight, _i. e._, on the _Amabashya_, as if the object were attained, the rite of ablution ends, followed by another of a more comprehensive character. On this particular day, which is called _Mohaloya_,[54] the living again pay their homage to the memory of the fourteen generations of their ancestors by making them offerings of rice, fruits, sweetmeats, clothes, curded milk, and repeating the incantations said by the priest, at the conclusion of which he takes away all the articles presented and receives his _daks.h.i.+na_ of one Rupee for his trouble. Apart from their superst.i.tious tendency, these anniversaries, are not without their beneficial effects.

They tend, in no small degree, to inspire the mind with a religious veneration for the memory of the departed worthies, and by the law of the a.s.sociation of ideas not unfrequently bring to recollection their distinctive features and individual characteristics.

Some aristocratic families that have been observing this festival for a long series of years, begin their _Kalpa_ or preliminary rite on the ninth day of the decrease of the moon, when an earthen water pot called _ghat_[55] is placed in a room called _bodanghur_, duly consecrated by the officiating priest, who, a.s.sisted by two other Brahmins, invokes the blessing of the deity by reading a Sanskrit work, called _Chundee_, which relates the numerous deeds and exploits of the G.o.ddess. It is a noteworthy fact that the Brahmin, who repeats the name of the G.o.d, _Modosoodun_, seems, to all appearance, to be absorbed in mental abstraction. With closed eyes and moving fingers, not unlike the _Ris.h.i.+s_ of old, he, as it were, disdains to look at the external world.

From early in the morning till 10 o'clock the wors.h.i.+p before the earthen pot is continued, and the officiating priests[56] are strictly prohibited from using _sidha_, (rice) taking more than one meal a day, or sleeping with their wives, as if that would be an act of unpardonable profanation. This strict _regime_ is to be observed by them until the whole of the ceremonial is completed, on the tenth day of the new moon.

It should be mentioned here that the majority of the Hindoos begin their _kalpa_, or preliminary rite, on _pratipad_, or the beginning of the new moon, when almost every town and village resounds with the sound of conch, bell and gong, awakening latent religious emotions, and evoking _agamaney_, (songs or inaugural invocations) which deeply affect the hearts of Doorga's devout followers. Some of these rhythmic effusions are exceedingly pathetic. I wish I could give a specimen here of these songs divested of their idolatrous tinge, but I am afraid of offending the ears of my European readers.

The Brahmins[57] as a rule, commence their _kalpa_ on the sixth day or one day only previous to the beginning of the grand poojah on the seventh day of the new moon. From the commencement of the initial rite, what thrilling sensations of delight are awakened in the bosom of the young boys and girls! Every morning and evening while the ceremony is being solemnized, they scramble with each other to get striking the gong and _Kasur_ which produces a harsh, deafening sound. Their excitement increases in proportion to the nearer approach of the festival, and the impression which they thus receive in their early days is not entirely effaced even after their minds are regenerated by the irresistible light of truth. The females, too, manifest mingled sensations of delight and reverence. If they are incapable of striking the gongs, they are susceptible of deep devotional feelings which the solemnity of the occasion naturally inspires. The encircling of their neck with the end of their _saree_ or garment, expressive of humility, the solemn att.i.tude in which they pose, their inaudible muttering of the name of the G.o.ddess, and their prostrating themselves before the consecrated pot in a spirit of perfect resignation, denote a state of mind full of religious fervour, or, more properly speaking, of superst.i.tious awe, which goes with them to their final resting place. On the night of the sixth day (Shashti) after the increase of the moon, another rite is performed, which is termed _Uddhiba.s.sey_, its object being to welcome the advent of the visible G.o.ddess with all necessary paraphernalia.

Another sacred earthen pot is placed in the outer temple of the G.o.ddess, and a young plantain tree, with a couple of wood apples intended for the breast, is trimmed for the next morning's ablution. This plantain tree, called _kalabhoye_, is designed as a personification of Doorga in another shape. It is dressed in a silk _saree_, its head is daubed with vermilion[58] and is placed by the side of Gannesh. Musicians with their ponderous _dhak_ and _dhole_ and _sannai_ (flutes) are retained from this day for five days at 12 or 16 Rupees for the occasion.[59]

That music imparts a solemnity to religious service is admitted by all, but its harmony may be taken as an indication of the degree of excellence and refinement to which a nation has attained in the scale of civilization. What with the sonorous sound of _dhak_ and _dhole_, _sannai_, conch and gong, the effect cannot fail to be impressive to a devout Hindoo mind. Except Brahmins, no one is allowed to touch the idol from this night, after the _bellbarun_, when it is supposed life and animation is imparted into it. By the marvellous repet.i.tion of a few incantations a perfectly inanimate object stuffed only with clay and straw, and painted, varnished and ornamented in all the tawdriness of oriental fas.h.i.+on, is suddenly metamorphosed into a living divinity. Can religious jugglery, and blind credulity go farther?

It will not be out of place to say a few words here about the embellishments of the images. As a refined taste is being cultivated, a growing desire is manifested to decorate the idols with splendid tinsel and gewgaws, which are admirably calculated to heighten the magnificence of the scene in popular estimation. Apart from the feast of colors presented to public view, the idols are adorned with tinsel ornaments, which, to an untutored mind, are in the highest degree captivating. Some families that are placed in affluent circ.u.mstances, literally rack their brains to discover new and more gaudy embellishments which, when compared with those of their neighbours, might carry off the bubble reputation. It is, perhaps, not generally known that a certain cla.s.s of men--chiefly drawn from the lower strata of society--subsist on this trade; they prepare a magnificent stock of tinsel wares for a twelve month, and supply the entire Hindoo community, from Calcutta to the remotest provinces and villages. Indeed so great is the rage for novelty and so strong the influence of vanity, that not content with costly home made ornaments, some of the Baboos send their orders to England for new patterns, designs and devices, that they may be able to make an impression on the popular mind; and as English taste is incomparably superior to native taste, both in the excellence and finish of workmans.h.i.+p as well as in neatness and elegance, the images that s.h.i.+ne in new fas.h.i.+oned English embellishments[60] are sure to challenge the admiration of the populace. On the day of _Nirunjun_, or _Vhasan_ as it is vulgarly called, countless myriads of people throng the princ.i.p.al streets of Calcutta, to catch a glimpse of the celebrated _pritimas_, or images, and carry the information home to their absent friends in the villages.

Before sunrise on _Saptami_, or the seventh day of the bright phase of the moon, the officiating priest, accompanied by bands of musicians and a few other members of the family, proceeds barefooted to the river side bearing on his shoulder the _kalabhoye_ or plantain tree described above with an air of gravity as if he had charge of a treasure chest of great value. These processions are conducted with a degree of pomp corresponding with the other extraneous splendours of the festival. In Calcutta, bands of English musicians, and numbers of staff holders with high flying colors, give an importance to the scene, which is not ill suited to satisfy the vulgar taste. After performing some minor ceremonies on the banks of the river, and bathing the plantain tree, the procession returns home, escorting the officiating priest with his precious charge in the same way in which he was conveyed to the Ghat. On reaching home, the priest, was.h.i.+ng his feet, proceeds to rebathe the plantain tree, rubbing on its body all kinds of scented oils[61] as if to prepare it for a gay, convivial party. This part of the ceremony, with appropriate incantations, being gone through, the plantain tree is placed again by the side of the image of Gannesh, who being the eldest son of Doorga, must be wors.h.i.+pped _first_. Thus the right of precedence of rank is in full force even among the Hindoo G.o.ds and G.o.ddesses.

Previous to the commencement of the _Saptami_, or first Pooja, the officiating priest again consecrates the G.o.ddess Doorga, somewhat in the following manner: "Oh, G.o.ddess, come and dwell in this image, and bless him that wors.h.i.+ps you," naming the person, male or female, who is to reap the benefit of the meritorious act. Thus, the business of giving life and eyes to the G.o.ds being finished, the priest, with two forefingers of his right hand, touches the forehead, cheeks, eyes, breast and other parts of the image, repeating all the while the prescribed incantation: "May the soul of Doorga long continue to dwell in this image." This part of the ceremony, which is accompanied with music, being performed, offerings are made to all the G.o.ds and G.o.ddesses, as well as to the companions of Doorga in her wars, which are painted in variegated colors on the _chall_ or shed over the G.o.ddess in the form of a crescent. The offerings consist princ.i.p.ally of small pieces of gold and silver, rice, fruits, sweetmeats, cloths, bra.s.s utensils and a few other things. These are arranged in large round wooden or bra.s.s plates, and a bit of flower or _bell_ leaf is cast upon them to guard against their being desecrated by the demon Ravana, who is supposed to take delight in insulting the G.o.ds and G.o.ddesses; the officiating priest then consecrates them all by repeating a short mantra and sprinkling flowers and _bell_ leaves on them, particular regard being had to the wors.h.i.+p of the whole host of deities according to their respective position in the Hindoo pantheon. Even the most subordinate and insignificant G.o.ds or companions of Doorga must be propitiated by small bits of plantain and a few grains of rice, which are afterwards given to the idol makers and painters of the G.o.ds and G.o.ddesses. More valuable offerings form the portion of the Brahmins, who look upon and claim these as their birthright. In the evening, as in the morning, the G.o.ddess is again wors.h.i.+pped, and while the service is being held the musicians are called to play their musical instruments with a view to add to the solemnity of the occasion. In the morning, some persons sacrifice goats and fruits, such as pumpkin, sugar-cane, &c., before the G.o.ddess. In the present day, many respectable families have discontinued the practice from a feeling of compa.s.sion towards the dumb animals, though express injunctions are laid down in the Shasters in its favor.

It is a remarkable fact that the idea of sacrifice as a religious inst.i.tution tending to effect the remission of sin was almost co-existent with the first dawn of human knowledge. The Reverend Dr. K.

M. Banerjea thus writes: "Of the inscrutable Will of the Almighty, that without shedding of blood there is no remission of sin, this, too, appears imbedded in ancient Ayrian tradition in the _sruti_ or hearings of our ancestors." Next to the Jews, this religious duty was scrupulously observed by the Brahmins. Names of priests, words for fire, for those on whose behalf the sacrifices were performed, for the materials with which they were performed, abound in language etymologically derived from words implying sacrifice. No literature contains so many vocables relating to sacrificial ceremonies as Sanskrit. Katyayana says, "that heaven and all other happiness are the results of sacrificial ceremonies. And it was a stereotyped idea with the founders of Hindooism that animals were created for sacrifices. Nor were these in olden days considered mere offerings of meat to certain carnivorous deities, followed by the sacrificers themselves feasting on the same, as the practice of the day represents the idea. The various nature of the sacrifices appears to have been substantially comprehended by the promoters of the inst.i.tution in India. The sacrificer believed himself to be redeemed by means of the sacrifice. The animal sacrificed was itself called the sacrifice, because it was the ransom for the soul." If we leave India and go back to the tradition and history of the other ancient nations, we shall find many instances, proving the existence among them of the sacrificial rite for the remission of sin and the propitiation of the Deity. The hecatombs of Greece, and the memorable dedication of the temple of Solomon when 20,000 oxen[62] and 100,000 sheep were slain before the altar, are too well known to need any comment.

In these later ages, when degeneracy has made rapid strides amongst the people of the country, the original intention of the founder of the inst.i.tution being lost sight of, a perverted taste has given it an essentially sensual character. Instead of offering sacrifice from purely religious motives, it is now made for the gratification of carnivorous appet.i.te. The late King of Nuddea, Rajah Kristo Chunder Roy, though an orthodox Hindoo of the truest type, was said to have offered at one of these festivals a very large number of goats and sheep to the G.o.ddess Doorga. "He began," says Ward, "with one, and, doubling the number each day, continued it for sixteen days. On the last day, he killed 33,168, and on the whole he slaughtered 65,535 animals. He loaded boats with the bodies and sent them to the neighbouring Brahmins, but they could not devour them fast enough, and great numbers were thrown away. Let no one, after this, tell us of the scruples of the Brahmins about destroying animal life and eating animal food."

About twelve o'clock in the day, when the morning service is over, the male members of the family make their _poospaunjooley_ or offerings of flowers to the images, repeating an incantation recited by the priest, for all kinds of worldly blessings, such as health, wealth, fame, long age, children, &c. The women come in afterwards for the same hallowed purpose, and inaudibly recite the incantation repeated by the priest inside the screen. The very sight of the images gladdens their hearts and quickens their throbs. Though fasting, they feel an extreme reluctance to leave the shrine and the divinities, declaring that their hunger and thirst are gone not from actual excess in eating and drinking but from their fullness of heart at the presence of _Ma Doorga_. But go they must to make way for the servants to remove the offerings, distribute them among the Brahmins, and clean the temple for the evening service, at the close of which Brahmins and other guests begin to come in and partake of the entertainment[63] provided for the occasion.

On the second day of the Poojah, offerings and sacrifices are made in the same manner as on the first day, but this is considered a specially holy day, being the day, as is generally supposed, when the mighty G.o.ddess is expected to come down from the mount Himalaya, and cast a twinkling of her eye upon the divers offerings of her devotees in the terrestrial world. This day is called _Moha Ustamy_, being the eighth day of the increase of the moon, and is religiously observed throughout Bengal. In Calcutta, this is the day when thousands and tens of thousands of Hindoos, who have had no Poojah in their houses, proceed to Kalyghat in the suburbs, and do not break their fast before making suitable offerings to the G.o.ddess Kali, who, according to Hindoo mythology, is but another incarnation of the G.o.ddess, Doorga. Except little children, almost all the members of a family, male and female, together with the priest, fast all day, and, if the combination of stars require it, almost the whole night. Elderly men of the orthodox type devote the precious time to religious contemplation. Until the _Moha Ustamy_, and its necessary adjunct _Shundya Poojah_, is finished, all are on the _qui vive_. It generally happens that this service is fixed by astrologers to take place before night's midmost stillest hour is past, when nature seems to repose in a state of perfect quiescence, and to call forth the religious fervour of the devotees. As the edge of hunger is sharpened, a Hindoo most anxiously looks at his watch or clock as to when the precious moment should arrive, and as the hour draws near, men, women and children are all hushed into silence. Not a whisper nor a buzzing sound is to be heard. All is anxiety, suspense and expectation, as if the arrival of the exact time would herald the advent of a true Saviour into the world. Amid perfect silence and stillness, all ears are stretched to catch the sound of the gun[64] which announces the _precise minute_ when this most important of all Poojahs is to begin. As soon as the announcement is made by the firing of a gun, the priest in all haste enters on the work of wors.h.i.+p, and invokes the blessings of the G.o.ddess on himself and the family. When the time of sacrifice arrives, which is made known by the sound of another gun, all the living souls in the house are bade to stand aloof, the priest with trembling hands and in a state of trepidation consecrates the _Kharra_, or scimitar, with which the sacrifice is to be made, and placing the _Khaparer sara_ by the side of the _haureekat_, (the sacrificial log of wood) bids the blacksmith finish off his b.l.o.o.d.y job. Should the latter cut the head of a goat off at one stroke, all eyes are turned towards him with joy. The priest, the master, and the inmates of the house, who are all this while under the influence of mental agitation, now begin to congratulate each other on their good luck, praying for the return of the G.o.ddess every year.

Nor must I omit to mention the other secondary rites which are performed on the second day of the Poojah. Besides absolute fasting, the females of the household actually undergo a fiery ordeal. About one in the afternoon, when the tumult and bustle have subsided a little, all males being told to go away, the women unveiling their faces, and holding in each hand a _sara_ or earthen plate of rosin, squat down before the shrine of the G.o.ddess, and in the posture of quasi-penitent sinners, implore in a fervent spirit the benediction of the G.o.ddess on behalf of their sons, while the rosin continues to burn in slow fire. As if dead to a sense of consciousness, they remain in that trying state for more than half an hour, absorbed, as it were, in holy meditation, repeating in their minds, at the same time, the names of their guardian deities.

Towards the close of this penitent service, a son is asked to sit on the lap of his mother. Barren women to whom Providence has denied this inestimable blessing must go without this domestic felicity resulting in religious consolation, and not only mourn their present forlorn condition, but pray for a happier one at next birth. A few puncture their b.r.e.a.s.t.s with a slender iron _naroon_ or nail cutter, and offer a few drops of blood to the G.o.ddess, under a delusion that the severer the penance the greater the merit. Many women still go through this truly revolting ordeal at Kali Ghat, in fulfilment of vows made in times of sickness.

Another ceremony which is performed by the females on this particular day is their wors.h.i.+p of living Brahmin _Komarees_ (virgins) and matrons (_sodhavas_). After was.h.i.+ng and wiping the feet of the objects of their wors.h.i.+p, with folded hands, and, with the end of their _sari_ round their necks, in a reverential mood, they fall prostrate before the Brahmin women, and crave blessings, which, when graciously vouchsafed, are followed by offerings of sweetmeats, clothes and rupees. The purpose of this ceremony is to obtain exemption from the indescribable misery of widowhood, and ensure the enjoyment of domestic happiness.

On the third or last day of the Poojah, being the ninth day of the increase of the moon, the prescribed ritualistic ceremonies having been performed, the officiating priests make the _hoam_ and _dhukinanto_, a rite, the meaning of which is to present farewell offerings to the G.o.ddess for one year, adding in a suitable prayer that she will be graciously pleased to forgive the present shortcomings on the part of her devotees, and vouchsafe to them her blessings in this world as well as in the world to come. This is a very critical time for the priests, because the finale of the ceremony involves the important question of their respective gains. Weak and selfish as human nature a.s.suredly is, each of them (generally three in number) fights for his own individual interest, justifying his claim on the score of the religious austerities he has had to undergo, and the devotional fervour with which his sacred duties have been discharged. Until this knotty question is satisfactorily solved, they forbear p.r.o.nouncing the last _munter_ or prayer. It is necessary to add here that the presents of rupees which the numerous guests offered to the G.o.ddess during the three days of the Poojah, go to swell the fund of the priest, to which the wors.h.i.+pper of the idol must add a separate sum, without which this act of merit loses its final reward in a future state. The devotee must satisfy the cupidity of the priests or run the risk of forfeiting divine mercy. When the problem is ultimately solved in favor of the officiating priest who actually makes the Poojah, and sums of money are put into the hands of the Brahmins, the last prayer is read. It is not perhaps generally known that the income the Indian ecclesiastics thus derive from this source supports them for the greater part of the year, with a little gain in money or kind from the land they own.

The last day of the Poojah is attended with many offerings of goats, sheep, buffaloes[65] and fruits. The area before the shrine becomes a sort of slaughter house, slippery with gore and mire, and resounding with the cries of the dying victims, and the still more vociferous shouts of "_Ma, Ma,_" uttered by the rabble amidst the discordant sound of gongs and drums. Some of the deluded devotees, losing all sense of shame and decency, smear their bodies from head to foot with this b.l.o.o.d.y mire, and begin to dance before the G.o.ddess and the a.s.sembled mult.i.tude like wild furies. In this state of b.e.s.t.i.a.l fanaticism, utterly ignoring the ordinary rules of public decorum, and literally intoxicated with the glory of the meritorious act, the deluded mob, preceded by musicians, proceed from one house to another in the neighbourhood where the image has been set up, sing obscene songs, and otherwise make indecent gestures which are alike an outrage on public morals and common decency.

When quite exhausted by these abominable orgies, they go and bathe in a river or a tank, and return home, thinking how to make the most of the last night. Should any sober-minded person remonstrate with them on their foolish conduct, the stereotyped reply is--"this is _Mohamayer Bazar_ and the last day of the Poojah, when all sorts of tomfoolery and revelry are justifiable." The sensible portion of the community, it must be mentioned, keep quite aloof from such immoral exhibitions.

However great may have been the veneration or the depth of devotional feeling in which the Doorga Poojah was held among the Hindoos of bygone ages, it is certain that in the lapse of time this and all other national festivals have lost their original religious character, and in the majority of cases degenerated into profanities and impure orgies, which renew the periodical license for the unrestrained indulgence of sensuality, not to speak of the dissipation and debauchery which it usually brings in its train. Except a few patriarchal Hindoos, whose minds are deeply imbued with religious prepossessions as well as traditional proclivities, the generality celebrate the Poojah for the sake of name and fame, no less than for the purposes of amus.e.m.e.nt, and for the satisfaction of the women and children, who still retain, and will continue to do so for a long time to come, a profound veneration for the old _Doorga Uttsob_. Apart from the children, whose minds are susceptible of any impression in their nascent state, the women are the main prop of the idolatrous inst.i.tutions and of the colossal superstructure of Hindoo superst.i.tion. If I am not much mistaken, it was to satisfy them that such distinguished Hindoo Reformers as the late Baboos Dwarkeynauth Tagore, Prosonocoomar Tagore, Romanauth Tagore, Ram Gopal Ghose, Digumber Mitter and others celebrated this Poojah in their family dwelling houses. How far they were morally justified in countenancing this popular festival, it is not for me to say. The fact speaks for itself. Even in the present time, when Hindoo society is being profoundly convulsed by heterodox opinions, not a few of my enlightened countrymen observe this religious festival, and spend thousands of rupees on its celebration. There are, however, a few redeeming features in connection with this annual demonstration, which ought to be prominently noticed. First and foremost, it affords an excellent opportunity for the exercise of benevolent feelings;[66]

secondly, it materially contributes to the promotion of annual reunions, brotherly fraternization, and to the general encouragement of trade throughout Bengal.