Part 2

The scene now represents the interior of the building during the celebration of the festival of the _Dūrga-pūjā_, or _Dasera_, held in honour of the goddess Dūrga, and the performance of a _nāch_ by the dancing-girls of Hindostān. During the _Dūrga-pūjā_ holidays, which last eight or ten days, the Hindūs lay aside all kind of business, save what necessity renders indispensable to pursue, and shops and offices are shut up while that great religious ceremonial is in course of being observed.

The house, as is generally the case, is a four-sided building, having an area in the middle, on one side of which the image of the goddess is raised on a throne, and some Brahmans are in attendance. The area is open to the sky, and a temporary ceiling is formed by fastening ropes across from wall to wall, over which a cotton carpet of native manufacture, called _shatranjī_, is spread, thus forming a roof; the floor is also covered with a gay cloth of the same manufacture, and a Persian carpet.

The goddess Dūrga, in whose honour this festival is held, derives her name from the giant Dūrgŭ, whom she is represented in the act of slaying with a trident as he issues from the neck of a buffalo, whose head she has cut off. The image is that of a yellow woman with ten arms, which are stretched out and filled with instruments of war. This goddess has a thousand names, and has assumed innumerable forms.

The bright half of the month _Aswina_, the first of the Hindū lunar year, is peculiarly devoted to Dūrga. The first nine nights are allotted to her decoration; on the sixth she is awakened; on the seventh she is invited to a bower formed of the leaves of nine plants, of which the _bilwa_ is the chief. The seventh, eighth, and ninth are the great days; on the last, the victims which are immolated to her honour must be killed with one blow only from a sharp sword or axe. The next day the goddess is reverently dismissed, and her image is cast into the river, which finishes the festival of the _Dasera_.

The black figure at the side of the goddess is that of Krishnŭ, one of the most popular gods of the Hindū Pantheon; he is greatly worshipped in Bengal, as well as in all parts of Hindostān, a great proportion of the Hindū population being devoted to him, and he is especially beloved by the women. A black marble figure of this popular deity stands in the Pilgrim’s Museum, as well as a small brazen one of Dūrga; the latter is very ancient. Immense sums are expended by wealthy Bengalīs during the _Dūrga-pūjā_.

The _Bābū_ is conversing with his European guests, and offering flowers to one of the ladies, who, seated on a sofa, is talking to those around her, and witnessing the _nāch_. The dancing-girls wear a very full petticoat of fine-coloured muslin, trimmed with deep borders of gold and silver, full satin trowsers which all but cover their naked and jewelled feet; and the _dopatta_, a large veil worn over the head, is highly embroidered. Various ornaments of native jewellery adorn their persons; their anklets are formed of numerous small brass bells that sound in time with their steps in the measured dance, and rings adorn their toes. In the thumb ring, which is about two inches in diameter, a bit of looking-glass is inserted, in which the nāch-girl often looks to see if her tresses are in order, and to adjust her flowing drapery. They dance, or rather move in a circle, attitudinizing and making the small brass bells fastened to their ankles sound in unison with their movements. Several men, the musicians of the party, attend each set of nāch-girls; they play on divers curiously-shaped native instruments.

In the hands of one of the native servants, standing near the steps, is a silver tray containing a _gulab-dānī_ (a gold or silver vessel used in sprinkling rose-water on departing guests), and the smaller vessel at its side, of elegant form, contains the _’atr_ of roses, which is placed on their hands at the same time.

Before the temples of Dūrga thousands of animals are annually slaughtered and offered to her image. In the portico is represented the sacrifice of a goat; the officiating Brahman, after bathing it, either in the river or in the house, puts his left hand on its forehead, marks its horns and forehead with red-lead, and repeats an invocation, in which he offers it up to the goddess thus: “O goddess, I sacrifice this goat to thee, that I may live in thy heaven to the end of ten years.” He then reads an incantation in its ear, and puts flowers and sprinkles water on its head. The instrument with which the animal is to be killed is next consecrated; the goat’s head is then put into an upright post, excavated at the top so as to admit the neck between its forks, the body remaining on one side the post and the head on the other; after which the executioner cuts off the head with one blow. After all the animals have been thus killed, and some of the flesh and the heads carried before the image, the officiating Brahman repeats certain prayers over these offerings and presents them to the goddess.

The square pillars of the building are of pure Hindostānī architecture, very singular, and elaborately carved.

OFFERING OF LIGHTS TO THE RIVER.

Having witnessed the _nāch_ and some of the ceremonies of the _Dūrga-pūjā_ festival, we now quit the illuminated area, and pass into the beautiful, the delicious moonlight of the East. Some Bengalī huts are beneath the trees; a _chaukīdar_, or native watchman, is standing before his hut, formed of straw and bamboo, on which his shield is hung; and a native beyond is cooking his evening meal.

The soft moonlight falls upon the river, and upon its bank several Bengalī women are sending off little paper boats, each containing a lamp. With what earnestness they watch these little fire-fly boats, in which they have adventured their happiness, as they float down the stream! If at the moment the paper boat disappears in the distance the lamp is still burning, the wish of the votary will be crowned with success; but, if the lamp be extinguished, the hope for which the offering was made will be doomed to disappointment. With what eagerness does the mother watch the little light, to know if her child will or will not recover from sickness! At times, the river is covered with fleets of these little lamps, hurried along by the rapid stream. Even when it is not in honour of any particular festival, natives may be seen offering lamps to Ganga (the Ganges), the sacred river.

A _pataīla_ (a country vessel), and two _oolāks_ are now in view; the natives always moor their vessels during the night, it being dangerous to proceed on the river during the hours of darkness.

THE MURDA GHĀT.

We now cross to the opposite side, the left bank of the Hoogly, to a _murda ghāt_, a spot where the funeral rites of the Hindūs are performed. The nearest relative, as is the custom, is stirring up the body, and pushing it into the flames with a long pole; much oil and _ghī_ (clarified butter) is poured over the wood, to make it burn fiercely: in all probability the son of the deceased is performing the ceremony. We read of the Romans burning their dead, regard it in a classical light, and think of it without disgust; but when we see the ceremony really performed, it is very painful: nevertheless, a sort of absurdity is mixed with it in the mind, as “Stir him up with the long pole” flashes across the memory. On the conclusion of the ceremony, the relatives bathe and return to their homes. The _charpāī_, or native bed, on which the corpse is carried down to the river side, being reckoned unclean, is generally thrown into the stream, or left on the bank. If a large quantity of wood and _ghī_ be consumed, we may imagine the deceased to have been a rich man; the relatives of the very poor scarcely do more than scorch the body, and throw it into the river, where it floats swollen and scorched—a horrible sight. The burning of the body is one of the first ceremonies the Hindūs perform for the help of the dead in a future state. If this ceremony have not been attended to, the rites for the repose of the soul cannot be performed.

Perched on the house-top are three vultures, and an _hargīla_, or adjutant, awaiting the time that they may pounce upon the remains of the corpse, when it is consigned to the holy river. These insatiate birds of prey perch upon the abutting walls, waiting their opportunity to descend; whilst others, repulsed by the attendants of the funeral fires, fly heavily across the river, passing across the native boats, through the tattered sails of which you might almost mark their flight. It is a sickening sight, rendered infinitely more sickening by the abominable effluvium which issues from the bank of death, in spite of the scented wood and other odoriferous substances, that are placed upon the funeral pile of a rich Hindū, and burnt with the body. This custom illustrates the text, “So shall they burn odours for thee.” (Jeremiah xxxiv. 5.) The Hindūs believe, that persons for whom funeral rites have not been performed, wander as ghosts, and find no rest.

An English gentleman travelling _dāk_ is standing on the bank; he has just crossed over, and is watching the bearers who are getting his palanquin out of the boat. _Dāk_ journeys are usually performed, during the hot weather, by night, and the traveller rests at some house during the day. Of a moonlight night a _dāk_ trip is far from being disagreeable.

THE PĪPAL TREE.

A Bengali village now appears beneath a group of cocoa-nut trees, beyond which the _Pīpal_-tree (ficus religiosa) is seen, with its roots exposed, the earth having been washed from them during the rains by the rising of the river. This tree is particularly venerated by the Hindūs; they believe its sacred branches to be the residence of the gods, and will never cut a branch to the injury of the tree. In front, a Hindū is sitting at worship by the side of the river; a _charpāī_, on which probably a corpse has been brought to be burned, is near the spot, also a skull and some bones: skulls are continually seen on the banks of the river.

PANHUTTĪ.

The picturesque and singular group of Bengalī temples that now open on our view are at Panhuttī—a spot well known to the English as the Grove; it is about half way between Calcutta and Barrackpore.

The Budjerow which is coming down the stream is apparently tenanted by a European gentleman; his _khidmutgar_ (a servant who waits at table) is in the forepart of the vessel, and the cook-boat is astern—the sails of the latter in the torn and worn-out state in which they are so continually seen.

THE WELL, AND PALM TREES.

The bamboo stage is erected for the purpose of watering the land. The river water is collected in a deep pool, between two brick walls, across which a small stage is fixed, on which a man stands, and his business is to empty the leathern skin which comes up full of water into the reservoir above, prepared for its reception. A long bamboo, with a large weight of earth attached to it at one end, is poised on a stage above, on which a native stands and causes the end towards the river to sink by the weight of his foot; when the skin below, which is attached to a thin bamboo from above, is filled with water, he removes his foot, which causes the water-bag to rise to the height of the reservoir, when the man below empties it and lets it fall again. In some parts, instead of a skin, a basket is used, which is rendered waterproof inside by a coating of clay and mud. Water is thus conveyed to a very great distance from the banks of a river. The fields in India are irrigated with as much care as is bestowed upon a garden, and three harvests are often obtained.

The Bengalī _jantŭ_ for watering the land happily illustrates this passage of Scripture, “Where thou sowedst thy seed, and wateredst it with thy foot, as a garden of herbs.” (Deut. xi. 10.)

The palm trees next to the well are remarkably beautiful; they are portraits. The one displaying the broad leaves is the fan-palm, from which the large _pankhas_ are made—one leaf alone forms the _pankha_, or fan, of which three specimens are to be seen in the Museum.

THE RATHJATTRA.

The scene represents the _Rathjattra_, or festival of the chariot, as it took place near Serampore, on the right bank of the Hoogly; and in this manner the ceremonies are performed in innumerable towns and villages in Hindostān; but the place most celebrated for this worship is the Temple of Jaganāth, in Orissa. In the scene representing a _nāch_, in the house of a Bengalī _bābū_, you beheld the figure of “Krishnŭ the Beloved” playing on a flute, standing by the side of the goddess Dūrga. At the _Rathjattra_, Krishnŭ is worshipped as _Jaganāth_ or lord of the universe. In some period of Hindū history he was accidentally killed by a hunter, who left the body to rot under a tree where it fell. Some pious person, however, collected the bones of Krishnŭ, and placed them in a box, where they remained: a king who was performing religious austerities, to obtain some favour of Vishnū, was directed by the latter to form the image of Jaganāth and put inside these bones of Krishnŭ, by which means he should obtain the fruit of his religious austerities. The king inquired who should make this image, and was commanded to pray to Vishnŭ-Kŭrmŭ, the architect of the gods. He did so, and obtained his request; but the architect at the same time declared, that if any one disturbed him while preparing the image, he would leave it in an unfinished state. He then began, and in one night built a temple upon the blue mountain in Orissa, and proceeded to prepare the image in the temple; but the impatient king, after waiting fifteen days, went to the spot; on which the architect of the gods desisted from his work, and left the image without hands or feet. The king was very much disconcerted; but on praying to Brŭmha, he promised to make the image famous in its present shape. The king now invited all the gods to be present at the setting up of this image: Brŭmha himself acted as high priest, and gave eyes and soul to the god, which completely established the fame of Jaganāth. In the Museum is a small fac-simile of this god, which was brought from Pooree, in Orissa; and at its side is the seal with which the Brahmans stamp the worshippers on the breast and arms, and also a figure in black marble of Krishnŭ, highly ornamented. The height of the _ruth_, or chariot, is forty-two feet, supported on sixteen wheels, and the horses in front are of wood. Ropes are attached to the bars below; and the car, with the monstrous idol within it, is drawn by thousands of frantic devotees. Looking out from the top is seen the head of Jaganāth. The Brahmans adorn him during the festivals with silver or golden hands—an offering of a pair of golden ones is considered an act of great devotion.

One of the Hindū poets, in answer to the question, “Why has Vishnŭ assumed a wooden shape?” (alluding to the image of Jaganāth) says, “The troubles of his family have turned Vishnŭ into wood: in the first place, he has two wives, one of whom (the goddess of learning) is constantly talking, and the other (the goddess of prosperity) never remains in one place: to increase his troubles, he sits on a snake, his dwelling is in the water, and he rides on a bird.” All the Hindūs acknowledge it is a great misfortune for a man to have two wives, especially if both live in one house.

After many ceremonies have been performed, the god is drawn forth in his car, and at the expiration of eight days he is conveyed back to the place whence he came. The natives dance before the car, and the procession is accompanied with drums, tom-toms, horns, and all sorts of discordant native music.

Dancing is considered a religious ceremony among the Hindūs. The Brahmans consider it an act of devotion to the god.

WATER CARRIERS.

The natives of India carry water long distances in a couple of leathern bags prepared for the purpose and hung across a bullock; the _behishtī_, or water-carrier, by the side of the stream, is filling the skins from his _mashk_, or water-bag, and another man is bringing up his leathern bag for the same purpose.

An Hindū girl is taking down a large net to the fisherman in the river, where he has just spread his own net. On the top of his head a small basket is fixed, into which he puts whatever he may catch; and floating on the water, attached to his waist by a long string, is a _gharā_, an earthen vessel, also used as a depository for the fish.

The _oolāk_ is floating timber to Calcutta, secured to her by ropes over the side. She is ornamented by a border of impressions of the human hand in white paint on the side of the stern, and has also an eye painted on each side of her bows; which the Hindūs, like the Chinese, consider necessary, to enable the spirit of the vessel to see its way upon the waters.

BARRACKPORE.

We now cross the Hoogly to Barrackpore, called by the natives _Achánuck_, corrupted from Charnock, the founder of Calcutta, who lived here. In the park is the country-house of the Governor-General; and the military cantonment affords accommodation to six regiments of native infantry. There is nothing remarkable about the Government House; it is a plain edifice of one story in height, with lofty rooms; the aviary, the menagerie, the garden, and a pleasant promenade, where the society of the station assemble, are the most attractive features of the place. The regiments here, with the Artillery at Dum-Dum (seven miles from Calcutta), and the troops in Fort William, constitute the presidency division of the army, which is commanded by a general officer, who resides at Barrackpore.

The Governor-General having come up the river in his yacht, the _Sona-makhī_, towed by a steamer, is represented as quitting the vessel to land at Barrackpore. The troops are drawn out awaiting his arrival; the elephants are ready to convey him to the house; the aid-de-camps are in attendance; and each of their horses is held by a _sāīs_, or groom, who carries in his hand a _chaurī_, to keep flies from the animal.

In the back-ground is a _shutur-sawār_, a man armed, and mounted on a camel, for the purpose of carrying messages express. This animal, of a much lighter description than the camel of burthen, can trot exceedingly fast, and will go from sixty to eighty miles a day, without distress: the pace is very rough, and the riders are not considered long lived. The camel’s neck is ornamented with small brass bells—a common appendage to couriers in many countries: it is also adorned with blue beads, cowrie shells, and gaily-coloured cloth and tassels: a small piece of wood is inserted in the animal’s nostrils, to which is attached a thin cord, by which it is guided.

The Mausoleum in the Park, of the Corinthian order, to the left of the Government House, was erected by Lord Minto, at his own cost, to commemorate the names of the officers who fell at Java and the Mauritius.

THE TRAVELLER’S PALM.

Some cows and a buffalo are beneath a _pīpal_ tree in the park. On the bank is the _sarput_, or _sirkī_, high jungle-grass that often rises to the height of sixteen feet; the bloom waves gracefully, bending to the wind, and elegantly recovers its position.

The next is the castor-oil plant (ricinus communis), much cultivated in Bengal; the oil extracted from the seeds being used medicinally, as well as for burning in lamps.

The tree with the broad and singular leaves is called the Traveller’s Palm: if a knife is stuck into the stem a pure water gushes out. It grows in the most sandy tracts where no water is to be found; hence it is called the Traveller’s Palm. Dr. Wallich mentioned this circumstance, and at the same time he struck his knife into the tree, of which the one before you is a portrait.

The cart is the common _hackerī_ of the country, and the natives belonging to it are asleep beneath it; a _chadda_, or cloth, is drawn over their heads to protect them from the musquitoes, and their slippers are laid on one side.

The Muhammadan Fakīr, a religious mendicant, in front of the group, is a picturesque personage; he wanders over the country, and supports himself on alms.

PLASSEY.

The high walls of the Nawāb’s hunting-house at Plassey are now before you, and we cannot but regard the spot with feelings of the deepest interest, as it is the house in which Colonel, afterwards Lord Clive rested for a short time during the engagement. The famous battle of Plassey, which may be said to have decided the fate of India, was fought on the 23rd June, 1757, on the plains of Plassey, about thirty miles south of Moorshedabad; near the spot selected for the Nawāb Sooraj-oo-Dowlah’s entrenched camp, the river at that period made a remarkable bend, in shape like a horse-shoe. In a mango _top_, or grove, a little more than a mile from the enemy, Colonel Clive had taken up his position: the trees were planted in regular rows, as is usual in the country, and all around the _top_ was a bank of earth, which afforded a good breast-work for the troops, and also a ditch beyond. One detachment was stationed at Plassey House, which was made use of by Colonel Clive during the conflict. About eight o’clock A.M. the battle commenced; and at eleven, Colonel Clive held a conference with his officers at the drum-head, when it was decided to maintain the cannonade during the day, and at midnight to make an attack on the Nawāb’s camp. The fate of Sooraj-oo-Dowlah was sealed by his flight towards the capital, mounted on a fleet _sawārī_ camel, accompanied by about 2000 horsemen. By five o’clock the English had taken possession of the whole intrenchment and camp, with no other obstacle than was presented by the enormous mass of baggage, stores, camp-equipage, and cattle, scattered around them.

The lofty stage of bamboos in the field is erected sufficiently high to be a refuge from wild beasts; it is thatched, and the native farmer places a servant there to keep watch, especially during the night, at the time the corn is nearly ripe. When a buffalo, or wild hog, comes into the field, the keeper takes a wisp of lighted straw in one hand, and in the other a dried skin containing broken bricks, pots, &c., bound up on all sides; and in this manner he approaches the animal, shaking his lighted straw and making a loud noise, on which it immediately runs away. “The boar out of the wood doth waste it, and the wild beast of the field doth devour it.” (Psalm lxxx. 13.) The wild hogs and buffaloes make great havoc in the fields of the Hindūs.

Below the stage is a domestic buffalo and a group of Bengalī cows. The buffalo is a very useful beast of burthen, yields a rich but strong milk, which is generally made into _ghī_ (clarified butter). This animal has no hump—a fact not universally known by those who have not visited India; on the contrary, the buffalo is generally supposed to have the hump. Those sold under the denomination of buffalo humps are from the common bull or cow of Hindostan.

THE ELEPHANT ESTABLISHMENT.

Not far distant from Plassey is the Company’s _Fīl-khana_, or Elephant establishment, whence the animals are coming down to the side of the river. One of the elephants in the distance is raising his _mahout_, or driver, with his trunk, to enable him to gain his seat on his neck: another is drinking, taking up the water with his proboscis and pouring it into his own mouth; a third is lying in the river enjoying the coolness, whilst his attendants are scrubbing and cleaning him.