Part 5

On another bamboo is displayed the _trisūl_ or trident of Mahadēo, and a small double-headed hand-drum, shaped like an hour-glass, called _damaru_, used by _Fakīrs_; and in front by the side of the Devotee, is an altar, or pillar, hollowed at the top, containing the sacred _tulsī_ plant (ocimum sanctum) purple stalked basil. This plant is worshipped in honour of a religious female who requested Vishnu to allow her to become his wife. Lukshmī, the goddess of beauty, and wife of Vishnu, cursed the woman on account of the pious request she had preferred to her lord, and changed her into a _tulsī_ plant. Vishnu, in consideration of the religious austerities long practised by the enamoured devotee, made her a promise that he would assume the form of the _shalgram_, and always continue with her. If one of these sacred plants die, it is committed in due form to _Ganga-jee_: and when a person is brought to die by the side of the sacred river, a branch of the _tulsī_, the shrub-goddess, is planted near the dying man’s head, and the marks upon the _shalgram_ are shown to him. This pebble god is a small heavy black circular stone, rather flattened on one side, with the _cornu ammonis_ strongly marked upon it. Devotees walk round the sacred plant, pour water upon it, and make _salām_. Of an evening a little _chirāgh_, a small lamp, is burned before it. In the courts of justice the Hindū swears by the Ganges water on which is placed a branch of the _tulsī_.

MANIKURNĪKA GHĀT.

A brahmanī bull is going up to the idol Ganesh, expecting a share of the flowers that are offered to the image. In the distance a band of pilgrims are coming down to fill their baskets with holy water; and in the foreground is a picturesque figure, also a carrier of holy water, which is put into small sealed bottles placed in baskets suspended from a bamboo poised on his shoulder, over which is a covering of red cloth.

A tank of peculiar sanctity is now before you, on the steps of which men are ascending and descending: it is called the _Chakra kunda_, and its history is as follows:—“After one of the periodical destructions and renovations of the world, Siva and his bride were alone in the _ananda-vana_, or happy forest, occupying the present site of Munikarniká, they found, as man and wife may sometimes do, that their tête á tête was growing dull, and to vary the party, Siva created Vishnu. After a while, the married pair wished again for privacy and withdrew into the forest, desiring Vishnu to amuse himself by doing what was fit and proper; which, after some consideration, he judged to be a supply of water for the irrigation of the trees, and with his _chakra_, or discus, he dug a hole, which he filled with the ambrosial perspiration from his body, induced by his hard work; and the pool so dug and filled, has remained a spot of peculiar sanctity, termed, from the _chakra_, or discus, _chakra kunda_, or _chakra puskkarnī_, discus-pond. When Siva returned and saw what Vishnu had done, he nodded his head in approbation so energetically, that the jewel (_mani_) of one of his ear-rings (_karniká_) fell off, and the place was thenceforth called _Manikarnika_.” (See _Kasi Khand_, Part I. chap. 26).

A Brahman sitting beneath a porch is reading aloud, with his book on his knees, and bending his body backwards and forwards as he reads.

Beneath the shade of a fine _pīpal_ tree (ficus religiosa) is a four-headed and holy piece of sculpture, with the bull (_nandī_) reposing before it; also another singularly sculptured stone representing two heads, their bodies formed of snakes entwined. The _pīpal_ is universally sacred: the Hindūs are seen in the early morning putting flowers in _pūja_ at the foot of the tree, and pouring water on its roots. They worship the idols placed beneath it in a similar manner, and they believe that a god resides in every leaf, who delights in the music of their rustling, and their tremulous motion.

Near this place is the spot on which the dead are burned; it is dedicated to Vishnu, as _Jalsāī_, or “sleeper on the waters;” and there, many a Hindu widow has devoted herself to the flames with the corpse of her husband. In the Museum is a brazen image of _Jalsāī_ floating on Anantā, the great serpent.

THE HINDŪ SCHOOL.

In the Bengalī schools a boy learns his letters by writing them, never by pronouncing the alphabet, as in Europe; he first writes them on the ground with a stick, or his fingers; next with an iron style, or a reed, on a palm-leaf; and next on a green plantain-leaf. The Bengalī schoolmasters punish with a cane, or a rod made of the branch of a tree; sometimes a truant is compelled to stand on one leg, holding up a brick in each hand, or to have his arms stretched out, until he is completely tired. Almost all the villages contain common schools. The allowance to the schoolmasters is very small: for the first year’s education, about a penny a month, and a day’s provisions; when a boy writes on the palm-leaf, twopence a month; after this, as the boy advances in learning, as much as fourpence or eightpence a month is given. There are no schools for girls among the Hindūs. “Jesus stooped down, and with his finger wrote upon the ground.” (John viii. 6). Schools for children are frequently held under trees in Bengal, and the children who are beginning to learn, write the letters of the alphabet in the dust. This saves pens, ink, and paper. “The sin of Judah is written with a pen of iron.” (Jeremiah xvii. 1). The letters are formed by making incisions on the palm-leaf: these books are very durable.

The scene now represents the _gyan-bapī_, or the well of knowledge, which is regarded as peculiarly sacred by the Hindūs, and it is related that it was dug by Isana with his _trisūl_, or trident, when he was wandering about Kashī. One of the officiating Brahmans is seen receiving the offerings of rice, &c. from a party of pilgrims, just about to commence the circuit of the temples. If a rich Hindū present any thing to an inferior, the latter, as a mark of respect, puts it on his head. An offering of cloth, for instance, received at a temple, the receiver not only places on his head, but binds it there. The rice and flowers were formerly thrown into the well; but they rendered the water so putrid, that a defence of planks has been since put up to prevent it. The man near the _gyan-bapī_ carrying a staff, is a _dŭndī fakīr_. This name is given because these devotees receive a staff (_dŭndŭ_) when they first enter this order. The Brahmans, on meeting one, prostrate themselves before him. The _dŭndī_ shaves his head and beard every four months. He travels with a staff in one hand, and an alms-dish in the other; he does not beg or cook his food, but is a guest at the houses of the Brahmans. The ceremonies to which this order attend, are, repeating the names of Vishnŭ, bathing once a day, and, with closed eyes, meditating on the attributes of the god by the side of the river. When about to bathe, they besmear themselves all over with the mud of the Ganges. The _dŭndīs_ do not burn, but bury their dead, repeating certain forms of prayer.

THE BALANCING GOAT.

In front of a beautiful Muhammadan Mosque a group is assembled around an Hindostanī juggler, with his goat, two monkeys, and several bits of wood, made in the shape of an hour-glass. The first piece he places on the ground, the goat ascends it, and balances herself on the top: the man by degrees places another bit of wood on the edge of the former; the goat ascends and retains her balance: a third piece, in like manner, is placed on the top of the former two pieces; the goat ascends from the two former, a monkey is placed on her back, and she still preserves her balance. The man keeps time with a sort of musical instrument, which he holds in his right hand, and sings a wild song to aid the goat: without the song and the measured time, they say the goat could not perform the balance. A grass-cutter is looking on: he has just returned from cutting a bundle of _dūb_-grass: every horse in India has his _sāīs_, or groom, and his grass-cutter. When a beautiful _begam_ (a native princess) is suffering from the pangs of jealousy, she often exclaims, “I wish I were married to a grass-cutter!” because a man of that class is too poor to be able to keep two wives.

The man on the right is a religious mendicant, a disciple of Siva. When this portrait was taken, his long black hair, matted with cow-dung, was twisted like a turban round his head: he was dreadfully lean, almost a skeleton. His left arm had been held erect so long, that the flesh had withered, and the skin clung round the bones most frightfully; the nails of the hand, which had been kept immoveably clenched, had pierced through the palm, and grew out at the back of the hand, like the long claws of a bird of prey. His skeleton arm was encircled by a twisted stick, the stem perhaps of a thick creeper, the end of which was cut into the shape of the head of the cobra di capello, with its hood displayed; and the twisted withy looked like the body of the reptile wreathed around his horrible arm. His only garment was the skin of a tiger, thrown over his shoulders, and a bit of rag and rope. He was of a dirty ashen colour from mud and paint; perhaps in imitation of Siva, who, when he appeared on earth as a naked mendicant of an ashy colour, was recognized as Mahadēo, the great god. This man was considered a very holy person. His right hand contained an empty gourd and a small rosary, and two long rosaries were around his neck of the rough beads called _mundrāsī_. Acts of severity towards the body, practised by religious mendicants, are not done as penances for sin, but as works of extraordinary merit, promising large rewards in a future state. The _Byragī_ is not a penitent, but a proud ascetic.

A very small and beautifully-formed _ginī_ (a dwarf cow) was with him. She was decorated with crimson cloth, embroidered with cowrie shells, and a plume of peacocks’ feathers as a _jika_, rose from the top of her head. A brass bell was on her neck, and around her legs were anklets of the same metal. Many _Fakīrs_ lead these little dwarf cows about the country, they are fat and sleek, and considered so holy that they will not sell them.

A barber sitting on a ghāt, is shaving an Hindū, he makes use of water, but not of soap, while he shaves all round the head, leaving a tuft of hair in the middle of the back of the head, which is commonly tied in a knot. Shaving is usually done under a small shed or a tree, very often in the street or road.

We have now given as many views of Benares as it is possible to introduce within the limits of our Diorama, and we take leave of the holy city with regret. The _Vedas_ and _Shastrs_ all testify that “Viswaswara is the first of _Devas_, _Kashī_ (Benares) the first of cities, _Gangā_ the first of rivers, and charity the first of virtues.” Vishveshvur, “Lord of the Universe,” is one of the most exalted titles of Siva.

THE FORTRESS OF CHUNAR.

The scene now represents Chunar, a fortress of considerable natural strength, situated on an insulated rock, about 150 feet high, forming the extremity of a low range of hills, on the right bank of the Ganges, about eighteen miles from Benares. In December, 1765, the Company’s troops, commanded by Major Pemble, stormed the place, and were repulsed with severe loss. The defences were irregular, following the outline of the eminence on which they were erected: several heavy batteries were mounted on the ramparts; but the native garrison trusted more to the inaccessible nature of the approach, and to the facilities it possessed for rolling down stones upon any assailants,—of which missiles, a large supply was always held in readiness on the ramparts. The fortress was again invested, and on the 8th of February, 1765, the _Killadar_ of the Fort surrendered the keys to Major Stibbert. It is an invalid station, although not reckoned a healthy spot, owing to the great heat arising from the stone: it completely commands the river, and is used as a place of confinement for state-prisoners. Snakes are numerous, and boys bring the cobra di capello for sale to boats. In the Magazine is a large black slab, on which the deity of the Fort is said to be ever present, with the exception of from daybreak until the hour of nine A.M., during which time he is at Benares. Tradition asserts, that the Fort would never have been taken by the English, but for the absence of their god Burtreenath.

A little above the Fort is a temple: tradition states it to contain a chest, which cannot be opened, unless the party opening it lose his hand—four thieves having so suffered once in an attempt upon it. It is also recorded, that the deified giant Bhīm Singh, built the fortress of Chunar in one day, and rendered it impregnable.

A native has just succeeded in crossing the river on a bundle of reeds; his clothes placed on the top of his head are safe from wet, and with one hand he paddles along. On the outskirts of the village is seen a remarkably ancient Banyan-tree, the Ficus Indica.

In front of the tomb of a _Pīr_ (a Muhammadan saint), three followers of the prophet are at their devotions. A _Shāmiyāna_, or awning, screens the tomb from the sun and rain: the standards of Hussan and Hussein are displayed, and daily coloured lanterns are suspended from the top of high bamboos.

THE PERSIAN WHEEL.

A woman is sticking cakes of cow-dung on the wall to dry for fuel. This article, called _oplā_, is generally used by the poorer classes; 1280 cakes are sold for a rupee: when well prepared and dried it blazes like wood. On the right is a fine Persian wheel: the water is brought up in _gharas_, red earthen vessels fastened round its circumference; it is worked by two bullocks, and gives an abundant supply. A wheel of this sort is perhaps superior to any other method of drawing water.

MIRZAPŪR.

Mirzapūr is a military cantonment, famous for its beautiful ghāts, and noted for its carpet manufactory and cotton mart. Some remarkably picturesque Hindū temples are on the _ghāts_, with fine trees in the back ground. The cliff is abrupt, and the river is always crowded with vessels full of merchandise: steamers having plenty of cargo to land are generally detained here four or five hours. Mirzapūr is from Calcutta, _via_ Bhagirathī, 748 miles, and by dāk route, 455.

The scene before you is very singular; it represents the finale of the _Kalī-pūjā_ festival: the goddess is seen on a platform in the boat in the foreground, covered by an awning, and adorned with flags: on the steps of the _ghāt_, a similar image is being put into a boat, and from every part of the city the worshippers are bringing forth the idols. One of the boats is towed by a _dinghī_, in which they are firing a _feu de joie_ from a matchlock.

In the house of the Bengalī _babū_ you beheld a _nāch_, and the worship of the goddess Dūrga, a yellow woman, with ten arms. You have now before you another form of the same Hindū deity, under the name of Kalī, the black, the terrific. When this goddess is worshipped in the month of May, it is called the _Phuluharī_ festival, on account of the quantity of fruits and flowers offered to the idol at this particular season: animals are sacrificed in her honour, and jack fruit and mangoes are presented to her in that particular month.

The day after the worship, the people carry the goddess in state to the river, and place the image on a platform, between two boats; the worshippers, attended by the discordant music of tom-toms (native drums) and horns, row the image out into the stream, and sink her in the deep waters: the women weep and utter lamentations on parting with the idol.

This goddess is represented as a black woman, with four arms: in one hand she carries a scimitar, one is bestowing a blessing, another forbids fear, and the fourth holds the head of the giant whom she slew.

She wears a necklace of skulls, her tongue hangs out of her mouth, her jet-black hair falls to her heels. Having drunk the blood of the giants she slew, her eyebrows are bloody, and the blood is falling in a stream down her breast: her eyes are red, like those of a drunkard: she stands trampling on her husband Siva. Kālī had a contest with the giant Ravŭna, which lasted ten years: having conquered him, she became mad with joy, and her dancing shook the earth to its centre. To restore the peace of the world, Siva, her husband, threw himself amongst the dead bodies at her feet. She continued her dancing, and trampled upon him. When she discovered her husband, she stood still, horror-struck and ashamed, and threw out her tongue to an uncommon length; by this means Siva stopped her frantic dancing, and saved the universe. “The Philistine cursed David by his gods.” A Hindū sometimes in a fit of anger, says to his enemy, “The goddess Kalī shall devour thee; may Dūrga destroy thee!”

THE TIMBER RAFT.

The picturesque _ghāt_ of Sirsya is in the distance, in front of which is an enormous boat, called a _Kutcher_, or _Kutchuā_; the bows and the stern are both square. A vessel of this description has frequently two rudders, like the one before you. It is laden with bales of cotton, which extend, supported on bamboos, far beyond each side of the boat. The next vessel is a large _patailī_, called a _ghor-daul_, or _ghora-wal_, because the bows are ornamented with a horse’s head. She is laden with salt.

In the foreground is a timber raft, one of the most picturesque objects to be seen on the Ganges. The men who accompany the raft have a strangely wild appearance; fresh from the _jangal_, they come down with the floating timber for scarcely any payment, just enough to feed them. They are small in stature, their skins are very dark, they shave the head completely, and their bodies are all but naked. They direct the course of the raft with long bamboos; a small thatch is erected upon her, under which they creep, and there they sleep. A picture in itself is the wild, strange-looking timber raft, which is generally decorated with two or three small red flags, and is always accompanied by a very small, narrow canoe, hollowed out of the trunk of a tree.

ALLAHABAD.

The fortress of Allahabad was built by Akbar Shah in 1581. On the 11th February, 1765, the governor of the fort, Alī Beg Khan, surrendered it to the Company’s troops, under the command of Major Fletcher, and marched out with his garrison, under safe conduct. Thus in one week Chunar and Allahabad, the two most important fortresses in Shuja-oo-Dowlah’s possession, fell without loss into the hands of the English.

The fortress is erected upon a point of land, stretching out into the waters at the junction of the sacred rivers. One of the holiest places on the Ganges is pointed out by numerous flags at the spot where it joins the Jumna, just below the fort. The Saraswati is supposed to unite with them _underground_, whence the junction is called _Trivenī_, or _Tribenī_. This spot is so holy, that a person dying there is certain of immediate _moskh_, or beatitude, without risk of further transmigration. The blue waters of the Jumna contrast strongly at the junction with the muddy hue of the waters of the Ganges. On the sands below the fort, the _Bura Mela_, or great fair, is held annually; it lasts about two months, and attracts devotees and merchants from all parts of India. At that period, also, _lākhs_ and _lākhs_ of natives come to Prag; they make _pūja_, shave, give money to the _Fakīrs_, and bathe at the sacred junction. Suicide committed at the _Benī_ is meritorious in persons of a certain caste, but a _sin_ for a Brahman! The ancient city of Prag, acquired the name of Allahabad from the Musalmān conquerors of India.

The buildings occupied by Shah Allum when he resided in the fort, still retain traces of their former grandeur, and some of the apartments command a fine view of the Jumna that flows beneath. An enormous pillar, formerly prostrate near the gateway in the fort, has been set up on a pedestal, under the superintendence of the late Colonel Edward Smith. The natives call it _Bhīm Singh ké lāt_, that is, Bhīm Singh’s walking-stick: some of the inscriptions on the _lāt_ are in unknown characters—those of the mighty dead, who have disappeared from the earth, leaving records imperishable, but incomprehensible.

The steam vessels and tugs which navigate the Ganges from Calcutta terminate their voyage at Allahabad.

THE SATĪ.

The scene now before you represents a _Satī_, the burning of a Hindū widow with the corpse of her husband. The event here represented took place on the 7th November, 1828, near Raj ghāt, under the Mahratta _bund_ (an embankment raised to prevent the encroachment of the Ganges). The woman was the wife of a rich _buniyā_ (a corn-chandler), and she determined to burn on his funeral-pile. The magistrate sent for her, used every argument to dissuade her, and offered her money. Her only answer was, dashing her head against the floor, and saying, “If you will not let me burn with my husband, I will hang myself in your court of justice.” If a widow touch either food or water from the time her husband expires until she ascend the pile, she cannot, by Hindū law, be burned with the body; therefore the magistrate kept the corpse _forty-eight_ hours, in the hope that hunger would compel the woman to eat. Guards were set over her; but she never touched any thing. A procession of people accompanied the widow from her dwelling to the river-side; she walked in the midst, dressed in a red garment, and the corpse, placed on a charpaī, fixed on long bamboos, was carried on men’s shoulders. About 5000 people were collected together on the banks of the Ganges: the pile was built, and the putrid body placed upon it.