Part 10

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 worship of the goddess Doorgah has been performed from time out of mind. The following is a description of the image of the goddess which is set up for worship: "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 goddess." The majestic deportment of the goddess, with her three eyes and ten arms, the warlike attitude in which she is represented, her sanguinary character, which was the terror of all other gods, and the mighty exploits (far surpassing 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 _Shiva_ 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 worshipped her in the month of October, her Poojah has, from that particular circumstance, 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 associated, 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 _Amábashya_, 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 god Rám Chunder first marched against his enemy, Rávana, 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 thorny 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 formulæ 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 sex from taking a part in this ceremony. Precisely on the last day of the fortnight, _i. e._, on the _Amabáshya_, 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 _Moháloyá_,[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 _dakshiná_ of one Rupee for his trouble. Apart from their superstitious 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 association 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, assisted 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 goddess. It is a noteworthy fact that the Brahmin, who repeats the name of the god, _Modosoodun_, seems, to all appearance, to be absorbed in mental abstraction. With closed eyes and moving fingers, not unlike the _Rishis_ of old, he, as it were, disdains to look at the external world. From early in the morning till 10 o'clock the worship 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 attitude in which they pose, their inaudible muttering of the name of the goddess, 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 superstitious 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 _Uddhibassey_, its object being to welcome the advent of the visible goddess with all necessary paraphernalia. Another sacred earthen pot is placed in the outer temple of the goddess, 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 repetition 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 fashion, 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 circumstances, 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 class 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 workmanship as well as in neatness and elegance, the images that shine in new fashioned 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 principal 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 Ghât. On reaching home, the priest, washing 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 worshipped _first_. Thus the right of precedence of rank is in full force even among the Hindoo gods and goddesses.

Previous to the commencement of the _Saptami_, or first Pooja, the officiating priest again consecrates the goddess Doorga, somewhat in the following manner: "Oh, goddess, come and dwell in this image, and bless him that worships 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 gods 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 gods and goddesses, as well as to the companions of Doorga in her wars, which are painted in variegated colors on the _chall_ or shed over the goddess in the form of a crescent. The offerings consist principally of small pieces of gold and silver, rice, fruits, sweetmeats, cloths, brass utensils and a few other things. These are arranged in large round wooden or brass 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 gods and goddesses; 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 worship of the whole host of deities according to their respective position in the Hindoo pantheon. Even the most subordinate and insignificant gods 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 gods and goddesses. 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 goddess is again worshipped, 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 goddess. In the present day, many respectable families have discontinued the practice from a feeling of compassion 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 institution 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 institution 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 institution 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 appetite. 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 goddess 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 goddess 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 Kalyghât in the suburbs, and do not break their fast before making suitable offerings to the goddess Kali, who, according to Hindoo mythology, is but another incarnation of the goddess, 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 worship, and invokes the blessings of the goddess 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 bloody 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 goddess 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 goddess, and in the posture of quasi-penitent sinners, implore in a fervent spirit the benediction of the goddess 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 breasts with a slender iron _naroon_ or nail cutter, and offer a few drops of blood to the goddess, under a delusion that the severer the penance the greater the merit. Many women still go through this truly revolting ordeal at Kali Ghât, in fulfilment of vows made in times of sickness.