On platforms raised of mud and sand, some ten or twelve missionaries were preaching; every man had his platform to himself, and a crowd of natives surrounded each orator. Seeing one of my own servants, an Hindoo, apparently an attentive listener, I asked the man what he had heard. “How can I tell?” said he; “the English padre is talking.” I explained to him the subject of the discourse, and received for answer, “Very well; it is their business to preach, they get pāisa for so doing; what more is to be said?”
A large number of fine marble images having been brought down from Jeypore, for sale at the great fair, I sent a Rajpūt to the owner, and, after much delay and bargaining, became the possessor of the large white marble image of Gŭnéshŭ which adorns the [frontispiece]. The man had scruples with regard to allowing me to purchase the idol, but sold it willingly to the Rajpūt. In this place, I may as well describe the frontispiece. The history of Gŭnéshŭ is fully related in the Introduction; and the chaunrīs above his head of the tail of the yāk, the cow of Thibet, have been described in the Twenty-second Chapter, [page 239].
Ram, the deified hero, with his bow of marvellous power, stands on the left of the shrine; the image is carved in white marble, painted and gilt, and is twenty-one inches in height; its history is related in the Ram Leela festival, [page 108].
On the right, Krishnŭ the beloved is playing on his pipe; the figure is of black marble, sixteen inches high; his life and history will be explained hereafter, in a chapter entitled Radha Krishnŭ.
On the second step of the altar, to the right of Gŭnéshŭ, the first figure, is that of a woman supporting a five-wicked lamp in her hands, which is used in pooja. The figure is of brass, and has a handle to it. The receptacles for oil or ghee are small, and of a mystic shape; a lamp of this description is called pancharty.
Next to this figure, on the same step, are two little chirāghs (lamps), with small cotton wicks; they are lighted; the little cups are of brass. Lamps of this sort are burned before every shrine; and at the Dewālī, the temples and ghāts are illuminated with thousands of these chirāghs, which are then formed of red pottery.
Next to the lamps is a small lota, for carrying Ganges water, wherewith to bathe the idol.
Near them are two bells, which are used in pooja.
The bell (gant’ha) is essential in holy ceremonies, and is rung at certain times to scare away evil spirits. Bells are much used in and about Hindoo temples, but were rejected by Mahommedans, by order of their prophet, who deemed them relics of superstition. Those used by the Hindoos differ in make according to the deity in whose honour pooja is performed.
The bells are of brass; the handle of one of them is composed of two images of Hŭnoomān back to back; the handle of the other represents Hŭnoomān and Garuda, in the same attitude; on the top of the handle of another the holy cow is couchant.