As soon as the bridegroom’s party were gone, Colonel Gardner requested me to go in procession, with his pretty grand-daughter, Alaida (the Morning Star), to the Prince’s tents, to escort the dress of the bridegroom, sent as a present by the bride. We went accordingly in full procession, as described before, taking back the oily mixture. Mulka Begam received us at the Prince’s tent; he was placed on a silver footstool; Mulka took off his upper dress, and rubbed his face and arms with the mixture; she then arrayed him in a dress of yellow and orange muslin, a red turban, and red silk pajamas, in which attire he looked very handsome.
Before him sat three women, the Domnee, playing and singing bridal songs; I saw the Prince turn very red; he looked at the women, and said something in a low tone to Mulka Begam, who answered,—“The mem sāhiba knows they are singing gālee (abuse); but she does not understand Hindostanee sufficiently to comprehend their songs.” The language of the songs is complete slang. Yellow powder, mixed with water, was then thrown in frolic at all the people; I made my salām, quitted the tent, and finding a gentleman in waiting ready to drive me back, returned to Colonel Gardner’s, leaving the rest of the party to play and sing all night. Thus ended the first day of the ceremonies.
At the festival of the Hūlī, which is particularly dedicated to Krishnŭ, images of the deity are carried about on elephants, horses, in palkees, &c. The songs are exclusively in honour of Krishnŭ, and hailing the return of the season, personified under the name of Vasanta, generally pronounced Bessant. Kama, the god of love, is the son of Krishnŭ.
The Hoolī was celebrated by the natives with due glee; they threw abeer (red powder) into each other’s faces, and then squirted orange-coloured water over it; people were also sent on April-fool errands. Colonel Gardner avoided appearing amongst the people during this festival, and I imitated his example. The orange-coloured water is tinged with the flowers of the dhāk tree; the abeer is flour made from the singharra (water nut), and dyed with red sanders; the roots of the singharra are loosened by means of ropes fastened between two boats, with several men in each; and iron prongs are used in collecting them.
I mentioned to Colonel Gardner the songs of the women, the Domnee, who were in the tent, and the distress of the Prince. He said, “When marriages are negotiating, in particular, they are of the most unchaste description; they are admitted on such occasions, but the nāch girls never; the songs of the Domnee are indecent beyond the conception of an European.”
Nāch women dance and sing before men, and are not allowed to enter zenānas of respectability; but in all great establishments, such as Colonel Gardner’s, and that of his son, the slave girls are formed into sets of dancing girls, to sing and play for the amusement of the Begams.
Colonel Gardner remarked, “The songs of the nāch girls are never indecent, unless ‘by particular desire,’ and then in representing the bearer’s dance,—a dance which is never performed before ladies.”
The following tradition may account for the great noise made with native instruments at a wedding:—“The difference between the lawful and unlawful, in marriage, is proclamation and the beating of drums for them.” “Aa’yeshah gave a woman, who was nearly related to her, in marriage to one of the assistants; and the prophet came and said, ‘Have you sent the young woman to her husband?’ She said, ‘Yes.’ The prophet said, ‘Have you sent any singers with her?’ She said, ‘No.’ On which the prophet said, ‘Verily the assistants are a tribe fond of singing; therefore, had you sent any one with her to have sung A’taina’cum, A’taina’cum, then he would have prayed for your life and mine.’” A’taina’cum, a’taina’cum,—we come to you, we come to you, are the words of a song sung in marriage processions.
Aamīr-bin-sad said, “I went to Kardhah-bin-cab, and Abu Masuud Ansarī, in an assembly, in which was a bridal feast; and some women were singing; and I said, ‘O ye two companions of the prophet of God! and O ye men of Bedr! (i.e. combatants in that battle) shall this act (that is, singing), be done near you?’ They said to me, ‘Sit down if you please, and hear with us; but, if you please, go away, because the prophet permitted us to hear nuptial songs.’”
Domra is the name of a caste of Musalmāns, the males of which are musicians, and the females sing and dance in the company of females only.