The practice of destroying virginity has sometimes had a religious character.
At the same time, in justice to the writers whose views I have criticized, I wish to point out that the practice from which they propose to derive the sacred prostitution of Western Asia has not always been purely secular in character. For, in the first place, the agent employed is sometimes reported to be a priest;[195] and, in the second place, the sacrifice of virginity has in some places, for example at Rome and in parts of India, been made directly to the image of a male deity.[196] The meaning of these practices is very obscure, and in the present state of our ignorance on the subject it is unsafe to build conclusions on them. It is possible that what seems to be a purely secular precaution may be only a degenerate form of a religious rite; and on the other hand it is possible that the religious rite may go back to a purely physical preparation for marriage, such as is still observed among the aborigines of Australia.[197] But even if such an [pg 061] historical origin could be established, it would not explain the motives from which the customs described in this volume were practised by the people of Western Asia in historical times. The true parallel to these customs is the sacred prostitution which is carried on to this day by dedicated women in India and Africa. An examination of these modern practices may throw light on the ancient customs.
§ 2. Sacred Women in India.
Sacred women in the Tamil temples of Southern India. Such women are sometimes married to the god and possessed by him.
In India the dancing-girls dedicated to the service of the Tamil temples take the name of deva-dasis, “servants or slaves of the gods,” but in common parlance they are spoken of simply as harlots. Every Tamil temple of note in Southern India has its troop of these sacred women. Their official duties are to dance twice a day, morning and evening, in the temple, to fan the idol with Tibetan ox-tails, to dance and sing before it when it is borne in procession, and to carry the holy light called Kúmbarti. Inscriptions show that in a.d. 1004 the great temple of the Chola king Rajaraja at Tanjore had attached to it four hundred “women of the temple,” who lived at free quarters in the streets round about it and were allowed land free of taxes out of its endowment. From infancy they are trained to dance and sing. In order to obtain a safe delivery expectant mothers will often vow to dedicate their child, if she should prove to be a girl, to the service of God. Among the weavers of Tiru-kalli-kundram, a little town in the Madras Presidency, the eldest daughter of every family is devoted to the temple. Girls thus made over to the deity are formally married, sometimes to the idol, sometimes to a sword, before they enter on their duties; from which it appears that they are often, if not regularly, regarded as the wives of the god.[198] [pg 062] Among the Kaikolans, a large caste of Tamil weavers who are spread all over Southern India, at least one girl in every family should be dedicated to the temple service. The ritual, as it is observed at the initiation of one of these girls in Coimbatore, includes “a form of nuptial ceremony. The relations are invited for an auspicious day, and the maternal uncle, or his representative, ties a gold band on the girl's forehead, and, carrying her, places her on a plank before the assembled guests. A Brahman priest recites the mantrams, and prepares the sacred fire (hōmam). The uncle is presented with new cloths by the girl's mother. For the actual nuptials a rich Brahman, if possible, and, if not, a Brahman of more lowly status is invited. A Brahman is called in, as he is next in importance to, and the representative of the idol. It is said that, when the man who is to receive her first favours, joins the girl, a sword must be placed, at least for a few minutes, by her side.” When one of these dancing-girls dies, her body is covered with a new cloth which has been taken for the purpose from the idol, and flowers are supplied from the temple to which she belonged. No worship is performed in the temple until the last rites have been performed over her body, because the idol, being deemed her husband, is held to be in that state of ceremonial pollution common to human mourners which debars him from the offices of religion.[199] In Mahratta such a female devotee is called Murli. Common folk believe that from time to time the shadow of the god falls on her and [pg 063] possesses her person. At such times the possessed woman rocks herself to and fro, and the people occasionally consult her as a soothsayer, laying money at her feet and accepting as an oracle the words of wisdom or folly that drop from her lips.[200] Nor is the profession of a temple prostitute adopted only by girls. In Tulava, a district of Southern India, any woman of the four highest castes who wearies of her husband or, as a widow and therefore incapable of marriage, grows tired of celibacy, may go to a temple and eat of the rice offered to the idol. Thereupon, if she is a Brahman, she has the right to live either in the temple or outside of its precincts, as she pleases. If she decides to live in it, she gets a daily allowance of rice, and must sweep the temple, fan the idol, and confine her amours to the Brahmans. The male children of these women form a special class called Moylar, but are fond of assuming the title of Stanikas. As many of them as can find employment hang about the temple, sweeping the areas, sprinkling them with cow-dung, carrying torches before the gods, and doing other odd jobs. Some of them, debarred from these holy offices, are reduced to the painful necessity of earning their bread by honest work. The daughters are either brought up to live like their mothers or are given in marriage to the Stanikas. Brahman women who do not choose to live in the temples, and all the women of the three lower castes, cohabit with any man of pure descent, but they have to pay a fixed sum annually to the temple.[201]
In Travancore the dancing-girls are regularly married to the god.
In Travancore a dancing-girl attached to a temple is known as a Dâsî, or Dêvadâsî, or Dêvaratiâl, “a servant of God.” The following account of her dedication and way of life deserves to be quoted because, while it ignores the baser side of her vocation, it brings clearly out the idea of her marriage to the deity. “Marriage in the case of a Dêvaratiâl in its original import is a renunciation of ordinary family life and a consecration to the service of God. With a lady-nurse at a Hospital, or a sister at a Convent, a Dêvadâsî at a Hindu shrine, such as she probably was in the early ages of Hindu [pg 064] spirituality, would have claimed favourable comparison. In the ceremonial of the dedication-marriage of the Dâsî, elements are not wanting which indicate a past quite the reverse of disreputable. The girl to be married is generally from six to eight years in age. The bridegroom is the presiding deity of the local temple. The ceremony is done at his house. The expenses of the celebration are supposed to be partly paid from his funds. To instance the practice at the Suchîndram temple, a Yôga or meeting of the chief functionaries of the temple arranges the preliminaries. The girl to be wedded bathes and goes to the temple with two pieces of cloth, a tâli, betel, areca-nut, etc. These are placed by the priest at the feet of the image. The girl sits with the face towards the deity. The priest kindles the sacred fire and goes through all the rituals of the Tirukkalyânam festival. He then initiates the bride into the Panchâkshara mantra, if in a Saiva temple, and the Ashtâkshara, if in a Vaishnava temple. On behalf of the divine bridegroom, he presents one of the two cloths she has brought as offering and ties the Tâli around her neck. The practice, how old it is not possible to say, is then to take her to her house where the usual marriage festivities are celebrated for four days. As in Brahminical marriages, the Nalunku ceremony, i.e. the rolling of a cocoanut by the bride to the bridegroom and vice versa a number of times to the accompaniment of music, is gone through, the temple priest playing the bridegroom's part. Thenceforth she becomes the wife of the deity in the sense that she formally and solemnly dedicates the rest of her life to his service with the same constancy and devotion that a faithful wife united in holy matrimony shows to her wedded lord. The life of a Dêvadâsî bedecked with all the accomplishments that the muses could give was one of spotless purity. Even now she is maintained by the temple. She undertakes fasts in connection with the temple festivals, such as the seven days' fast for the Apamârgam ceremony. During the period of this fast, strict continence is enjoined; she is required to take only one meal, and that within the temple—in fact to live and behave at least for a term, in the manner ordained for her throughout life. Some of the details of her daily work seem interesting; she attends [pg 065] the Dîpâradhana, the waving of lighted lamps in front of the deity at sunset every day; sings hymns in his praise, dances before his presence, goes round with him in his processions with lights in hand. After the procession, she sings a song or two from Jayadêva's Gîtagôvinda and with a few lullaby hymns, her work for the night is over. When she grows physically unfit for these duties, she is formally invalided by a special ceremony, i.e. Tôtuvaikkuka, or the laying down of the ear-pendants. It is gone through at the Maha Raja's palace, whereafter she becomes a Tâikkizhavi (old mother), entitled only to a subsistence-allowance. When she dies, the temple contributes to the funeral expenses. On her death-bed, the priest attends and after a few ceremonies immediately after death, gets her bathed with saffron-powder.”[202]