Life and religion of the Hindoos.

by Joguth Chunder Gangooly

Here I will describe the image, with all its peculiarities. I use the technical term of the Hindoos when I say “the image,” or “Prothima,” for it contains nine different idols, although they call it one.

I am sure the description of the goddess will be amusingly absurd to the Christian reader; but I will represent it just as it is, and finally show that, far from being the real representation of some deity, it is merely an ideal thing,—the contrivance of Fancy.

The goddess is like a young female of sixteen, with ten hands, three eyes, deep yellow complexion, and stands in a posture placing her right foot on the back of a lion and the left on the shoulder of a monster. The monster, “Mohisha Soor,” comes out of the neck of a buffalo, in whose body the lower half of his person is deposited. He has a sword in his hand with which he meant to strike the goddess. On her right are Shoreshotee and Gonesh,—the one the goddess of poetry and music, and the other the god of success. On her left are Kartic and Lock-hee, the god of the babes and the goddess of riches. These four are the children of Doorga. Besides these she holds a serpent by one of her left hands, which bites the monster,—the enemy of its mistress. Looking at the image carefully I perceive it is nothing more than the embodiment of all the necessary comforts, pleasures, hopes of life. We want relief from the overwhelming sins which beset us in every direction; the monster is the representation of them, whom the goddess is cutting asunder. We want wealth, learning, success, children, and behold there are the symbolical representations of all these in the names of the sons and daughters of Doorga. Thus the ancient Brahmuns have painted whatever they have touched with philosophic colors, and arrayed before the people hosts of deities, which are essentially the painted, clothed, personified attributes of One God. The system was well adapted to the capacity of that distant age,—the age of figures, allegories, and sentiment; but the present age demands a clear, simple, and intelligible faith.

The worship commences on Shop-tomee,—the seventh day of the full-moon,—and occupies three successive days. Early in the morning of the first day is the bathing of “nine leaves,” of which the banana is the chief. This is done with much ceremony, in the presence of thousands; the bells ringing and trumpets sounding by hundreds. They place the “nobo-pothrica,” nine leaves, by the side of the image, dressing it like a female.

As the Hindoo mode of worship is almost always the same, and quite different from that of the Christian, I will here detail it in full, instead of describing it partially here and there. The image is placed in the middle of the hall, facing the main entry into the house. Two Brahmuns officiate at the same time; the one conducts the practical and the other the theoretical part of the ceremony; in other words the former does what the latter tells him to do. Thus the first, the head priest, sits before the image with a pile of flowers and perfumatory powders on his right, and a bell on the left; while the second takes his seat only a few steps from the first, with his sacred Scripture laying open before him, which he reads to direct his colleague how to proceed. The priest, first of all, is required to purify himself, the place he sits on, and the water he uses in the worship, by some ceremony. The doctrine of self-purification is good in its nature, and a Christian one too. Christ inculcated such on his disciples. But what a sad contrast stands between a Brahmun’s and a Christian’s mode of self-purification before worship! A Christian is taught to search the innermost parts of his heart, and bring out, if there be there, any impure, selfish, or passionate inclinations; and, leaving the sacrifice before the altar, go and make peace with his brother, or in some other way expel evil thoughts, and then pray. A beautiful process of self-purification indeed! But the Brahmun repeats some Sanscrith words, puts a flower on his own head, and turns his hands round his head, for the same purpose. This symbolism takes a prominent part in the Brahminic dispensation.

Lest the sprinkling of water and the shower of wet flowers might soil the dress of the idol, or wash away the painting, a copper tub is placed between the priest and the image, into which he casts flowers, pours water, etc. Some prayers are offered to the children, the friends, the servants, the messengers, even to the ornaments and household furniture of the goddess.

The offering of Noi-bitho comes in course. Hundreds of wooden or brazen trays are loaded with wet, raw rice,[21] fruits of nearly sixteen kinds, and other sweet things. These eatable things are set on the right hand side of the image, with the belief that it will cast its glance at them. The priests entreat the idols to accept the offering they bring, and drink the honey, milk, and water, etc., which they place before it. After these have been accepted by the goddess (as they believe), they are distributed to the Brahmun families.

Then comes the sacrifice. The Hindoos cherish the same notion of this offering as the ancient Hebrews did. In the Old Testament we read of the peace-offering, and the burnt-offering, and of the children of Adam bringing lambs, vegetables, etc., to the altar of the Almighty. The difference is, then, in the choice of the beast for the offering. The Hebrews used to kill oxen, which the Hindoos do not. The latter slaughter goats, sheep, and buffaloes, of the male sex, in presence of their idols; and, at the end, cut sugar-cane, pumpkin, etc., into pieces.

The place where the beasts are slaughtered is the middle of the yard, where a wooden block, with a jog on its top, is stuck in the ground. The blacksmith is the only caste to kill the victim for the others, although some Brahmuns do that part, to the displeasure of others.

The executioner, his scimitar, the block, the victims, animal or vegetable, are all washed and purified with sacred water. Nobody is allowed to lean against or touch a pillar, wall, or anything else. All stand straight, separate, and silent. One holds the hind-legs of the he-goat by his left hand and its fore-legs by his right, places its neck on the block, and then the blacksmith lifts up his fatal weapon, and the people shout aloud, “Victory to thee, O Mother!” The moment the last word, “Mother,” has been uttered, the head of the victim falls bleeding on the ground, the bells ring, trumpets sound, the people jump in joy, and clap their hands. There is no precise number of the animals for the offering; it may be more or less, according to the circumstance and the inclination of the worshipper.[22] If the man fails to kill the beast by one blow, it is regarded a mischievous omen. Hence, at the successful blow, the master of the house takes the executioner by the arm, puts flower garlands round his neck, and presents him with some money, clothes, etc.