In the afternoon is the “vogue,”—dinner. It is to be observed here that the Hindoos of all castes do not offer boiled food to the idol,—such as rice, vegetables, fish, meat (of the he-goat only). They make various distinctions between boiled and fried food; some is allowable, and others not; for instance, a Brahmun would eat cakes fried by a confectioner, but not rice boiled by him. The Brahmuns only present rice, vegetables, and other cooked food, to the idols, which are offered in the same way as the fruits, specifying them by the name. When they bring these to the hall, they sprinkle the river water along their path, on which the Brahmun with the dishes in his hands treads. When the goddess is supposed to cast her glance at, or to indicate an acceptance of the costly dishes, the screens are hung so that none of the lowest caste can see what is going on behind.
The invited guests, as well as other poor low-caste people, take their places in the order of their castes, and the Brahmuns serve them at the dinner. O, the pleasant task! although, personally, I had neither faith in nor delight at the worship of the idol, and stood aloof in the hour of sacrifice, burning of incense, and offering meat to the senseless deities, yet I used to come at this time and offer my services in distributing food to the people. But as a disciple of Him who blessed, loved, and ministered to the poor, neglected, and low, I was particularly mindful to serve and wait upon such as rarely received much care and attention from an orthodox Brahmun. Thus, during these three days the people dine at each other’s houses, and all at the house of the Brahmuns who are highest and first in order. In the evening, the hall, the parlor, the entry, and the outside of the house, are all illuminated with chandeliers, lanterns, etc.
The priest performs the “aurothee,” or moving of “four lamps” before the face of the idol. While he is thus engaged, ringing a bell by his left hand and moving the lamps by his right, some burn perfumatory incense and fan the idol, and others devote themselves to silent prayer; the band also plays in the yard. At the close, every soul present is on his knees or breast, prostrating before “wood or stone.” I was often found on the outside of the house, away from the idol, at this time.
The guests appear again, and are entertained. The invited guests, the men of wealth, offer a present of money to the idol, when they come to the outer piazza of the hall. Beautiful it is to see men of different ages and circumstances visiting house after house, in crowds, in the excited, festive, superstitious Bengal. Would to God it was for some other occasion, and not for the worship of the idols.
Late in the evening begin the music, singing, dancing, theatrical shows, etc., quite different from those of Christians, both in regard to time, process, and substance. The usual hours for these are from eleven in the evening until six or seven in the next morning. On other occasions, when there is no idol to worship particularly, the music and shows extend twelve hours, without intermission. During these hours the people sit still, sometimes go out, promenade, chew spices, smoke tobacco, etc. The yard of the house, accommodating several hundreds, is the place where the theatrical plays and other amusements are held. For the information of the reader, I should describe in this place the musical entertainments of the Hindoos. They are far inferior to those in this country, in regard to the gorgeousness of the scenery; but far superior in point of elegance, taste, and composition, either of the tune or the play itself. A visit to the Boston Theatre, and the splendid spectacle displayed therein of “Faust and Marguerite,” have made me think the Hindoos are superior in their intellectual displays, while the Americans excel in scenic representations. Dancing in India is regarded in a contrary light from what it is in this country. Hence, those who dance in the public theatre or private parlor are from the lowest castes, if they be men, or public prostitutes, if women. For the Orientals deem it a shame, an improper act, for women to sing or dance before men. The dancing of a young girl in the above theatre in Boston, and of others in the polka, would well confirm the Oriental estimation of female dancing. The spectators do not gather promiscuously, and pay the admittance fee, as they do in this country. The music, dancing, or shows, whatever they might be, are open to all,—but it is in a rich man’s house, where the heads and backs of persons glitter with gold and jewels; the folks with cotton are not welcome. However, they have other places to go to, where every attention is shown to them. A Bengalee proverb says: “One door is closed against, while hundreds are open to us.” I said there is no promiscuous gathering; I mean the gathering of both sexes. The women sit apart behind the screens, from whence they see everything without being seen. But this is not the case with all. Sometimes a young woman, with vain heart and handsome casket—body—manages to thrust out to the public gaze her pretty hands, glittering with costly ornaments. Thus the first two days of the Doorga pooja pass by, and the third or last is before us, with its singular, absurd amusements. It is katha matie, amusement with clay. After the usual sacrifices have been offered, they wet the yard, and men of every age fall upon each other, singing and dancing in abominable ways. Some songs are purposely composed in vulgar words and sentiments, to be sung before the goddess, their Mother! This mistaken band of men and boys, with instrumental and vocal music, visit every house in the neighborhood which has the image within it. As a token of respect, the master of the house, or his representative, cordially receives this foolish party, and joins their number. You must join them, otherwise they will run after you, put clay on your clothes, and make you come at any rate. As they pass by, it is difficult to recognize them by their faces. Their clothes and whole bodies are so covered with clay, that at the first sight you will take them for some strange creatures, or John for James and James for Charles! Christians, who have no faith in the foreign missions, think the Hindoos are well off. Come! O come and see this single abominable, adulterous amusement of these men, the sad, the mistaken specimens of humanity, and you will find a great gulf lies between you and them. Thank your God and be grateful to his mercy. Spread the light abroad that has been committed to your care, that millions of the Great Human Family may see their course through the precipitous way of life!
Now, on the fourth, or last day, the image is thrown into water, with absurd ceremonies and costly shows. Agreeably to the order of exercises performed when a woman leaves her father’s house for that of her husband, the women walk round the image, put some lunch in her hand, and entreat her to come again the next year. The men write their names on some bāle leaves, and deposit them at the feet of the goddess, hoping she will remember them by their individual names.
In the afternoon the bands play, the flags are waved, the guns fired, and the image is carried to the river Gunga. Some people throw the images into the water, while others take them on board of boats, and thereby give the goddess a good sail. While young, I used to cry for this treatment toward the “Mother,” and ask my father why it would not be better to send her home by carriage, than sink her into the water. When it becomes dark they return to their homes, the bands playing a melancholy tune.
The benediction is offered by the priest at the place where the idol was. A jar with water in it is placed on the same seat which the goddess occupied, people sit on every side, and the priest sprinkles the “peace water” on their heads. Lest the sacred water should fall on their feet, which are regarded profane by the Hindoos, they cover them with their clothes, while their heads are exposed to the shower from the priest.
After this is performed what seems to me the best part of the worship, i. e. the greeting of each other with salutations. Each person takes a quantity of sweet confectionery with him, and goes round from house to house receiving or giving salutations, according to his position. I will describe this more distinctly. The Brahmuns do not salute other castes; and the grown-up people receive homage from their juniors, but do not give them any. Thus, a young man prostrates himself before his older brother, and both before their parents, uncle, aunt, etc. They put a little confectionery to each other’s mouths, and embrace each other. On this occasion they use an intoxicating drug called “Vang;” with the exception of this, I like the proceedings of the evening. Thus close the Doorga-pooja holidays; doing some good, at least to the poor, for they are well cared for, entertained in feasts, and admitted to the fine shows in the splendid houses, where they are not allowed to enter on other occasions. Besides these, they get such a quantity of expensive eatable things as they never tasted before, and which they enjoy for a week or more.