[1] The sari has throughout this book been rendered by the English word “mantle,” though as an equivalent it is misleading. For a description of the sari as it is, see Chapter VIII.
Chiefly the notes that strike are of nature and sex. These women are so thoroughly women, beyond and above all else. Except perhaps among the Parsis, where English customs have been sometimes too closely copied, there is no trace of the beings, women in age, but stunted and warped and with the ignorance of children, that, seen in other countries, create an uneasiness as at the touch of something unnatural and perverse. Here are the clear brows and smiling faces of those who know, to whom sex is a necessary part of life, and motherhood a pride and duty. They dress and adorn themselves, because they are women, with a husband to please and to govern. Their sex is frank and admitted: as women they know their place in the world and as women they seek a retiring modesty. Their very aloofness, their seclusion, gives them half their charm: and they know it. Not for them, for instance, the dismal methods of American schools, where mixed classes and a common play-ground rub away all the attraction of the sexes and make their growing pupils dully kin like brother and sister. In India women are so much valued and attain half their power because they are only occasionally seen and seldom met. It is the rarest flowers that are sought at the peril of life itself. It is for the women who live veiled and separated that men crave, captives of passion at a first quick-taken glance. A wife who is not the familiar companion of every walk or game, who is never seen through the long business hours—with what delight the husband, unjaded by the constant sight of women in street or office, seeks her at last in the inner apartments where she waits with smiles and flowers!
WATER-CARRIER FROM AHMEDABAD
How natural they are—true, that is, to the natural instincts and purposes of women, not without womanly artifice—is most apparent from a contrast. Their shyness, even their self-consciousness with men, is of a woman’s nature. Their love of jewelry, their little tricks of manner, why, the very way they stand are, after all, the natural derivatives of womanhood. Of motherhood they have no shame: they celebrate marriage and childbirth frankly with a fine candour. Their garments drape them in soft flowing lines falling in downward folds over the rounded contours of the body—draperies full of grace and restful. In Europe women still adhere to a deformity brought in by German barbarism in the dark ages. With curious appliances, they distort and misshape the middle of their bodies from quite early childhood till—the negation of all beauty—in place of a natural human figure appear two disjunct parts joined, as it were, mechanically by a tightened horizontal band. From their passive acceptance of routine, women will bear traditional deformity, in spite of illness and the constant weariness of nervous disorders. What is difficult to understand is that—with all their wish to please—they can endure its patent ugliness. Pleasing is the contrast of the Indian mantle, gracefully draped over head and shoulders and falling in vertical folds to the feet, and of the gaily-stitched and neat little fitting bodice of the Hindu lady. Her head with its smooth hair, decked with simple gold ornaments or fresh flowers, half covered by the silken veil, is well poised and beautiful.
She poses on it no twisted straws, dyed in metallic colours, no fantastic covering, hung with pieces of dead bird.
The step of the Indian woman walking is a thing of joy. It has in it nothing of the mincing awkward shuffle or of the disgracious manly stride. But at her best see her walking in the country villages, where her frame is trained to a graceful poise by the constant carriage of water-pots balanced on her head as she steps unshod down the dusty lanes or the sloping banks of the river.
