Other Bhûts in the Hills are Acheri, the ghosts of little girls, who live on the tops of mountains, but descend at night to hold their revels in more convenient places. To fall in with their train is fatal, and they have a particular antipathy to red colour. When little girls fall suddenly ill, the Acheri is supposed to have cast her shadow over them. The Deo are the regular demons already described; some are obnoxious to men, some to cattle. The Rûniya moves about at night and uses a huge rock as his steed, the clattering of which announces his approach. He is the demon of the avalanche and landslip. Should he take a fancy to a woman, she is haunted by his spirit in her dreams, and gradually wasting away, finally falls a victim to her passion. He thus resembles the Faun and the Satyr, the Incubus and Succubus, against whose wiles and fascination the Roman maiden was warned.[85]
Birth Fiends.
Another of these night fiends is the Jilaiya of Bihâr, which takes the shape of a night bird, and is able to suck the blood of any person whose name it hears. Hence women are very careful not to call their children at night. It is believed that if this bird fly over the head of a pregnant woman her child will be born a weakling.[86]
Hence it closely approximates to the birth fiends which beset the mother and child during the period of impurity after parturition. Thus the Orâons of Chota Nâgpur believe that the fiend Chordevan comes in the form of a cat and tears the mother’s womb.[87] The Brâhman, Prabhu, and other high-caste women of Bombay believe that on the fifth and sixth night after birth the mother and child are liable to be attacked by the birth spirit Satvâî, who comes in the shape of a cat or a hen. Consequently they keep a watch in the lying-in room during the whole night, passing the time in playing, singing and talking to scare the fiend. The Marâthas of Nâsik believe that on the fifth night, at about twelve o’clock, the spirit Sathî, accompanied by a male fiend, called Burmiya, comes to the lying-in room, and making the mother insensible, either kills or disfigures the child. The Vadâls of Thâna think that on the fifth night the birth spirit Sathî comes in the form of a cat, hen, or dog, and devours the heart and skull of the child. They therefore surround the bed with strands of a creeper, place an iron knife or scythe on the mother’s cot, fire in an iron bickern at the entrance of the lying-in room, and keep a watch for the night. The customs all through Northern India are very much of the same type. It is essential that the fire should be kept constantly burning, lest the spirit of evil, stepping over the cold ashes, should enter and make its fatal mark on the forehead of the child. The whole belief turns on the fear of infantile lockjaw, which is caused by the use of foul implements in cutting the umbilical cord and the neglect of all sanitary precautions. It usually comes between the fifth and twelfth day, and as Satvâî, or the Chhathî of Northern India, has been raised to the dignity of a goddess. All this is akin to the belief in fairy changelings and the malignant influences which surround the European mother and her child.[88]
The Parî and Jinn.
Little reference has yet been made to the Parî or fairies, or the Jinn or genii, because they are, in their present state at least, of exotic origin, though their original basis was possibly laid on Indian soil. Thus we have the Apsaras, who in name at least, “moving in the water,” is akin to Aphrodite. They appear only faintly in the Veda as the nymphs of Indra’s heaven, and the chief of them is Urvasî, to whom reference has been already made. Two of them, Rambhâ and Menakâ, are shown as luring austere sages from their devotions, as in the Irish legend of Glendalough. They are the wives or mistresses of the Gandharvas, the singers and musicians who attend the banquets of the gods. Indra in the Rig Veda is the giver of women, and he provides one of his aged friends with a young wife.[89] Rambhâ, one of the fairies of his court, appears constantly in the tales of Somadeva, and descends in human form to the arms of her earthly lovers, as Titania with Bottom in the “Midsummer Night’s Dream.” Their successor in the modern tales is Shâhpasand, “The beloved of the king,” who takes the shape of a pigeon and kisses the beautiful hero. In one of the stories which appears in many forms, the youth with the help of a Faqîr finds his way to the dance of Râja Indra, takes the place of his drummer, and wins the fairy, whom he identifies in spite of the many schemes which the jovial god invents to deceive him. These ladies are all of surpassing beauty, skilled in music and the dance, with white skins, and always dressed in red.
With the Jinn we reach a chapter of folk-lore of great extent and complexity. They are probably in origin closely allied to the Râkshasa, Deo and his kindred.[90] They are usually divided into the Jann, who are the least powerful of all the Jinn, the Shaitân or Satan of the Hebrews, the Ifrît and the Mârid, the last of whom rules the rest. The Jann, according to the Prophet, were created out of a smokeless fire. The Jann is sometimes identified with the serpent, and sometimes with Iblîs, who has been imported direct from the Greek Diabolos. The Jinn were the pre-Adamite rulers of the world, and for their sins were overcome by the angels, taken prisoners and driven to distant islands. They appear as serpents, lions, wolves or jackals. One kind rules the land, another the air, a third the sea. There are forty troops of them, each consisting of six hundred thousand. Some have wings and fly, others move like snakes and dogs, others go about like men. They are of gigantic stature, sometimes resplendently handsome, sometimes horridly hideous. They can become invisible and move on earth when they please. Sometimes one of them is shut up in a jar under the seal of the Lord Solomon who rules them. They ride the whirlwind like Indian demons, and direct the storm. Their chief home is the mountains of Qâf, which encompass the earth.