Annals and Antiquities of Rajasthan, or the Central and Western Rajput States of India v2.c27.s3.68

v2.c27.s3.68

The Bathing of the Goddess.—The cavalcade assembles on the magnificent terrace, and the Rana, surrounded by his nobles, leads the way to the boats, of a form as primitive as that which conveyed the Argonauts to Colchis. The scenery is admirably adapted for these fêtes, the ascent being gradual from the margin of the lake, which here forms a fine bay, and gently rising to the crest of the ridge on which the palace and dwellings of the chiefs are built. Every turret and balcony is crowded with spectators, from the palace to the water's edge; and the ample flight of marble steps which intervene from the Tripolia, or triple portal, to the boats, is a dense mass of females in variegated robes, whose scarfs but half conceal their ebon tresses adorned with the rose and the jessamine. A more imposing or more exhilarating sight cannot be imagined than the entire population of a city thus assembled for the purpose of rejoicing; the countenance of every individual, from the prince to the peasant, dressed in smiles. Carry the eye to heaven, and it rests on ‘a sky without a cloud’: below is a magnificent lake, the even surface of the deep blue waters broken only by palaces of marble, whose arched piazzas are seen through the foliage of orange groves, plantain, and tamarind; while the vision is bounded by noble mountains, their peaks towering over each other, and composing an immense amphitheatre. Here the deformity of vice intrudes not; no object is degraded by inebriation: no tumultuous disorder or deafening clamour, but all await patiently, with eyes directed to the Tripolia, the appearance of Gauri. At length the procession is seen winding down the steep, and in the midst [572], borne on a pat,¹ or throne, gorgeously arrayed in yellow robes, and blazing with ‘barbaric pearl and gold,’ the goddess appears; on either side the two beauties wave the silver chamara over her head, while the more favoured damsels act as harbingers, preceding her with wands of silver: the whole chanting hymns. On her approach, the Rana, his chiefs and ministers rise and remain standing till the goddess is seated on her throne close to the water's edge, when all bow, and the prince and court take their seats in the boats. The females then form a circle around the goddess, unite hands, and with a measured step and various graceful inclinations of the body, keeping time by beating the palms at particular cadences, move round the image singing hymns, some in honour of the goddess of abundance, others on love and chivalry; and embodying little episodes of national achievements, occasionally sprinkled with double entendre, which excites a smile and significant nod from the chiefs, and an inclination of the head of the fair choristers. The festival being entirely female, not a single male mixed in the immense groups, and even Iswara himself, the husband of Gauri, attracts no attention, as appears from his ascetic or mendicant form begging his dole from the bounteous and universal mother. It is taken for granted that the goddess is occupied in bathing all the time she remains, and ancient tradition says death was the penalty of any male intruding on these solemnities; but the present prince deems them so fitted for amusement, that he has even instituted a second Ganggor. Some hours are thus consumed, while easy and good-humoured conversation is carried on. At length, the ablutions over, the goddess is taken up, and conveyed to the palace with the same forms and state. The Rana and his chiefs then unmoor their boats, and are rowed round the margin of the lake, to visit in succession the other images of the goddess, around which female groups are chanting and worshipping, as already described, with which ceremonies the evening closes, when the whole terminates with a grand display of fireworks, the finale of each of the three days dedicated to Gauri.