the Nerbudda. Every fantastic appearance of the rocks, caused by those great convulsions of nature which have so much disturbed the crust of the globe, or by the slow and silent working of the, waters, is attributed to the god-like power of those great heroes of Indian romance, and is associated with the recollection of scenes in which they are supposed to have figured.18
The strata of the Kaimūr range of sandstone hills, which runs diagonally across the valley of the Nerbudda, are thrown up almost perpendicularly, in some places many hundred feet above the level of the plain, while in others for many miles together their tops are only visible above the surface. These are so many strings of the oxen which the arrows of Arjun, one of the five brothers, converted into stone; and many a stream which now waters the valley first sprang from the surface of the earth at the touch of his lance, as his troops wanted water. The image of the gods of a former day, which now lie scattered among the ruins of old cities, buried in the depth of the forest, are nothing less than the bodies of the kings of the earth turned into stone for their temerity in contending with these demigods in battle. Ponds among the rocks of the Nerbudda, where all the great fairs are held, still bear the names of the five brothers, who are the heroes of this great poem;19 and they are every year visited by hundreds of thousands who implicitly believe that their waters once received upon their bosoms the wearied limbs of those whose names they bear. What is life without the charms of fiction, and without the leisure and recreations which these sacred imaginings tend to give to the great mass of those who have nothing but the labour of their hands to depend upon for their subsistence! Let no such fictions be believed, and the holidays and pastimes of the lower orders in every country would soon cease, for they have almost everywhere owed their origin and support to some religious dream which has commanded the faith and influenced the conduct of great masses of mankind, and prevented one man from presuming to work on the day that another wished to rest from his labours. The people were of opinion, they told me, that the Ganges, as a sacred stream, could last only sixty years more, when the Nerbudda would take its place. The waters of the Nerbudda are, they say already so much more sacred than those of the Ganges that to see them is sufficient to cleanse men from their sins, whereas the Ganges must be touched before it can have that effect.20
At the temple built on the top of a conical hill at Bherāghāt, overlooking the river, is a statue of a bull carrying Siva, the god of destruction, and his wife Pārvatī seated behind him; they have both snakes in their hands, and Siva has a large one round his loins as a waistband. There are several demons in human shape lying prostrate under the belly of the bull, and the whole are well cut out of one large slab of hard basalt from a dyke in the marble rock beneath. They call the whole group 'Gaurī Sankar', and I found in the fair, exposed for sale, a brass model of a similar one from Jeypore (Jaipur), but not so well shaped and proportioned. On noticing this we were told that 'such difference was to be expected, since the brass must have been made by man, whereas the "Gaurī Sankar" of the temple above was a real Pākhān, or a conversion of living beings into stone by the gods;21 they were therefore the exact resemblance of living beings, while the others could only be rude imitations'. 'Gaurī', or the Fair, is the name of Pārvatī, or Dēvī, when she appears with her husband Siva. On such occasions she is always fair and beautiful. Sankar is another name of Siva, or Mahādēo, or Rudra. On looking into the temple at the statue, a lady expressed her surprise at the entireness as well as the excellence of the figures, while all round had been so much mutilated by the Muhammadans. 'They are quite a different thing from the others', said a respectable old landholder; 'they are a conversion of real flesh and blood into stone, and no human hands can either imitate or hurt them.' She smiled incredulously, while he looked very grave, and appealed to the whole crowd of spectators assembled, who all testified to the truth of what he had said; and added that 'at no distant day the figures would be all restored to life again, the deities would all come back without doubt and reanimate their old bodies again'.
All the people who come to bathe at the fair bring chaplets of yellow jasmine, and hang them as offerings round the necks of the god and his consort; and at the same time they make some small offerings of rice to each of the many images that stand within the same apartment, and also to those which, under a stone roof supported upon stone pillars, line the inside of the wall that surrounds the circular area, in the centre of which the temple stands. The images inside the temple are those of the three great gods, Brahma, Vishnu, and Siva, with their primaeval consorts;22 but those that occupy the piazza outside are the representations of the consorts of the different incarnations of these three gods, and these consorts are themselves the incarnations of the primaeval wives, who followed their husbands in all their earthly ramblings. They have all the female form, and are about the size of ordinary women, and extremely well cut out of fine white and green sandstone; but their heads are those of the animals in which their respective husbands became incarnate, such as the lion, the elephant, &c., or those of the 'vāhans', or animals on which they rode, such as the bull, the swan, the eagle, &c. But these, I presume, are mere capricios of the founder of the temple. The figures are sixty- four in number, all mounted upon their respective 'vāhans', but have been sadly mutilated by the pious Muhammadans.23
The old 'Mahant', or high priest, told us that Mahādēo and his wife were in reality our Adam and Eve; 'they came here together', said he, 'on a visit to the mountain Kailās,24 and being earnestly solicited to leave some memorial of their visit, got themselves turned into stone'. The popular belief is that some very holy man, who had been occupied on the top of this little conical hill, where the temple now stands, in austere devotions for some few thousand years, was at last honoured with a visit from Siva and his consort, who asked him what they could do for him. He begged them to wait till he should bring some flowers from the woods to make them a suitable offering. They promised to do so, and he ran down, plunged into the Nerbudda and drowned himself, in order that these august persons might for ever remain and do honour to his residence and his name. They, however, left only their 'mortal coil', but will one day return and resume it. I know not whether I am singular in the notion or not, but I think Mahādēo and his consort are really our Adam and Eve, and that the people have converted them into the god and goddess of destruction, from some vague idea of their original sin, which involved all their race in destruction. The snakes, which form the only dress of Mahādēo, would seem to confirm this notion.25
CHAPTER 2
The Hindoo system is this. A great divine spirit or essence, 'Brahma', pervades the whole universe; and the soul of every human being is a drop from this great ocean, to which, when it becomes perfectly purified, it is reunited. The reunion is the eternal beatitude to which all look forward with hope; and the soul of the Brahman is nearest to it. If he has been a good man, his soul becomes absorbed in the 'Brahma'; and, if a bad man, it goes to 'Narak', hell; and after the expiration of its period there of limited imprisonment, it returns to earth, and occupies the body of some other animal. It again advances by degrees to the body of the Brahman; and thence, when fitted for it, into the great 'Brahma'.26
From this great eternal essence emanate Brahma, the Creator, whose consort is Sarasvatī;27 Vishnu, the Preserver, whose consort is Lakshmī; and Siva, alias Māhadēo, the Destroyer, whose consort is Pārvatī. According to popular belief Jamrāj (Yamarāja) is the judicial deity who has been appointed by the greater powers to pass the final judgement on the tenor of men's lives, according to proceedings drawn up by his secretary Chitragupta. If men's actions have been good, their souls are, as the next stage, advanced a step towards the great essence, Brahma; and, if bad, they are thrown back, and obliged to occupy the bodies of brutes or of people of inferior caste, as the balance against them may be great or small. There is an intermediate stage, a 'Narak', or hell, for bad men, and a 'Baikunth', or paradise, for the good, in which they find their felicity in serving that god of the three to which they have specially devoted themselves while