was given to Brâhmans and the rite came to an end.67 The idea of the sanctity of the arch is probably based on the same principle as that of perforated stones, to which reference will be made in another connection.
Greatest of all the mother goddesses of the Râjputs is Mâmâ Devî, the mother of the gods. She is thus on the same plane as Cybele Rhea and Demeter, the Corn Mother, who gives the kindly increase of the fruits of the earth. In one of her temples she is represented in the midst of her numerous family, including the greater and the minor divinities. Their statues are all of the purest marble, each about three feet high and tolerably executed, though evidently since the decline of the art.68
Worship of Gansâm Deo.
We now come to consider some divinities special to the Drâvidian races, who touch on the North-Western Provinces to the south, across the Kaimûr and Vindhyan ranges, the physical as well as the ethnical frontier between the valleys of the Ganges and Jumnâ and the mountain country of Central India. The chief Gond deity is Gansâm Deo. Some vague attempt has been made to elevate him into the pantheon of Brâhmanism, and his name has been corrupted into Ghanasyâma, which means in Sanskrit, “black like the heavy rain clouds of the rainy season,” and is an epithet of Râma and of Krishna. One legend derives him from an actual Gond chieftain, just as many of the local godlings whom we shall consider afterwards have sprung from real living persons of eminence, or those who have lost their lives in some exceptional way. It is said that this chieftain was devoured by a tiger soon after his marriage. As might have been expected, his spirit was restless, and one year after his death he visited his wife and she conceived by him. Instances of such miraculous conceptions are common in folk-lore.69 “The descendants of this ghostly embrace are, it is said, living to this day at Amoda, in the Central Provinces. He, about the same time, appeared to many of his old friends, and persuaded them that he could save them from the maws of tigers and other calamities, if his worship were duly inaugurated and regularly performed; and in consequence of this, two festivals in the year were established in his honour; but he may be worshipped at any time, and in all sickness and misfortunes his votaries confidently appeal to him.”70
In the Hill country of Mirzapur, the shrine of Gansâm is about one hundred yards from the village site and without any ornamentation. Both inside and outside is a platform of mud, on which the deity can rest when so disposed. The only special offerings to him are the curious water-pots (kalsa) already described, and some rude clay figures of horses and elephants, which are regarded as the equipage (sawârî) of the deity. In the Central Provinces, “a bamboo with a red or yellow flag tied to the end is planted in one corner, an old withered garland or two is hung up, a few blocks of rough stone, some smeared with vermilion, are strewn about the place which is specially dedicated to Gansâm Deo.”71
Worship of Dântan Deo and Lalitâ.
To the east of the Mirzapur District, there is a projecting mass of rock, which, looked at from a particular place, bears a rude resemblance to a hideous, grinning skull, with enormous teeth. This has come to be known as Dântan Deo or “the deity of the teeth,” and is carefully propitiated by people when they are sick or in trouble. Akin to this deity is Lalitâ, who is worshipped to the west of the Province. She is the sister of Kâlî, and brings bad dreams. Her speciality is her long teeth, and she has sometimes a curious way of blowing up or inflating the bodies of people who do not pay her due respect.
Worship of Dûlha Deo, the Bridegroom Godling.
Another great godling of the Drâvidian races is Dûlha Deo, “the bridegroom godling.” In his worship we have an echo of some great tragedy, which still exercises a profound influence over the minds of the people.
The bridegroom on his way to fetch the bride, is, by established Hindu custom, treated with special reverence, and this unfortunate bridegroom, whose name is forgotten, is said to have been killed by lightning in the midst of his marriage rejoicings, and he and his horse were turned into stone. In fact, like Ganymede or Hylas, he was carried off by the envy or cruel love of the merciless divine powers.
He is now one of the chief household deities of the Drâvidian people. Flowers are offered to him on the last day of Phâlgun (February), and at marriages a goat. Among some of the Gond tribes he has the first place, and is identified with Pharsipen, the god of war. In the native States of Rîwa and Sarguja, even Brâhmans worship him, and his symbol or fetish is the battle-axe, the national weapon of the Drâvidian races, fastened to a tree. In Mirzapur he is pre-eminently the marriage godling. In the marriage season he is worshipped in the family cook-room, and at weddings oil and turmeric are offered to him. When two or three children in the same hamlet are being married at the same time, there is a great offering made of a red goat and cakes; and to mark the benevolent character of the deity as a household godling, the women, contrary to the usual rule, are allowed a share of the meat. This purely domestic worship is not done by the Baiga or devil priest, but by the Tikâit or eldest son of the family. He is specially the tribal god of the Ghasiyas, who pour a little spirits in the cook-room in honour of him and of deceased relatives. The songs in his honour lay special stress on the delicacies which the house-mother prepares for his entertainment. Among the Kharwârs, when the newly married pair come home, he is worshipped near the family hearth. A goat is fed on rice and pulse, and its head is cut off with an axe, the worshipper folding his hands and saying, “Take it, Dûlha Deo!”
On the day when this worship is performed, the ashes of the fireplace are carefully removed with the hands, a broom is not used, and special precautions are taken that none of the ashes fall on the ground.
General Sleeman gives the legend of Dûlha Deo in another form.
“In descending into the valley of the Narmadâ over the Vindhya range from Bhopâl, one may see on the side of the road, upon a spur of the hill, a singular pillar of sandstone rising in two spires, one turning and rising above the other to the height of some twenty to thirty feet. On the spur of a hill, half a mile distant, is another sandstone pillar not quite so high. The tradition is that the smaller pillar was the affianced bride of the larger one, who was a youth of a family of great eminence in those parts. Coming with his uncle to pay his first visit to his bride in the marriage procession, he grew more and more impatient as he approached nearer and nearer, and she shared the feeling. At last, unable to restrain himself, he jumped from his uncle’s shoulders, and looked with all his might towards the place where his bride was said to be seated. Unhappily she felt no less impatient than he did, and they saw each other at the same moment. In that moment the bride, bridegroom, and uncle were, all three, converted into pillars, and there they stand to this day, a monument to warn mankind against an inclination to indulge in curiosity. It is a singular fact that in one of the most extensive tribes of the Gond population, to which this couple is said to have belonged, the bride always, contrary to the usual Hindu custom, goes to the bridegroom in procession to prevent a recurrence of this calamity.”72
This legend is interesting from various points of view. In the first place it is an example of a process of thought of which we shall find instances in dealing with fetishism, whereby a legend is localized in connection with some curious