Читать книгу The Popular Religion and Folk-Lore of Northern India (Vol. 1&2) - William Crooke - Страница 48

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One very curious custom of rain-making has a series of remarkable parallels in Europe. In Servia, in time of drought, a girl is stripped and covered with flowers. She dances at each house, and the mistress steps out and pours a jar of water over her, while her companions sing rain songs.161 In Russia the women draw a furrow round the village, and bury at the juncture a cock, a cat, and a dog. “The dog is a demonic character in Russia, while the cat is sacred. The offering of both seems to represent a desire to conciliate both sides.”162 Mr. Conway thinks that the nudity of the women represents their utter poverty and inability to give more to conciliate the god of the rain; or that we have here a form of the Godiva and Peeping Tom legend, “where there is probably a distant reflection of the punishment sometimes said to overtake those who gazed too curiously upon the Swan Maiden with her feathers.”163

The Godiva legend has been admirably illustrated by Mr. Hartland,164 who comes to the conclusion that it is the survival of an annual rite in honour of a heathen goddess, and closely connected with those nudity observances which we are discussing. The difficulty is, however, to account for the nudity part of the ceremony. It may possibly be based on the theory that spirits dread indecency, or rather the male and female principles.165

This may be the origin of the indecencies of word and act practised at the Holî and Kajarî festivals in Upper India, which are both closely connected with the control of the weather. Among the Ramoshis of the Dakkhin the bridegroom is stripped naked before the anointing ceremony commences, and the same custom prevails very generally in Upper India. The Mhârs of Sholapur are buried naked, even the loin-cloth being taken off. Barren women worship a naked female figure at Bijapur. At Dayamava’s festival in the Karnâtak, women walk naked to the temple where they make their vows; and the Mâng, who carries the scraps of holy meat which he scatters in the fields to promote fertility, is also naked.166 The same idea of scaring evil spirits from temples possibly accounts for much of the obscene sculpture to be found on the walls of many Hindu shrines, and it may be noted in illustration of the same principle that in Nepâl temples are decorated with groups of obscene figures as a protection against lightning.167