spot, and bending in religious awe they prostrate themselves with the most fervent devotion at the foot of the flight of steps that lead to the holy altar. There they repeat in silence some devotional formula, and, after bowing with humility and lowly prostration, they pass on to the attraction of the lascivious dance and lewder song that bursts publicly on the ear during this disgusting revelry.

The Durgā pūjā is the chief religious festival amongst five others which the Hindoos celebrate during the latter part of September and beginning of October. The Shasters define the origin as having commenced thus. During an ancient and dark age many centuries ago, a very rich and powerful Hindoo prince, whose wife had been forced from him by the witcheries and conjurations of the cruel Ravana, instituted these ceremonies for the purpose of subduing this wicked destroyer, and avenging himself for the injury he had sustained. Such is the germ of the fable. I shall now attempt a fuller explanation. About 1800 B.C. the powerful Hindoo prince above referred to, whose name was Janaka Rājā, promised his beautiful daughter Shītā in marriage to any one who could bend a wonderful bow which he had. This was done by Ramachandra, son of Dasaratha, King of Oude, who accordingly took her to wife. Contemporary with Ramachandra, lived Rāvana, King of Lanka or Ceylon, who, for his devotion,

had a promise from Brahma that he should not suffer death by any of the usual means, and he became the tyrant and pest of mankind. Ramachandra had occasion to retire to the deserts for devotion, whilst there he drew a circle round Shītā, his wife, and forbade her to go beyond it, leaving Lakshama, his brother, to take care of her; but Lakshama, hearing some noise which alarmed him for his brother, left her to seek him; then it was that Ravana, disguised as a beggar, enticed her out of the circle and carried her off in his flying chariot. In the air he was opposed by the bird Jatayu, whose wings he cut, and escaped.

This abduction naturally led to a war, which is fully described by Vālmīki in his epic poem of twenty-four thousand stanzas, called Rāmāya-ana, or Goings of Rama,from which this sketch is taken.

Rāvana or Mahishasur is represented at the pūjā as a buffalo-headed demon, and is said to have been the produce of a Muni and a she-buffalo. Throughout the world he was said to have exercised the greatest tyranny, as well as the greatest cruelty over its inhabitants, and was supposed to have encroached on the very dominions of heaven. Numberless were the attempts to put an end to this plague of earth and heaven, and to destroy and banish him from the face of both; but no one was found bold enough to oppose or even to face this terror of the world, save Durgā, the wife of Siva.

Durga or Bhairavī Durgā, is said to be a malignant goddess delighting in blood. Her representation, as sculptured and painted for the ceremonies, is intended, as far as the power of the artist extends, to convey in a superlative degree all the combinations of fierceness terror and malignity that it is possible to conceive, or the modeller to execute. This expression he endeavours to depict in the whole arrangement and attitude of the figure, as well as in every feature of the face.

When Durga went to oppose the buffalo-headed demon, she rode on the back of a furious tiger. She was attended and assisted by her two sons, Ganesha or Ganapati, and Kārttikeya or Skanda.

The first-named, who is the lord of the troops of mischievous and malignant imps, rode on the back of a magnificent peacock.

The second son, who is the general of Siva's armies or troops of demons, rode on a mouse of enormous size and terrible fierceness. Thus arrayed they proceeded to battle with Ravana. The battle was carried on with great fury and vigour for many days and nights; at length the combat ended in the defeat of Rāvana. Shītā was rescued, and the face of the earth and the portals of heaven were no longer the scene of contention, bloodshed and tyranny.

Thus the reader is in possession of the fable or myth which originated the ceremonies observed

during the celebration of the Durgā pūjā; and I shall now proceed to describe as intelligibly as possible the types under which it is at this day conveyed to the eyes, ears and understandings of the present race of Hindoos in Bengal, for of the other presidencies I know nothing.

CHAPTER VIII.

Preparations for the Durgā pūjā festival; its type-Reflections on the Hindoo mythology-The cultus of the deity "odium theologicum " a work of supererogation in India-Hindoo and Musalman affinities and antipathies-Various Hindoo festivals described-Jagannath-A Frenchman's love of the idol, his reason why being "all my eye"-The Orloff diamondThe Charkh pūjā and its object-Interesting Hindoo myths concerning mist, rain and clouds.

"Religentem esse oportet, religiosum nefas."-Aulus Gellius. "A man should be religious, but not superstitious."

THE Durgā pūjā or Nava-rātri, commences on the 1st and ends on the 10th day of the light half of the month Asswin (September-October). The image of Durga is worshipped for nine days, and then cast into the water. The tenth day is called Vijayadasami, or Dasa-harā.

For some weeks previous to the commencement of the holidays caused by the return of the anniversary of this splendid pūjā, preparations on a most extensive scale of magnificence and expense are begun and carried on. All occupations cease and