The scene represents the _Rathjattra_, or festival of the chariot, as it
took place near Serampore, on the right bank of the Hoogly; and in this
manner the ceremonies are performed in innumerable towns and villages in
Hindostān; but the place most celebrated for this worship is the Temple
of Jaganāth, in Orissa. In the scene representing a _nāch_, in the house
of a Bengalī _bābū_, you beheld the figure of “Krishnŭ the Beloved”
playing on a flute, standing by the side of the goddess Dūrga. At the
_Rathjattra_, Krishnŭ is worshipped as _Jaganāth_ or lord of the
universe. In some period of Hindū history he was accidentally killed by
a hunter, who left the body to rot under a tree where it fell. Some
pious person, however, collected the bones of Krishnŭ, and placed them
in a box, where they remained: a king who was performing religious
austerities, to obtain some favour of Vishnū, was directed by the latter
to form the image of Jaganāth and put inside these bones of Krishnŭ, by
which means he should obtain the fruit of his religious austerities. The
king inquired who should make this image, and was commanded to pray to
Vishnŭ-Kŭrmŭ, the architect of the gods. He did so, and obtained his
request; but the architect at the same time declared, that if any one
disturbed him while preparing the image, he would leave it in an
unfinished state. He then began, and in one night built a temple upon
the blue mountain in Orissa, and proceeded to prepare the image in the
temple; but the impatient king, after waiting fifteen days, went to the
spot; on which the architect of the gods desisted from his work, and
left the image without hands or feet. The king was very much
disconcerted; but on praying to Brŭmha, he promised to make the image
famous in its present shape. The king now invited all the gods to be
present at the setting up of this image: Brŭmha himself acted as high
priest, and gave eyes and soul to the god, which completely established
the fame of Jaganāth. In the Museum is a small fac-simile of this god,
which was brought from Pooree, in Orissa; and at its side is the seal
with which the Brahmans stamp the worshippers on the breast and arms,
and also a figure in black marble of Krishnŭ, highly ornamented. The
height of the _ruth_, or chariot, is forty-two feet, supported on
sixteen wheels, and the horses in front are of wood. Ropes are attached
to the bars below; and the car, with the monstrous idol within it, is
drawn by thousands of frantic devotees. Looking out from the top is seen
the head of Jaganāth. The Brahmans adorn him during the festivals with
silver or golden hands—an offering of a pair of golden ones is
considered an act of great devotion.
One of the Hindū poets, in answer to the question, “Why has Vishnŭ
assumed a wooden shape?” (alluding to the image of Jaganāth) says, “The
troubles of his family have turned Vishnŭ into wood: in the first place,
he has two wives, one of whom (the goddess of learning) is constantly
talking, and the other (the goddess of prosperity) never remains in one
place: to increase his troubles, he sits on a snake, his dwelling is in
the water, and he rides on a bird.” All the Hindūs acknowledge it is a
great misfortune for a man to have two wives, especially if both live in
one house.
After many ceremonies have been performed, the god is drawn forth in his
car, and at the expiration of eight days he is conveyed back to the
place whence he came. The natives dance before the car, and the
procession is accompanied with drums, tom-toms, horns, and all sorts of
discordant native music.
Dancing is considered a religious ceremony among the Hindūs. The
Brahmans consider it an act of devotion to the god.