Part 24

Analogous to the custom of traga was that of Dharna, which was frequently and generally resorted to for the redress of wrongs and offences at a time when the law made little provision for either. The ordinary method of Dharna was to sit starving oneself in front of the door of the person from whom redress was sought until he gave it from fear of causing the death of the suppliant and being haunted by his ghost. It was, naturally, useless unless the person seeking redress was prepared to go to extremes, and has some analogy to the modern hunger-strike with the object of getting out of jail. Another common device was to thrust a spear-blade through both cheeks, and in this state to dance before the person against whom Dharna was practised. The pain had to be borne without a sign of suffering, which, if displayed, would destroy its efficacy. Or a creditor would proceed to the door of his debtor and demand payment, and if not appeased would stand up in his presence with an enormous weight upon his head, which he had brought with him for the purpose, swearing never to alter his position until satisfaction was given, and denouncing at the same time the most horrible execrations on his debtor, should he suffer him to expire in that situation. This seldom failed to produce the desired effect, but should he actually die while in Dharna, the debtor's house was razed to the earth and he and his family sold for the satisfaction of the creditor's heirs. Another and more desperate form of Dharna, only occasionally resorted to, was to erect a large pile of wood before the house of the debtor, and after the customary application for payment had been refused the creditor tied on the top of the pile a cow or a calf, or very frequently an old woman, generally his mother or other relation, swearing at the same time to set fire to it if satisfaction was not instantly given. All the time the old woman denounced the bitterest curses, threatening to persecute the wretched debtor both here and hereafter.

The word dharna means 'to place or lay on,' and hence 'a pledge.' Mr. Hira Lal suggests that the standing with a weight on the head may have been the original form of the penance, from which the other and severer methods were subsequently derived. Another custom known as dharna is that of a suppliant placing a stone on the shrine of a god or tomb of a saint. He makes his request and, laying the stone on the shrine, says, "Here I place this stone until you fulfil my prayer; if I do not remove it, the shame is on you." If the prayer is afterwards fulfilled, he takes away the stone and offers a cocoanut. It seems clear that the underlying idea of this custom is the same as that of standing with a stone on the head as described above, but it is difficult to say which was the earlier or original form.

15. Casting out spirits.

As a general rule, if the guilt of having caused a suicide was at a man's door, he should expiate it by going to the Ganges to bathe. When a man was haunted by the ghost of any one whom he had wronged, whether such a person had committed suicide or simply died of grief at being unable to obtain redress, it was said of him Brahm laga, or that Brahma had possessed him. The spirit of a Brahman boy, who has died unmarried, is also accustomed to haunt any person who walks over his grave in an impure condition or otherwise defiles it, and when a man is haunted in such a manner it is called Brahm laga. Then an exorcist is called, who sprinkles water over the possessed man, and this burns the Brahm Deo or spirit inside him as if it were burning oil. The spirit cries out, and the exorcist orders him to leave the man. Then the spirit states how he has been injured by the man, and refuses to leave him. The exorcist asks him what he requires on condition of leaving the man, and he asks for some good food or something else, and is given it. The exorcist takes a nail and goes to a pipal tree and orders the Brahm Deo to go into the tree. Brahm Deo obeys, and the exorcist drives the nail into the tree and the spirit remains imprisoned there until somebody takes the nail out, when he will come out again and haunt him. The Hindus think that the god Brahma lives in the roots of the pipal tree, Siva in its branches, and Vishnu in the choti or scalp-knot, that is the topmost foliage.

16. Sulking. Going bankrupt.

Another and mild form of Dharna is that known as Khatpati. When a woman is angry with her husband on account of his having refused her some request, she will put her bed in a corner of the room and go and lie on it, turning her face to the wall, and remain so, not answering when spoken to nor taking food. The term Khatpati signifies keeping to one side of the bed, and there she will remain until her husband accedes to her request, unless indeed he should decide to beat her instead. This is merely an exaggerated form of the familiar display of temper known as sulking. It is interesting to note the use of the phrase turning one's face to the wall, with something of the meaning attached to it in the Bible.

A custom similar to that of Dharna was called Diwala nikalna or going bankrupt. When a merchant had had heavy losses and could not meet his liabilities, he would place the lock of his door outside, reversing it, and sit in the veranda with a piece of sackcloth over him. Or he wrapped round him the floor-carpet of his room. When he had displayed these signs of ruin and self-abasement his creditors would not sue him, but he would never be able to borrow money again.

17. Bhat songs.

In conclusion a few specimens of Bhat songs may be given. The following is an account of the last king of Nagpur, Raghuji III., commonly known as Baji Rao:

They made a picture of Baji Rao; Baji Rao was the finest king to see; The Brahmans told lies about him, They sent a letter from Nagpur to Calcutta, They made Baji Rao go on a pilgrimage. Brothers! the great Sirdars who were with him, They brought a troop of five hundred horse! The Tuesday fair in Benares was held with fireworks, They made the Ganges pink with rose-petals. Baji Rao's gifts were splendid, His turban and coat were of brocaded silk, A pair of diamonds and emeralds He gave to the Brahmans of Benares. Oh brothers! the Raja sat in a covered howdah bound on an elephant! Many fans waved over his head; How charitable a king he was!

In the above song a note of regret is manifest for the parade and display of the old court of Nagpur, English rule being less picturesque. The next is a song about the English:

The English have taken the throne of Nagpur, The fear of the English is great. In a moment's time they conquer countries. The guns boomed, the English came strong and warlike, They give wealth to all. They ram the ramrods in the guns. They conquered also Tippoo's dominions, The English are ruling in the fort of Gawilgarh.

The following is another song about the English, not quite so complimentary:

The English became our kings and have made current the kaldar (milled) rupee. The menials are favoured and the Bhats have lost their profession, The mango has lost its taste, the milk has lost its sweetness, The rose has lost its scent. Baji Rao of Nagpur he also is gone, No longer are the drums beaten at the palace gate. Poona customs have come in. Brahmans knowing the eighteen Purans have become Christians; The son thinks himself better than his father, The daughter-in-law no longer respects her mother-in-law. The wife fights with her husband. The English have made the railways and telegraphs; The people wondered at the silver rupees and all the country prospered.

The following is a song about the Nerbudda at Mandla, Rewa being another name for the river:

The stream of the world springs out breaking apart the hills; The Rewa cuts her path through the soil, the air is darkened with her spray. All the length of her banks are the seats of saints; hermits and pilgrims worship her. On seeing the holy river a man's sins fall away as wood is cut by a saw; By bathing in her he plucks the fruit of holiness. When boats are caught in her flood, the people pray: 'We are sinners, O Rewa, bring us safely to the bank!' When the Nerbudda is in flood, Mandla is an island and the people think their end has come: The rain pours down on all sides, earth and sky become dark as smoke, and men call on Rama. The bard says: 'Let it rain as it may, some one will save us as Krishna saved the people of Brindawan!'

This is a description of a beautiful woman:

A beautiful woman is loved by her neighbours, But she will let none come to her and answers them not. They say: 'Since God has made you so beautiful, open your litter and let yourself be seen!' He who sees her is struck as by lightning, she shoots her lover with the darts of her eyes, invisible herself. She will not go to her husband's house till he has her brought by the Government. When she goes her father's village is left empty. She is so delicate she faints at the sight of a flower, Her body cannot bear the weight of her cloth, The garland of jasmine-flowers is a burden on her neck, The red powder on her feet is too heavy for them.

It is interesting to note that weakness and delicacy in a woman are emphasised as an attraction, as in English literature of the eighteenth century.

The last is a gentle intimation that poets, like other people, have to live:

It is useless to adorn oneself with sandalwood on an empty belly, Nobody's body gets fat from the scent of flowers; The singing of songs excites the mind, But if the body is not fed all these are vain and hollow.

All Bhats recite their verses in a high-pitched sing-song tone, which renders it very difficult for their hearers to grasp the sense unless they know it already. The Vedas and all other sacred verses are spoken in this manner, perhaps as a mark of respect and to distinguish them from ordinary speech. The method has some resemblance to intoning. Women use the same tone when mourning for the dead.

Bhatra

List of Paragraphs

1. General notice and structure of the caste. 2. Admission of outsiders. 3. Arrangement of marriages. 4. The Counter of Posts. 5. Marriage customs. 6. Propitiation of ghosts. 7. Religion. Ceremonies at hunting. 8. Superstitious remedies. 9. Occupation. 10. Names.

1. General notice and structure of the caste.

Bhatra. --A primitive tribe of the Bastar State and the south of Raipur District, akin to the Gonds. They numbered 33,000 persons in 1891, and in subsequent enumerations have been amalgamated with the Gonds. Nothing is known of their origin except a legend that they came with the Rajas of Bastar from Warangal twenty-three generations ago. The word Bhatra is said to mean a servant, and the tribe are employed as village watchmen and household and domestic servants. They have three divisions, the Pit, Amnait and San Bhatras, who rank one below the other, the Pit being the highest and the San the lowest. The Pit Bhatras base their superiority on the fact that they decline to make grass mats, which the Amnait Bhatras will do, while the San Bhatras are considered to be practically identical with the Muria Gonds. Members of the three groups will eat with each other before marriage, but afterwards they will take only food cooked without water from a person belonging to another group. They have the usual set of exogamous septs named after plants and animals. Formerly, it is said, they were tattooed with representations of the totem plant and animal, and the septs named after the tiger and snake ate the flesh of these animals at a sacrificial meal. These customs have fallen into abeyance, but still if they kill their totem animal they will make apologies to it, and break their cooking-pots, and bury or burn the body. A man of substance will distribute alms in the name of the deceased animal. In some localities members of the Kachhun or tortoise sept will not eat a pumpkin which drops from a tree because it is considered to resemble a tortoise. But if they can break it immediately on touching the ground they may partake of the fruit, the assumption being apparently that it has not had time to become like a tortoise.

2. Admission of outsiders.