em. The
ceremony is based on that of the local Hindus with numerous petty
variations in points of detail. In the actual ceremony the bride and
bridegroom are first supported on the knees of two relatives. A sheet
is held between them and each throws seven handfuls of parched rice
over the other. They are then made to stand side by side; a knot
is made of their cloths containing a piece of turmeric, and the
bride's left hand is laid over the bridegroom's right one, and on
it a _sendhaura_ or wooden box for vermilion is placed. The bride's
mother moves seven times round the pair holding a lighted lamp, at
which she warms her hand and then touches the marriage-crowns of the
bride and bridegroom seven times in succession. And finally the couple
walk seven times round the marriage-post, the bridegroom following
the bride. The marriage is held during the day, and not, as is usual,
at night or in the early morning. Afterwards, the pair are seated in
the marriage-shed, the bridegroom's leg being placed over that of the
bride, with their feet in a brass dish. The bride's mother then washes
their great toes with milk and the rest of their feet with water. The
bridegroom applies vermilion seven times to the marriage-post and to
his wife's forehead at the parting of her hair. The couple are fed
with rice and pulses one after the other out of the same leaf-plates,
and the parties have a feast. Next morning, before their departure,
the father of the bride asks the bridegroom to do his best to put up
with his daughter, who is thievish, gluttonous and so slovenly that
she lets her food drop on to the floor; but if he finds he cannot
endure her, to send her home. In the same manner the father of the
boy apologises for his son, saying that he cares only for mischief
and pleasure. The party then returns to the bridegroom's house.

4. Festivities of the women of the bridegroom's party.

During the absence of the wedding party the women of the bridegroom's
house with others in the village sing songs at night in the
marriage-shed constructed at his house. These are known as Dindwa, a
term applied to a man who has no wife, whether widower or bachelor. As
they sing, the women dance in two lines with their arms interlaced,
clapping their hands as they move backwards and forwards. The songs are
of a lewd character, treating of intrigues in love mingled with abuse
of their relatives and of other men who may be watching the proceedings
by