LITMIR.BIZ

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to the clay he uses and does not go far afield for the finer qualities, but digs it from the nearest place in the neighbourhood where he can get it free of cost. Red and black clay are employed, the former being obtained near the base of hills or on high-lying land, probably of the laterite formation, and the latter in the beds of tanks or streams. When the clay is thoroughly kneaded and ready for use a lump of it is placed on the centre of the wheel. The potter seats himself in front of the wheel and fixes his stick or chakrait into the slanting hole in its upper surface. With this stick the wheel is made to revolve very rapidly, and sufficient impetus is given to it to keep it in motion for several minutes. The potter then lays aside the stick and with his hands moulds the lump of clay into the shape required, stopping every now and then to give the wheel a fresh spin as it loses its momentum. When satisfied with the shape of his vessel he separates it from the lump with a piece of string, and places it on a bed of ashes to prevent it sticking to the ground. The wheel is either a circular disc cut out of a single piece of stone about a yard in diameter, or an ordinary wooden wheel with spokes forming two diameters at right angles. The rim is then thickened with the addition of a coating of mud strengthened with fibre.6 The articles made by the potter are ordinary circular vessels or gharas used for storing and collecting water, larger ones for keeping grain, flour and vegetables, and surāhis or amphoras for drinking-water. In the manufacture of these last salt and saltpetre are mixed with the clay to make them more porous and so increase their cooling capacity. A very useful thing is the small saucer which serves as a lamp, being filled with oil on which a lighted wick is floated. These saucers resemble those found in the excavations of Roman remains. Earthen vessels are more commonly used, both for cooking and eating purposes among the people of northern India, and especially by Muhammadans, than among the Marāthas, and, as already noticed, the Kumhār caste musters strong in the north of the Province. An earthen vessel is polluted if any one of another caste takes food or drink from it and is at once discarded. On the occasion of a death all the vessels in the house are thrown away and a new set obtained, and the same measure is adopted at the Holi festival and on the occasion of an eclipse, and at various other ceremonial purifications, such as that entailed if a member of the household has had maggots in a wound. On this account cheapness is an indispensable quality in pottery, and there is no opening for the Kumhār to improve his art. Another product of the Kumhār’s industry is the chilam or pipe-bowl. This has the usual opening for inhaling the smoke but no stem, an impromptu stem being made by the hands and the smoke inhaled through it. As the chilam is not touched by the mouth, Hindus of all except the impure castes can smoke it together, passing it round, and Hindus can also smoke it with Muhammadans.

      It is a local belief that, if an earthen pot is filled with salt and plastered over, the rains will stop until it is opened. This device is adopted when the fall is excessive, but, on the other hand, if there is drought, the people sometimes think that the potter has used it to keep off the rain, because he cannot pursue his calling when the clay is very wet. And on occasions of a long break in the rains, they have been known to attack his shop and break all his vessels under the influence of this belief. The potter is sometimes known as Prājapati or the ‘The Creator,’ in accordance with the favourite comparison made by ancient writers of the moulding of his pots with the creation of human beings, the justice of which will be recognised by any one who watches the masses of mud on a whirling wheel growing into shapely vessels in the potter’s creating hands.

      6. Breeding pigs for sacrifices

      Certain Kumhārs as well as the Dhīmars make the breeding of pigs a means of subsistence, and they sell these pigs for sacrifices at prices varying from eight annas (8d.) to a rupee. The pigs are sacrificed by the Gonds to their god Bura Deo and by Hindus to the deity Bhainsāsur, or the buffalo demon, for the protection of the crops. Bhainsāsur is represented by a stone in the fields, and when crops are beaten down at night by the wind it is supposed that Bhainsāsur has passed over them and trampled them down. Hindus, usually of the lower castes, offer pigs to Bhainsāsur to propitiate him and preserve their crops from his ravages, but they cannot touch the impure pig themselves. What they have to do, therefore, is to pay the Kumhār the price of the pig and get him to offer it to Bhainsāsur on their behalf. The Kumhār goes to the god and sacrifices the pig and then takes the body home and eats it, so that his trade is a profitable one, while conversely to sacrifice a pig without partaking of its flesh must necessarily be bitter to the frugal Hindu mind, and this indicates the importance of the deity who is to be propitiated by the offering. The first question which arises in connection with this curious custom is why pigs should be sacrificed for the preservation of the crops; and the reason appears to be that the wild pig is the animal which, at present, mainly damages the crops.

      7. The goddess Demeter

      In ancient Greece pigs were offered to Demeter, the corn-goddess, for the protection of the crops, and there is good reason to suppose that the conceptions of Demeter herself and the lovely Proserpine grew out of the worship of the pig, and that both goddesses were in the beginning merely the deified pig. The highly instructive passage in which Sir J. G. Frazer advances this theory is reproduced almost in full7: “Passing next to the corn-goddess Demeter, and remembering that in European folklore the pig is a common embodiment of the corn-spirit, we may now ask whether the pig, which was so closely associated with Demeter, may not originally have been the goddess herself in animal form? The pig was sacred to her; in art she was portrayed carrying or accompanied by a pig; and the pig was regularly sacrificed in her mysteries, the reason assigned being that the pig injures the corn and is therefore an enemy of the goddess. But after an animal has been conceived as a god, or a god as an animal, it sometimes happens, as we have seen, that the god sloughs off his animal form and becomes purely anthropomorphic; and that then the animal which at first had been slain in the character of the god, comes to be viewed as a victim offered to the god on the ground of its hostility to the deity; in short, that the god is sacrificed to himself on the ground that he is his own enemy. This happened to Dionysus and it may have happened to Demeter also. And in fact the rites of one of her festivals, the Thesmophoria, bear out the view that originally the pig was an embodiment of the corn-goddess herself, either Demeter or her daughter and double Proserpine. The Thesmophoria was an autumn festival celebrated by women alone in October, and appears to have represented with mourning rites the descent of Proserpine (or Demeter) into the lower world, and with joy her return from the dead. Hence the name Descent or Ascent variously applied to the first, and the name Kalligeneia (fair-born) applied to the third day of the festival. Now from an old scholium on Lucian we learn some details about the mode of celebrating the Thesmophoria, which shed important light on the part of the festival called the Descent or the Ascent. The scholiast tells us that it was customary at the Thesmophoria to throw pigs, cakes of dough, and branches of pine-trees into ‘the chasms of Demeter and Proserpine,’ which appear to have been sacred caverns or vaults.

      “In these caverns or vaults there were said to be serpents, which guarded the caverns and consumed most of the flesh of the pigs and dough-cakes which were thrown in. Afterwards—apparently at the next annual festival—the decayed remains of the pigs, the cakes, and the pine-branches were fetched by women called ‘drawers,’ who, after observing, rules of ceremonial purity for three days, descended into the caverns, and, frightening away the serpents by clapping their hands, brought up the remains and placed them on the altar. Whoever got a piece of the decayed flesh and cakes, and sowed it with the seed-corn in his field, was believed to be sure of a good crop.

      “To explain this rude and ancient rite the following legend was told. At the moment when Pluto carried off Proserpine, a swineherd called Eubuleus chanced to be herding his swine on the spot, and his herd was engulfed in the chasm down which Pluto vanished with Proserpine. Accordingly, at the Thesmophoria pigs were annually thrown into caverns to commemorate the disappearance of the swine of Eubuleus. It follows from this that the casting of the pigs into the vaults at the Thesmophoria formed part of the dramatic representation of Proserpine’s descent into the lower world; and as no image of Proserpine appears to have been thrown in, we may infer that the descent of the pigs was not so much an accompaniment of her descent as the descent itself, in short, that the pigs were Proserpine. Afterwards, when Proserpine or Demeter (for the two are equivalent) became anthropomorphic,

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