III-Exorcism among the Oraons of the Palamau District By Rai Bahadur Sarat Chandra Roy, M.A., B.L., M.L.C. In a previous paper (.B.O. R.S., March, 1923) I described the art of exorcism as practised among the Oraons of the Ranchi district (Chōtā Nagpur proper). In the present paper I proceed to give an account of exorcism as practised among the Oraons of the Palamau district of Chōtā Nagpur. Although there are differences in details in the rites of exorcism as practised by the Oraons in the Ranchi district and those of the Palamau district still the conception of spirits and the process of exorcising them are substantially the same in the Chōtā Nagpur plateau as in the Palamau district of the Chōtā Nagpur division. There is the same conception of spirits as semi-material entities with appetites and propensities like those of man, who possess "human beings to obtain the gratification of their appetites and who may be tickled by the "wise man (the Mati, Sokha or Bhagat) into self-revelation, and successively pursued from one part of the patient's body to another until completely expelled from the body, and forthwith seized and confined in the sings tube, and finally left or buried at a safe spot out of harm's way. The help of higher spirits, too, is requisitioned to detect, subdue and expel the mischievous spirits. Although the invocations and the details of the rites clearly point to the strong influence of Hindu spirit-doctors over the Oraon spirit-doctor-and, in fact, in many cases Hindu spiritdoctors are called in by the Oraons for purposes of exorcism, and Oraon spirit-doctors in most cases derive their training from Hindu teachers (gurus)-yet the borrowed elements do not differ in their essentials with similar elements of genuine Oraon culture but fit in with Oraon ideas and ideals and have thus been easily assimilated and become an integral part of the Oraon system. The Mati's Procedure The procedure followed by the spirit-doctor in the Palamau district is as follows : The verāndā or a room of the patient's house is cleaned with a coating of gōbar (cowdung). There, about 1b. of ārua rice and two or four pice are placed on a sup (winnowing fan), and an earthen lamp is placed by its side and a little oil in a small cup, and a little ghee on a leaf, and some fire. The māti sits there on a mat or on the ground, and the patient is made to lie down by his side. The māti first feels the pulse of the sick person, but, even if asked what he finds, does not say as to whether it is a case of spirit possession or natural sickness. Then the māti first makes hōm by throwing ghee on the fire and saying, He Dharti Kai, hē Sūruinārāin, hethe dharti uprē Parmeswar, bichmē Panch ho kar, dudh ke dūdḥ pāni ke pani bicharna chahi. Gauke jaisa ägtu dhar taisa pachhla dhar samjhna chahi. Gauke mās kūṭṭā khae, kūṭṭā ke mās gāi nehi khāi. Aisā hi dohal burhimad dudh ke dudh pani ke pāni bichārna chāhi. Thuṭṭa kisi ganpar palang nehi bhirna chāhi. Naihār kā hō, sasurār kā hō, yanē gharkā deōtā bigṛā hō, yanē kōi, bāhārbāt mē dhit miṭ lāgāiya hō, kōi dahe bidahe bhej bhejao kia ho yanē nasan pangan kia hō, uskō dudh ke dudh pāni ke pāni bichārnā chāhi. Jāhākā hōē huā bhejnā chāhi. Āgar āsthān (i.e. tree or land or other fixed locality) ka deō hō, to ūskō āsthān (i e. seat) dengē, aur kōi pinṛ kā bhūt hō úsko pin (body) badal pinṛ dengē; rāhi ka hā rāh dengē. Deota hōkarke āgpāṭkh karnā nehi chāhiē. Ban bhaṛal pātāi, des bharal bhūt, sekarkhaji nehi, sirip khūnikā khōji hai Satjūgkē satkhāri, Kalijug panch khari eklāhasi pancho bira dena chahi. Agpach nehi karnā chāhi. Agpach karēsē pāchhūākē janmalBag-mānē hank, ghōṛā-mānē chābhūk, hāthi-mānē ākush, deōtamānē jabàn, bhūt māne bāchia. Lohākā bānd khūlē tō khūlē, bachcheā kā bāndhā nehi chhūṭé. Sitākā ānchar khūlē, Mahādeo kā jāṭā ṭūtē, tō-bhi bachcheākā bandh nehi chhutë. Now, as the Hōm proceeds the deotas are invited. All these, Dharti Mai and other deotas are invited to come and sit as panch and make bichar (judicial award). The mati in a sing-song tone invokes all the spirits and deities he can think of. Thus he chants Būṛhi Mai, Kālī Māi, Raukā'in Mãi, Jagṭhārin Mãi, Bindhā. chali Mãi, Sorsoia Mãi, Blairô Bābā, Danh Bābā, Ranth Bāba, Mahadeo Bābā, Sōkha Bābā, Durga Mãi, Nand Lal Babă, etc. etc. Sātōsae Devīnkā pranām. Sātōsae Indrāsankā Parikā pranām. Ek deōkā nāmkaré Sātōsai deō akar Dharam jā ānā chahiye. Dharmike dharam jāgāol chakr. Päpäke chhai karna chahi. Konnrūka masān, Kaunrūka jōgin, kōūnrūkā nītin, Delhika Gorea, Kan. härkä Bhainsa sur, Tanroāka Bhairo, Rimika Chhattar, Donkika Chhattar, Patanka Ghatoaria, Nagpurkē Dārhā, Kokkoka Dârhā, Hardika Darhā, Saneākā Chenri, Makka-ka Chenri, Badamkā Chenri, Chet makā Chenṛi, Kolhuāka Kolsarin Mai, Calcutta-ka Kali Mai Aghorighāt kā Aghori Bābā, Kumnikā Kōroā, Harsuka Baram, Dipouka Baram, Ruhelajin, Kounru Guru, Ad Guru, Bau Guru, Ahō Gura, Pāhō Guru, Dahram Garu, Sunu Guru, Sidh Guru ke bande pão. When the Hōm is over, the māti takes rice from the sup and places the rice on the ground in the shape of an arc of a circle almost complete except for leaving an opening at its north-western (bh indar) corner. Now oil is put into the lamp and the māti begins by singing mantras, in honour of the Gurus or preceptors invoking their aid in his operations. These are known as Guruaont or obeisance to the Gūrūs. Here is a specimen of Guruaont songs : Bajar baiar bajar keoār, bajrē bāndho naras duār. Arār bāndhō gārār bāndhō, Karikā māriā, Jadé sikhab Mangar ké rāt Sidhgūrūké bandé pāō ; Mahamāiya khābardār. After this follow Bhum-bāndhna songs or mantras in order to prevent witches (dains) etc. or other mātis and the evil eye (najar) from causing any hindrance, etc. to the ceremony and preventing its success; thus warding off all counteracting influences from the spot (bhum) where the ceremony goes on. Bhum bandhō bhūm bāndhān bandhō Maia-dhia dain bāndhō. Bāpā-putā ojkā bāndhō Mur chalé muṛ bāndhō karej chalé karej bāndhō Mahadeoji bandhe, Goura Parbatiji bāndhé Unké biddiya sé hām bānahi. Hämär bandhan bārā baris, terah jug, Jūg üllé jabān pālté, Ghōṛā mathé sing jamé, Tarhatté bar jamé, Sesh Nag pandōlé, Shoālakh Pirthibi dōlé,...taiō na mōr bāndhal bachcheã chuṭé. The mati next chants Pinr Bandhna songs or mantras, a specimen of which is given below. By reciting these mantras the mati is supposed to "bāndho" (tie up, i.e. make invulnerable) his own body so as to be able to resist malicious influences of other mutis, witches, etc. that may be lurking unseen in the place. Jang bandhō Jageswari, Kalej bāndhō Kālikā, piṭh bāndhō Sakal mati, Bhut dut bandikhan, Dōdō machhar Kharwé khar dha bhuta satō. Assi duar, sōné kūthli rūpé pețian, sémé rakhō pinr pradhan. Bajarbān bajar bān, nisāhai jalim-ké. Aguar-sé piehhūār bāndhō. Hāt-sé bāt bandhō. Nadi-sé nāl bāndhō. Koré-ko kar bāndhō. Bārō kōt deōtā bāndhō, battis kōt deōtā bāndhō. Hathi-ké tālāo bāndhō, hāt-ké tarwar bāndhō, tir-ké dhār bāndhō, barchhi-ké hān bāndhō, Sāhebkā gōssā bāndñō, chōrsé chandal bandhō, Dākin-sé kichin bānḥdō, muā-sé mujkir bāndhō öjha-ké gün bandhō dāini-ké gun bāndhō, Pirdās pir-ké; huliya hai mūskilké; nirmal hai pariharké. Then follow mantras required for lighting the magic lamp. (1) Kāli Kāli mad-mās, karo biāri Khan-Kali khan Bodhi. Niksār hāi, paisār néhi, Lagal hai bajar keōaṛ, 1 Indran-ké-Sāri Hanké maro bhūt dut, bhajnik pūt dōhai, Hanuman bir. (2) Sāsam susa bhitar kichmich, bāhār chhāga, Chōr labar, Tar Bhairō tu samhār etnā jabaniā, dehu (3) Chātārā Dārhā-sā sambhāri bhūtāoā bāndhihé, Juga nahi ūlațé bāchea nehi pālaṭé Sītā-ji-ké ānchar khulé Mahādeo jiké Jaļā ṭuṭé. Tarō na mōr bāndhal bachchea chhuṭé. After reciting these mantras, the lamp is lighted. Then the mati dips his middle finger in the oil of the lamp and turns it round and round on the ground in a circle around the lamp and sings the following dialogistic song as he moves his (oil-dipped) finger on the ground round the lamp:(Goddess Jagadamba Tṭhi diārā bārō beļā sewakā, to her servants.) Kastike gharaoā andheroā. (Servants' replies.)-Naikhé telaōa gharani hé Jagdambā (Mati māiā, Naikhé teloa bhānḍāoa. says.)-Deliow teloa gharanié Jagdambā māi Deliow bhandãoa telãoa hō Uṭhi diārā barō beṭā sewakā, Kasati Gharãoa unjārōa. (Servant says.)-Kathikera diāra é Jagdambā māi Kathi lagal batia hō Kathikera telãoa é Jagdambā māi Jārāei sāri rāt. 1.e., because the earth and Pinr have been closed by the bandhni mantras. |