Note 22 — CHAPTER 6

The toran is the symbol of marriage. It consists of three wooden bars, forming an equilateral triangle; mystic in shape and number, and having the apex crowned with the effigies of a peacock, it is placed over the portal of the bride’s abode. At Udaipur, when the princes of Jaisalmer, Bikaner, and Kishangarh simultaneously married the two daughters and granddaughter of the Rana, the torans were suspended from the battlements of the tripolia, or three-arched portal, leading to the palace. The bridegroom on horseback, lance in hand, proceeds to break the toran (toran torna), which is defended by the damsels of the bride, who from the parapet assail him with missiles of various kinds, especially with a crimson powder made from the flowers of the palasa, at the same time singing songs fitted to the occasion, replete with double-entendres. At length the toran is broken amidst the shouts of the retainers; when the fair defenders retire. The similitude of these ceremonies in the north of Europe and in Asia increases the list of common affinities, and indicates the violence of rude times to obtain the object of affection; and the lance, with which the Rajput chieftain breaks the toran, has the same emblematic import as the spear, which, at the marriage of the nobles in Sweden, was a necessary implement in the furniture of the marriage chamber (vide Mallett, Northern Antiquities). [The custom perhaps represents a symbol of marriage by capture, but it has also been suggested that it symbolizes the luck of the bride’s family which the bridegroom acquires by touching the arch with his sword (see Luard, Ethnographic Survey Central India, 22; Enthoven, Folk-lore Notes Gujarāt, 69; Russell, Tribes and Castes Central Provinces, ii. 410).]