Note 31 — N

A more detailed account of the marriage ceremonial is given in the Gazetteer of Malabar, which may well be quoted. “The first preliminaries in arranging a Nambūdiri marriage are the inevitable comparison of horoscopes, and the settlement of the dowry. When these have been satisfactorily concluded, an auspicious day for the wedding is selected in consultation with the astrologer. On that day, the bridegroom, before he starts from his illam, partakes with his relatives and friends of a sumptuous repast called the ayani un. A similar feast is held simultaneously at the bride’s house. On leaving the illam, as he crosses the threshold, and indeed on all occasions of importance, the bridegroom must be careful to put his right foot first. He also mutters mantrams of an auspicious nature, called mangala sutrangal. As he passes out of the gate, he is met by a bevy of Nāyar ladies, carrying the eight lucky articles (ashtamangalyam). These are a grandha, a washed cloth, a cheppu or rouge-box, some rice, a vāl kannādi or metal hand-mirror, some kunkumam (crimson powder), chānthu (ointment of sandal, camphor, musk and saffron), and mashi (bdellium or any eye salve). On his journey to the bride’s illam, he is preceded by a noisy procession of Nāyars, armed with swords and lacquered shields, who constitute his agambadi or body-guard, and by Nambūdri friends and relatives, one of whom carries a lighted lamp. At the gate of the bride’s illam he is met by a band of Nāyar women, dressed like antarjanams, and carrying the ashtamangalyam and lighted lamps. The bridegroom enters the inner court-yard (nadumittam), and takes his seat in the usual eastward position. The bride’s father comes and sits opposite him, and, clasping his right hand, formally invites him to bathe and wed his daughter, an invitation which he formally accepts. After his bath, he returns clad in fresh clothes, and wearing a ring of dharba or kusa grass (Cynodon Dactylon), and takes his seat in the room adjoining the porch (pūmukham), called purattalam. He then makes an offering of a few fanams (money) to his family deities, performs Ganapathi pūja (worship of the elephant god), and presents four or five Nambūdris with a few fanams each, and with betel leaf and areca nut. This is called āsramapischētha prayaschittam, and is in expiation of any sins into which he may have been betrayed during his bachelor days. Similar gifts are also made first to two Nambūdris of any gōtra considered as representing the deities called Visvadvās, and then to two others of different gōtras representing the deceased ancestors or Pitris. The last gift is called Nāndimukham. Meanwhile, within the house the bride is conducted to the vadakkini room, veiled in an old cloth, and carrying a piece of bell-metal shaped like a hand-mirror (vāl kannādi). Her father, after washing his feet and putting on a darbha ring, comes and performs Ganapathi pūja, and repeats more or less the same ritual that has been performed without. The bride is then sprinkled with holy water by her father and four other Nambūdiris. The tāli or marriage symbol is brought in a brass vessel containing holy water, and laid near the idol to which the daily domestic worship is paid; and, after further offerings to Ganapathi, the bridegroom is summoned to enter the illam. Before doing so he purifies himself, taking off the darbha ring, making the ‘caste marks’ with holy ashes (bhasmam), washing his feet, replacing the ring, and being sprinkled with holy water by four Nambūdiris—a form of ritual which recurs constantly in all ceremonies. He enters the nadumittam, preceded by a Nambūdiri carrying a lighted lamp, and takes his seat on a wooden stool (pidam) in the middle of the court where the bride’s father makes obeisance to him, and is given four double lengths of cloth (kaccha), which the bridegroom has brought with him. They are taken to the bride, who puts on two of them, and returns two for the bridegroom to wear. The bridegroom then goes to the kizhakkini, where he prepares what may be called the “altar.” He smears part of the floor in front of him with cow-dung and then, with a piece of jack-wood (Artocarpus integrifolia), called sakalam, draws a line at the western side of the place so prepared, and at right angles to this line five more, one at each end, but not actually touching it, and three between these. He then places the pieces of jack-wood on the altar, and ignites it with fire brought from the hearth of the bride’s illam. He feeds the flame with chips of plāsu or chamatha (Butea frondosa). This fire is the aupāsana agni, regarded as the witness to the marriage rite. It must be kept alight—not actually, but by a pious fiction31—till the parties to the marriage die, and their funeral pyre must be kindled from it. Three pieces of plāsu called paridhi, and eighteen pieces called udhmam, tied together by a string of darbha, are placed on the northern side of the altar on two pieces of jack-wood; and there are also brought and placed round the altar four blades of darbha grass, a small bell-metal vessel, an earthenware pot full of water, a pair of grind-stones (ammi and ammikuzha), a small winnowing fan containing parched paddy (malar), and a copper vessel of ghee (clarified butter) with a sacrificial ladle made of plāsu. Meanwhile, the bride’s father ties the tāli round her neck in the vadakkini, and her mother gives her a garland of tulasi (Ocimum sanctum). She is conducted to the kizhakkini, preceded by a Nambūtiri carrying a lamp called āyyira tiri (thousand wicks), and is made to stand facing the bridegroom on the north or north-east of the altar. This is called mukha-dharsanam (face-beholding). She gives the garland to the bridegroom. Now comes the central rite of this elaborate ceremonial, the udaga-purva-kannyaka-dhānam, or gift of a maiden with water. The bride and her father stand facing west, and the bridegroom facing them. All three stretch out their right hands, so that the bride’s hand is between those of her father and the bridegroom, which are above and below hers respectively. A Nambūtiri Othikan or ritual expert pours water thrice into the father’s hand. The latter each time pours it into his daughter’s hand, and then, grasping her hand, pours it into the bridegroom’s hand. The dowry is then given to the bride, who hands it over to the bridegroom. She then passes between him and the fire, and sits on an āmana palaga32 on the east of the altar, while the bridegroom sits on another palaga on her left, and burns the udhmams (except one piece of plāsu and the darbha string used to tie the bundle), and makes an oblation of ghee called agharam. The next rite is called Panigrahanam. The bridegroom rises from his seat, turns to the right, and stands facing the bride, who remains seated, holding the mirror in her left hand. She stretches out her right hand palm upwards, with the fingers closed and bent upwards. He grasps it, and sits down again. A brother of the bride now comes and takes the mirror from the bride, puts it on a palaga, and professes to show her her own reflection in its surface. Then the bridegroom pours a little ghee into her joined hands, to which the bride’s brother adds two handfuls of paddy from the winnowing basket, and the bridegroom then brushes the paddy from her hands into the fire. This is called the Lajahōmam. At its conclusion, bride and bridegroom perform a pradakshinam round the fire, passing outside the water-pot but not the grindstone and fan. Next comes the important piece of ceremonial called Asmārohanam, symbolising immutability. The bride and bridegroom stand west of the grindstones, and the bridegroom, taking her feet one by one, places them on the stones, and then grasps feet and stones with both hands. Lajahōmam, pradakshinam, and asmārohanam are each repeated thrice. Then comes the rite called Saptapadi or seven paces. The bridegroom leads his bride seven steps towards the north-east, touching her right foot with his right hand as he does so. They then pass between the grindstones and the fire, and seat themselves on the west of the earthen pot facing east, the bride behind the bridegroom; and the latter performs a somewhat acrobatic feat which it must be difficult to invest with any dignity. He bends backwards, supporting himself by placing the palms of his hands on the ground behind him, until he can touch with the top of his head that of the bride, who bends forward to facilitate the process. After this, the bridegroom sprinkles himself and the bride with water from the earthen pot. They then return to their seats west of the altar, and face north, ostensibly looking at the pole star (Druvan), the star Arundati, and the Seven Rishis (Ursa Major), which the bridegroom is supposed to point out to the bride, while he teaches her a short mantram invoking the blessing of long life on her husband. The bridegroom then makes two oblations, pouring ghee on the sacred fire, the first called Sishtakralhōmam and the second Darmmihōmam. He then places on the fire the paridhis, the remaining udhmams and dharba grass, and the rest of the ghee. A start is then made for the bridegroom’s illam, the bridegroom carrying the chamatha branch used in making the aupāsana agni in the bride’s house. On arrival, an altar is prepared in much the same manner as before, the chamatha branch is ignited, and darbha and ghee are offered. The bride and bridegroom next spend a few moments closeted in the same room, she lying on a skin spread over a new cloth on the floor, and he sitting on an āmana palaga. In the evening, aupāsana hōmam, or offerings of chamatha in the sacred fire, and Vaisyadēva hōmam, or offerings of boiled rice, are made. These, which are known as a second hōmam, may be postponed till next afternoon, if there is no time for them on the actual wedding day. They have to be performed daily for ten months. The first three days on which these hōmams are performed (viz., the wedding day and the two following it, or the three days after the wedding as the case may be) are regarded as days of mourning (dīksha), and clothes are not changed. On the fourth day, the newly married couple have an oil-bath, and the dīksha is considered to be at an end. After the usual hōmams and worship of Ganapathi, the bride is led to the bridal chamber at an auspicious moment. Her husband joins her, carrying two garlands of jasmine, one of which he puts on the lamp placed in the south-east corner of the room, and one round his wife’s neck. He then smears the upper part of her body with the ointment known as chānthu, and she herself smears the lower part. Tum vir penem suum fæminæ ad partes pudendas admovit, vestibus scilicet haud remotis. They then bathe and change their clothes, and sit near each other, the wife screened behind an umbrella. Her husband gives her water, and after some further rites they eat from the same plantain leaf. Actual cohabitation commences from that night. The pair are conducted to the bridal chamber by the Vādhiyār. The nuptial couch is but a grass mat or a common country blanket covered with a white sheet, with a little ridge of rice and paddy signifying plenty around the edges. The final ceremony is the hōmam called stālipagam. It is performed on the day after the first full moon day after the second hōmam. If the moon is at the full ¾ nazhiga before sunset or earlier, the ceremony may be performed on the full moon day itself.”