=Sati.=—The burning of the dead warrior, and female immolation, or _Sati_, are well-known rites, though the magnificent cenotaphs raised on the spot of sacrifice are little known or visited by Europeans; than which there are no better memorials of the rise and decline of the States of the Rajput heptarchy. It is the son who raises the mausoleum to the memory of his father; which last token of respect, or laudable vanity, is only limited by the means of the treasury. It is commemorative [74] of the splendour of his reign that the dome of his father should eclipse that of his predecessor. In every principality of Rajwara, the remark is applicable to chieftains as well as princes. Each sacred spot, termed ‘the place of great sacrifice’ (Mahasati), is the haunted ground of legendary lore. Amongst the altars on which have burned the beauteous and the brave, the harpy[2.6.83] takes up her abode, and stalks forth to devour the hearts of her victims. The Rajput never enters these places of silence but to perform stated rites, or anniversary offerings of flowers and water to the manes (pitri-deva[2.6.84]) of his ancestors. Odin[2.6.85] guarded his warriors’ final abode from rapine by means of “wandering fires which played around the tombs”; and the tenth chapter of the Salic law is on punishments against “carrying off the boards or carpets of the tombs.” Fire and water are interdicted to such sacrilegious spoliators. The shihaba,[2.6.86] or wandering meteoric fires, on fields of battle and in the places of ‘great sacrifice,’ produce a pleasing yet melancholy effect; and are the source of superstitious dread and reverence to the Hindu, having their origin in the same natural cause as the ‘wandering fires of Odin’; the phosphorescent salts produced from animal decomposition. The Scandinavian reared the tumulus over the ashes of the dead; so did the Geta of the Jaxartes, and the officiating priests of Hara, the Hindu god of battle. The noble picture drawn by Gibbon of the sepulture of the Getic Alaric is paralleled by that of the great Jenghiz Khan. When the lofty mound was raised, extensive forests were planted, to exclude for ever the footsteps of man from his remains. The tumulus, the cairn, or the pillar, still rises over the Rajput who falls in [75] battle; and throughout Rajwara these sacrificial monuments are found, where are seen carved in relief the warrior on his steed, armed at all points; his faithful wife (_Sati_) beside him, denoting a sacrifice, and the sun and moon on either side, emblematic of never-dying fame.