sumptuously apparelled as in the year gone by; whether an additional boat will be launched on the occasion; though not a few forget the goddess altogether in the recollection of the gazelle eyes (_mrig-nayani_) and serpentine locks (_nagini-zulf_)[4.21.42] of the beauteous handmaids who are selected to attend her. At length the hour arrives, the martial nakkaras give the signal “to the cannonier without,” and speculation is at rest when the guns on the summit of the castle of Eklinggarh announce that Gauri has commenced her excursion to the lake. =The Bathing of the Goddess.=—The cavalcade assembles on the magnificent terrace, and the Rana, surrounded by his nobles, leads the way to the boats, of a form as primitive as that which conveyed the Argonauts to Colchis. The scenery is admirably adapted for these fêtes, the ascent being gradual from the margin of the lake, which here forms a fine bay, and gently rising to the crest of the ridge on which the palace and dwellings of the chiefs are built. Every turret and balcony is crowded with spectators, from the palace to the water’s edge; and the ample flight of marble steps which intervene from the Tripolia, or triple portal, to the boats, is a dense mass of females in variegated robes, whose scarfs but half conceal their ebon tresses adorned with the rose and the jessamine. A more imposing or more exhilarating sight cannot be imagined than the entire population of a city thus assembled for the purpose of rejoicing; the countenance of every individual, from the prince to the peasant, dressed in smiles. Carry the eye to heaven, and it rests on ‘a sky without a cloud’: below is a magnificent lake, the even surface of the deep blue waters broken only by palaces of marble, whose arched piazzas are seen through the foliage of orange groves, plantain, and tamarind; while the vision is bounded by noble mountains, their peaks towering over each other, and composing an immense amphitheatre. Here the deformity of vice intrudes not; no object is degraded by inebriation: no tumultuous disorder or deafening clamour, but all await patiently, with eyes directed to the Tripolia, the appearance of Gauri. At length the procession is seen winding down the steep, and in the midst [572], borne on a _pat_,[4.21.43] or throne, gorgeously arrayed in yellow robes, and blazing with ‘barbaric pearl and gold,’ the goddess appears; on either side the two beauties wave the silver _chamara_ over her head, while the more favoured damsels act as harbingers, preceding her with wands of silver: the whole chanting hymns. On her approach, the Rana, his chiefs and ministers rise and remain standing till the goddess is seated on her throne close to the water’s edge, when all bow, and the prince and court take their seats in the boats. The females then form a circle around the goddess, unite hands, and with a measured step and various graceful inclinations of the body, keeping time by beating the palms at particular cadences, move