It must, however, not be imagined that the sexes are secluded from each other in Dardistan. Young people have continual opportunities of meeting each other in the fields at their work or at festive gatherings. Love declarations often take place on these occasions, but if any evil intention is perceived the seducer of a girl is punished by this savage, but virtuous, race with death. The Dards know and speak of the existence of “pure love,” “pâk âshiqi.” Their love songs show sufficiently that they are capable of a deeper, than mere sexual, feeling. No objection to lawful love terminating in matrimony is ever made unless the girl or the boy is of a lower caste. In Gilgit, however, the girl may be of a lower caste than the bridegroom. In Astór it appears that a young man, whose parents—to whom he must mention his desire for marrying any particular person—refuse to intercede, often attains his point by threatening to live in the family of the bride and become an adopted son. A “Shîn” of true race at Astor may live in concubinage with a girl of lower caste, but the relatives of the girl if they discover the intrigue revenge the insult by murdering the paramour, who, however, does not lose caste by the alliance. The bridegroom dances as well as his twelve companions. The girl ought not to be older than 15 years; but at 12 girls are generally engaged.[50] The Balti custom of having merely a _claim to dowry_ on the part of the woman—the prosecution of which claim so often depends on her satisfaction with her husband or the rapacity of her relatives—is in spite of the intercourse of the Baltis with the Shîn people never observed by the latter; not even by the Shîn colonists of little Tibet who are called “Brokhpá.” When the bridegroom has to go for his bride to a distant village he is furnished with a bow. On arriving at his native place he crosses the breast of his bride with an arrow and then shoots it off. He generally shoots three arrows off in the direction of his home. At Astór the custom is sometimes to fire guns as a sign of rejoicing. This is not done at Gilgit. When the bridegroom fetches his bride on the second day to his own home, the girl is crying with the women of her household and the young man catches hold of her dress in front (at Gilgit by the hand) and leads her to the door. If the girl cannot get over embracing her people and crying with them quickly, the twelve men who have come along with the bridegroom (who in Astóri are called “hilalée” = bridegrooms and “garóni” in Gilgiti) sing the following song:— INVITATION TO THE BRIDE. _Nikàstalì_ _quáray kusúni_ (_“astali” is added to the fem. Imp_). Come out hawk’s daughter. _Nikastali_ _ke_ _karaníliè_ (“_balanîle_,” in Gilgiti). Come out why delayest thou! _Nikastali_ _máleyn_ _gutíjo_. Come out (from) thy father’s tent. _Nikastali_ _ke_ _karaníliè_. Come out why delayest thou.