He has next to perform the rite of _Kanakangoolee_, surrounded by all the women of the family. A small brass plate containing rice, a small wooden pot of vermilion, and one Rupee, are thrown right over his head by his father into the _Saree_, or robe of his mother, who stands behind him for the purpose of receiving the same. This is a signal for him to come out, and if all arrangements are complete, take his seat on the bridal _Sookasun_, or carriage. The procession moves forward amid the increasing darkness. One or two European constables march ahead. The usual cortege of stalwart durwans follow. The torches and flambeaus are lighted. The _Khasgalabullahs_ are ranged on both sides of the road; in the midst are placed bands of native and English musicians. Parties of songsters in female dress begin to sing and dance on the _Moworpunkhee_, borne on the shoulders of coolies. The flaring torches are waved around the procession. Blue and red lights are flashed at intervals. Noise, confusion, and bustle ensue. Men, women and children all flock to see the tamasha. Mischievous boys try to rob the lights. And to lend, as it were, an enchantment to the scene, gay Baboos in open carriages, in their gala dresses bring up the rear. It is on such occasions that modest beauties and newly-married brides (_bahus_) come out from the Zenana, and, unveiling their faces, rise on the tops of their houses on both sides of the road, in order to feast their eyes on all the pompous accompaniments of a marriage exhibition. As soon as the procession arrives near the house of the bride, the people of the neighbourhood assemble in groups to have a sight of the lord of the day, and four or five gentlemen of the party of the bride advance to welcome the bridegroom and his party of friends, who enter, receiving the stares of the idle and the salutations of the polite. The barber of the family brings out a light in a _sara_ (earthen vessel) and places it on the side of the road. Decency forbids me to mention certain of its constituents.