The Brahmins[57] as a rule, commence their _kalpa_ on the sixth day or one day only previous to the beginning of the grand poojah on the seventh day of the new moon. From the commencement of the initial rite, what thrilling sensations of delight are awakened in the bosom of the young boys and girls! Every morning and evening while the ceremony is being solemnized, they scramble with each other to get striking the gong and _Kasur_ which produces a harsh, deafening sound. Their excitement increases in proportion to the nearer approach of the festival, and the impression which they thus receive in their early days is not entirely effaced even after their minds are regenerated by the irresistible light of truth. The females, too, manifest mingled sensations of delight and reverence. If they are incapable of striking the gongs, they are susceptible of deep devotional feelings which the solemnity of the occasion naturally inspires. The encircling of their neck with the end of their _saree_ or garment, expressive of humility, the solemn attitude in which they pose, their inaudible muttering of the name of the goddess, and their prostrating themselves before the consecrated pot in a spirit of perfect resignation, denote a state of mind full of religious fervour, or, more properly speaking, of superstitious awe, which goes with them to their final resting place. On the night of the sixth day (Shashti) after the increase of the moon, another rite is performed, which is termed _Uddhibassey_, its object being to welcome the advent of the visible goddess with all necessary paraphernalia. Another sacred earthen pot is placed in the outer temple of the goddess, and a young plantain tree, with a couple of wood apples intended for the breast, is trimmed for the next morning's ablution. This plantain tree, called _kalabhoye_, is designed as a personification of Doorga in another shape. It is dressed in a silk _saree_, its head is daubed with vermilion[58] and is placed by the side of Gannesh. Musicians with their ponderous _dhak_ and _dhole_ and _sannai_ (flutes) are retained from this day for five days at 12 or 16 Rupees for the occasion.[59] That music imparts a solemnity to religious service is admitted by all, but its harmony may be taken as an indication of the degree of excellence and refinement to which a nation has attained in the scale of civilization. What with the sonorous sound of _dhak_ and _dhole_, _sannai_, conch and gong, the effect cannot fail to be impressive to a devout Hindoo mind. Except Brahmins, no one is allowed to touch the idol from this night, after the _bellbarun_, when it is supposed life and animation is imparted into it. By the marvellous repetition of a few incantations a perfectly inanimate object stuffed only with clay and straw, and painted, varnished and ornamented in all the tawdriness of oriental fashion, is suddenly metamorphosed into a living divinity. Can religious jugglery, and blind credulity go farther?