father replies,—“No! there is nothing wrong with him.” In the same way the bride’s father produces the bride for examination, and the bridegroom’s father admits that she has no physical defect. All this is done in the courtyard outside the nuptial pavilion (mânro). Then a mock struggle commences between the bride and bridegroom. He tries to put a bracelet on her wrist, and she clenches her hand, so that he is unable to get it on. Her friends shout out,—“Her hand can never be opened until you swear that you will take care of her and never give her trouble.” Finally, when the bridegroom makes the necessary promise, the girl opens her hand, and allows the bracelet to be put on her wrist. Then the boy pours a little liquor on her feet, and after another mock struggle marks the parting of her hair with red lead. There are no revolutions in the pavilion, and this constitutes the marriage. The bridegroom then brings the bride home. When they reach his house his mother receives the bride in the same way in which the bridegroom was received by the bride’s mother, and takes her inside the house, where, after feeding the clansmen, the clothes of the pair are fastened in a knot, and they dance together in the courtyard. The binding part of the ceremony is putting on the marriage bracelet, and applying red lead to the parting of the bride’s hair. Even after the ceremonies already described of puchhâwat, bajarâwat, or barrekhi, the marriage can be stopped. If the bride’s people break off the marriage they are compelled to return the bride-price. The form of marriage already described is known as charhauwa or “the offering,” as the bride is offered to the bridegroom. This is the respectable form; but besides this, the form known as sagâi is in force. In this case the lover sends a friend to procure the consent of the bride’s father. When this is granted, he goes to her house with ten rupees in cash, and five sers of liquor. The girl’s friends drink the liquor, and the money is given to her father, or if her father be dead, to her elder brother. Then the man spreads out his hands over that of the woman, and her brother pours some water over the hands of both. This constitutes the marriage ceremony, and the bridegroom goes home at once, followed by the bride. When they reach his house his mother comes out with a vessel (lota) of water, washes the bridegroom’s feet, and blesses him with long life. Then she washes the feet of the bride, who puts her forehead on the feet of her mother-in-law. The old woman tries to raise her up, but she will not get up until she receives a present known as “the sacrifice” (baldân). Then the old woman says,—“I make over the house and all it contains to you.” On this the bride releases her feet, and her mother-in-law takes her into the house, and makes everything over to her. That day the young wife cooks for the family and friends. This sagâi form is something like the dola of low class Hindus, and is