princess born to one of the Mughal Emperors, who, according to the traditions of the dynasty, when many of the chief ladies of the harem were of Hindu birth, had a warm sympathy for her ancestral faith. So she made a pilgrimage to Hardwâr, and thence set off to visit the holy shrines situated in the upper course of the Ganges. When she reached the holy land of Badarinâth, the god himself appeared to her in a dream, and warned her that she being a Musalmân, her intrusion into his domains would probably encourage the attacks of the infidel. So he ordered her to return and take up her abode in Kankhal, where as a reward for her piety she should after her death become the guardian goddess of children and be deified as a manifestation of Sîtalâ. So after her death a temple was erected on the site of her tomb, and she receives the homage of multitudes of pilgrims. There is another noted shrine of Sîtalâ at Râêwala, in the Dehra Dûn District. She is a Satî, Gândharî, the wife of Dhritarâshtra, the mother of Duryodhana. When Dhritarâshtra, through the force of his divine absorption, was consumed with fire at Sapta-srota, near Hardwâr, Gândhâri also jumped into the fire and became Satî with her husband. Then, in recognition of her piety, the gods blessed her with the boon that in the Iron Age she should become the guardian deity of children and the goddess of small-pox in particular. Another noted Sîtalâ in this part of the country is the deity known as Ujalî Mâtâ, or “the White Mother," who has a shrine in the Muzaffarnagar District. Here vast crowds assemble, and women make vows at her temple for the boon of sons, and when a child is born they take it there and perform their vow by making the necessary offering to the goddess. One peculiarity of the worship of the Kankhal goddess and of Ujalî Mâtâ is that calves are released at her shrine. This can hardly be anything else but a survival of the rite of cattle slaughter, and this is one of many indications that the worship of Sîtalâ is a most primitive cult, and probably of indigenous origin.

Sîtalâ, according to one story, is only the eldest of a band

of seven sisters, by whom the pustular group of diseases is supposed to be caused. So the charmer Lilith has twelve daughters, who are the twelve kinds of fevers, and this arrangement of diseases or evil spirits in categories of sevens or twelves is found in the Chaldaic magic.' Similarly in the older Indian mythology we have the seven Mâtrîs, the seven oceans, the seven Rishis, the seven Adityas and Dânavas, and the seven horses of the sun, and numerous other combinations of this mystic number. One list gives their names as Sîtalâ, Masânî, Basanti, Mahâ Mâî, Polamdê, Lamkariyâ, and Agwânî. We shall meet Masânî or Masân, the deity of the cremation ground, in another connection. Basantî is the "yellow goddess," so called probably on account of the colour of the skin in these diseases. Mahâ Mâî is merely "the great Mother." Polamdê is possibly "she who makes the body soft or flabby," and Lamkariyâ, "she that hasteneth." Agwânî is said to mean "the leader," and by one account, Agwân, who has twenty-five thousand votaries, according to the last census returns, in the North-West Provinces, is the son of Râja Ben, or Vena, and the brother of the small-pox sisters. At Hardwâr they give the names of the seven sisters as Sitalâ, Sedalâ, Runukî, Jhunukî, Mihilâ, Merhalâ, and Mandilâ, a set of names which smacks of some modification of an aboriginal cultus.

Their shrines cluster round the special shrine of Sîtalâ, and the villagers to the west of the North-West Provinces call them her Khidmatgârs, or body servants. Round many of the shrines again, as at Kankhal, we find a group of minor shrines, which by one explanation are called the shrines of the other disease godlings. Villagers say that when disease appears in a family, the housewife comes and makes a vow, and if the patient recovers she makes a little shrine to the peculiar form of Devî which she considers responsible for the illness. The Brâhmans say that these minor shrines are in honour of the Yoginîs, who are usually 1 Leland, "Etruscan Roman Remains," 153. 2 Ibbetson," Panjâb Ethnography," 114.

said to number eight-Mârjanî, Karpûratilakâ, Malayagandhinî Kauamudikâ, Bherundâ, Mâtâlî, Nâyakî, Jayâ or Subhâchârâ, Sulakshanâ and Sunandâ. In the Gurgaon District, accompanying images of Sitalâ, is one of Sedhu Lâla, who is inferior to her, yet often worshipped before her, because he is regarded as her servant and intercessor. Copper coins are thrown behind her shrine into a saucer, which is known as her Mâlkhâna or Treasury. Rice and other articles of food are placed in front of her shrine, and afterwards distributed to Chamârs, the currier caste, and to dogs.'

Like so many deities of this class Sîtalâ is on the way to promotion to the higher heaven. In some places she is identified with Kâlikâ Bhavânî, and one list of the seven small-pox sisters gives their names as Sîtalâ, Phûlmatî, Chamariyâ, Durgâ Kâlî, Mahâ Kâlî, and Bhadrâ Kâlî. This has obviously passed through the mill of Brâhmanism. Of these, Chamariyâ is doubtless allied to Châmar, who is a vaguely described low-caste deity, worshipped in the North-Western Provinces. Some say he is the ghost of a Chamâr, or worker in leather, who died an untimely death. Chamariyâ is said to be the eldest and Phûlmatî the youngest sister of Sîtalâ. She, by the common account, takes her name from the pustules (phúl) of the disease. She brings the malady in its mildest form, and the worst variety is the work of Sîtalâ in person. She lives in the Nîm tree, and hence a patient suffering from the disease is fanned with its leaves. A very bad form of confluent smallpox is the work of Chamariyâ, who must be propitiated with the offering of a pig through a Chamâr or other lowcaste priest. The influence of Kâlî in her threefold form is chiefly felt in connection with other pustular diseases besides small-pox. Earthenware images of elephants are placed at her shrine, and her offerings consist of cakes, sweetmeats, pigs, goats, sheep, and black fowls. Bhadrâ Kâlî is the least formidable of all. The only person who has influence over Kâlî is the Ojha, or sorcerer, who, when 1 "Indian Antiquary," viii. 211.

K

cholera and similar epidemics prevail, collects a subscription and performs a regular expiatory service.

CONNECTION OF SITALA WITH HUMAN SACRIFICE.

In her form as household goddess, Sîtalâ is often known as Thandî, or "the cool one," and her habitation is in the house behind the water-pots, in the cold, damp place where the water drips. Here she is worshipped by the house-mother, but only cold food or cold water is offered to

her.

There is, however, a darker side to the worship of Sîtalâ and the other disease godlings than this mild household service. In 1817 a terrible epidemic of cholera broke out at Jessore. "The disease commenced its ravages in August, and it was at once discovered that the August of this year had five Saturdays (a day under the influence of the illomened Sani). The number five being the express property of the destructive Siva, a mystical connection was at once detected, the infallibly baneful influence of which it would have been sacrilege to question. On the night of the 27th a strange commotion spread through the villages adjacent to the station. A number of magicians were reported to have quitted Marelli with a human head in their possession, which they were to be directed by the presence of supernatural signs to leave in a certain, and to them unknown, village. The people on all sides were ready by force to arrest the progress of these nocturnal visitors. For the prophecy foretold that wherever the head fell, the destroying angel terminating her sanguinary course would rest, and the demon of death, thus satisfied, would refrain from further devastation in that part of the country. Dr. Tytler says that on that night, while walking along the road, endeavouring to allay the agitation, the judge and he perceived a faint light arising from a thick clump of bamboos. Attracted to the spot, they found a hut which was illuminated, and contained images of five Hindu gods, one of which was Sîtalâ, the celebrated and formidable Aulâ Bîbî,