Dravidian Gods in Modern Hinduism 43 



called the holy place and only the potter enters it. In the outer 

 part stand the priests who are to perform the life-giving cere- 

 mony. While the potter is at work within making the image, 

 the priests trace a rude drawing of the image in the dust outside. 

 When the image is finished, it is brought out and placed near this 

 drawing. The drums are beaten at the loudest, and the men yell 

 wildly to keep away interfering spirits. A goat is sacrificed and 

 charms are performed and repeated until it is thought the Sakti has 

 surely consented to enter the image. 



In the worship of this Sakti, the household gods are propitiated 

 as in the worship of Kati Ankamma. After this the ceremonies 

 are somewhat the same as those in the worship of village god- 

 desses. There is the bufifalo sacrifice, and a large number of sheep 

 and goats are killed. Blood is sprinkled freely over the Sakti, 

 a rite which is not performed with a village goddess. It appears 

 that Nadividhi Sakti is not quite so terrible as some of the other 

 Saktis, and may possibly at some time become a village goddess. 



As with most Saktis, the most important part of the worship is 

 the escorting out of the village. In the early morning after the 

 day of sacrifice, before any one has appeared, the potter places 

 the image in a basket after another goat has been sacrificed. The 

 potter carries the basket, and a Madiga, the bufifalo head. A few 

 men escort them, waving clubs, and shouting Bali! Bali!, while 

 the drums beat as usual. No woman or child dares so much as 

 to look out of the door as the procession passes. To see the 

 procession would mean death, they think. 



On the outskirts of the village the procession halts, and the 

 pujari makes a harangue to the Sakti. He intercedes for the 

 people, telling her that if she will leave them alone they will wor- 

 ship her faithfully and give her offerings. After repeating man- 

 trams and performing charms, the Madiga again takes up the 

 buffalo head and the potter the image. Now only a few of the 

 men follow, the rest going quietly home. When they reach the 

 boundary, they place the image there with her face from the vil- 

 lage, put the buffalo head in front of her, and with many 

 protestations of homage, they request her to leave the village. 



43 



