612 A short Account of the Charak Péja Ceremonies, (Dac. 1833, 
when it is obstinate, some person on the part of the priest, contrives to 
knock it off with a stick unperceived. 
Description of the Instruments used in the Charak, of which Specimens are deposited 
in the Museum and numbered accordinglg. 
The Vetrasana is an instrument made of ratan, No. 1: it means aseat of ratan, 
it is the staff of the Sanydsi, a number of ratan folded in the middle and tied up 
together, leaving a few inches open in the lower part, in an oval form, the upper 
part is kept loose, Its use is various—it is a sacred ensign of authority, which 
must be respected on particular occasions by the Sanydsis, who rattle it as their 
musical instrument, in their procession ; it is made a broom for cleaning the place 
of Siva, where the use of common broom is forbidden during the Charak. It 
serves as a weapon, with which they fight, or beat down the bundle of thorns used 
in the Kdnta Sanydsa upon which they fall; they use it in playing with the 
burnt charcoal in Phula Sanydsa; it is used as ropes laid under the pot or 
bag No. 2, inthe Pat Sanyasa. When any dispute or difference arises between 
the priest and Sanydsis, or when the latter in their procession meet with another 
party, they lay down the Veérasana across the road and the entrance to the house 
of Siva, and the party against whom it is laid down must instantly stop; it is a 
sacred bar which they must not pass over without violating the law of Charak, and 
committing a sin which would disqualify them from becoming Sanyésis again. 
They are finally allowed to pass only in compliance with certain conditions ; and 
certain questions relative to Stva, delivered in verses, called Tarja, must be 
likewise answered before the new comers are allowed to pass, and beat their drum, 
or do any business. 
Sutasana, or a cord of twisted thread, No.3; it is in two pieces, which they 
pass beneath the skin of the sides, arms and thighs ; the ends are held by two 
Sanydsis or assistants, whilst the man dances and passes to and fro. This 
purpose is also answered by log-line, No. 4, ratan, No. 5, split bamb&, No. 6. 
Dasnakhi, (No. 7,) two pieces of iron rod, about 2 feet long: one end is pointed, 
which is passed into the sides, and the other is fork-shaped with prongs, each of 
which is called nakha, or nails, or finger-nail ; the two pieces have often 10 nails, 
hence it is called dasa-nakhi or ten-fingered, but it is has often three prongs : 
the upper ends are flat, and laid upon one another, which serves as a bed for 
fire, or a lamp, made of cotton dipped in ghee; which is lighted, and upon this 
the powder of Indian pitch is from time to time thrown, so as to make a blaze, 
while the Sanyasi dances as he goes. 
Bati, or knife, No. 8.—Eight in number, fixed upon two pieces of boards, in a 
leaning posture, placed upon a bag, No. 2, stuffed with straw. This bag is held 
by four persons, aloft from the ground, and two Sanydsis join their Betdsana 
No. 1, and lay the same across, to render to the bag additional strength, and the 
Sanydsis fall upon it from the scaffold, No. 9. 
Visesaya, No. 10, or nails to the number of 120; one end is flat, the other is 
pointed and sharp, these are run into the skin of the forehead, upon both arms, 
and breast, in an ornamental form, close to each other, usually like the front or 
facing of a jacket. To the ends of the nails small beads or peas are attached or 
suspended like garlands hanging upon the forehead, and small pieces of tale are 
suspended by way of decoration. 
