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SPRING FESTIVAL鈥擳he culture of Hindus has from ancient days inculcated a joyous attitude on life. Their deep faith in the creed of sunshine and joy had found due expression in the observance of some very charming festivals which are found to punctuate the course of the Hindu calendar through the year. A systematic study of these festivals as regards their nature and extent in time and place will prove of great interest and deserves to be taken up to unfold the positive side of Indian culture. All along the Indian tradition the spring season has been spoken of as the king of all seasons (Rturaja). Poets and playwrights have spared no pains to describe its glory and grandeur. But the description of the spring festival is confined to a few works only. A careful perusal of these would yield an account of the festival as it was observed in days of yore. The festival of spring or the Vasanta Pancami is to this day celebrated with great eclat in this country. As with every festival the original form of this festival too had been quite different from what it is today. To trace the history of the festival is by no means easy. In the words of P.K. Gode, "at present our knowledge of the history of festivals is rather nebulous. We cannot say when a particular festival originated and how it developed through centuries of our cultural history. Mere descriptions of the present

day festivals, howsoever enchanting, do not prove their antiquity as these descriptions are a mixture of legends and hearsay evidence with many regional variations, from which it is difficult to comprehend the origin and development of these festivals!". As a matter of fact, no complete systematic history of the Hindu festivals is available at present. In spite of all these difficulties an effort is being made here to trace the history of the spring festival, for it is of absorbing interest. It is expected that this study may prove useful in discovering the thought-processes that were responsible in changing the shape and form of the festival through the ages. The Vasanta festival coinciding with the fifth day in the bright half of the month of Magha seems to be one of great antiquity and of country-wide prevalence. It is still observed with due preparation in the Daksinapatha and the Uttarapatha. The Kamasutra of Vatsyayana mentions it as "suvasantaka" which is explained as a festival dedicated to the worship and propitiation of God of Love. The Kamasutra observes 'that the citizens indulged on this day in sports involving dance and music, both oral and instrumental'.2 From Ratnavali³ a Sanskrit drama by Sri Harsa we form quite a clear idea of the festivities connected with the spring festival. In ancient India there used to be big gardens full of beautiful flowers and trees. Beneath a tree was installed the image of Kama, the God of Love with a bow in hand. Prominent ladies of the town said prayers and offered flowers and unguents to the deity. The whole town bore a festive look. Merry crowds in holiday mood filled all available space in the gardens on the outskirts of the towns and cities. There is recorded evidence to show that on this occasion people indulged in drinking bouts too. Society girls sang and danced till late in the evening when the moon spread its silvery sheet on everybody. There was joy and mirth all through. People celebrated the festival with a spirit of abandon which sometimes reached undignified limits. Bana records an incident where a pious old man was made to marry an old woman on a

Hindu Festivals 21 broken cot. This incident is typical of the mentality of the Indian crowd which has not changed much since olden times. Spring or Holi Festival It is just possible that in its origin the spring festival was connected with all that now forms part of the Holi festival. The following description of the spring festival by Basham, an authority on ancient Indian history, is worthy of note. "The most popular festival in early times was the Festival of Spring, in honour of Kama, the Love-God, who, though he played only a small part in the thought of the theologians, was evidently a very popular divinity. At this festival even respectable citizens forgot their caste restrictions, and paraded the streets scattering red powder over their neighbours squirting them with coloured water and playing all kinds of practical jokes. The festival still survives under the name of Holi though the Love-God now plays no part in it. It is clearly the survival of a primitive fertility ceremony, but even at its earliest appearance the grim significance of the red powder seems to have been lost, and it was a sort of Hindu saturnalia, a time of universal merry-making and licence of all kinds.4" As for the Vasanta festival as part of the South Indian culture, we have a reference in the Jivakacintamani of Tiruttakadeva, which dealing with the Puranic story of Jivaka is the greatest existing Tamil literary monument. This great romantic epic which is at once the Illiad and Odyssey of the Tamil language is said to have belonged to the Tamil Academy or Sangam at Madura and to have antedated Kamban, the author of the great Tamil Ramayana. The work is divided into Lambakas or chapters, the first beginning with the birth of the hero and the last ending with his Nirvana. We meet with a reference to the celebration of the Vasanta festival in the fourth Lambaka entitled Gunamalalyar. On this day some young men and women of the city went to an adjoining park for play and enjoyment. Among these were two young ladies Suramanjari and Gunamala. Between them there arose a discussion as to the quality of the fragrant powder used

for the purpose of bathing. Each claimed her powder to be superior. The matter was referred to the wise youth Jivaka who gave a verdict in favour of Gunamala. Hearing the verdict Suramanjari was sorrow-struck and decided to shut herself in Kanyamada with a vow that she would never see a man's face till this very Jivaka would come begging for her hand in marriage. While Suramanjari desisted from taking part in the Vasanta festival Gunamala encouraged by the verdict in her favour went out to enjoy the festival. il II DIPAVALI FESTIVAL Dipavali (Diwali) or the Festival of Lights has been celebrated in India for thousands of years. The beautiful array of lights has feasted the eyes and gladdened the hearts of every Indian since times immemorial. According to tradition this is the festival of the Vaisyas which in course of time has been adopted by other communities also. As to when and how this festival had its origin nobody can say anything with any amount of certainty. There are varying versions of its origin found in ancient literature. From a careful study of ancient lore it is possible to gather bits of information regarding the history of this festival. When pieced together they enable a student of history and sociology to work out the processes that made the festival what it is today. Although Diwali has become a national festival now, the different strands in it are still discernible. The festival means something to a particular community while quite a different thing to a different community. This unity in diversity is ever a matter of deeper significance. It can be apprehended only if the history and the development of this festival is traced. The rich overgrowth of stories and legends is no doubt a hindrance to it. Still, it is worthwhile to make an attempt. According to some scholars like B.G. Tilak, the origin of Diwali has some connections with the movement of the earth

Hindu Festivals 23 round the sun. The sun passes the Tula or Libra about this time and marks the second half of its course. This luminary goes farther and farther from the northern hemisphere. It is natural for the people to desire at this time the speedy return of the sun to enliven the northern portion of the hemisphere. It is this desire which is expressed in all the ceremonies connected with the Dipavali. dipas or lamps are the symbols of light. Light is used to invite light. According to another school of thought the night of the Pitts begins about this time. On this occasion lamps are lit on a pole to serve as guides to other souls. Sraddhas are also performed on the dark night of Amavasya which is the main Diwali festival. As a matter of fact, Diwali is not one festival. It is a string of festivals woven together to enliven and gladden the hearts of the Indians. The main festival is of course Dipavali, which is observed on the darkest day of the dark fortnight. It is on this day that every Hindu home is illuminated with beautiful twinkling little dipas. This festival is observed to commemorate the victory of Visnu over King Bali and the release of Laksmi and other gods from the captivity of the demon lord. When they are freed, they return to Ksirasagara (Milk Ocean) and enjoy sound sleep. The day preceding Dipavali day is known as Naraka Caturdasi which is the fourteenth day of the dark fortnight when the sun is in the Libra (Tula Rasi). On that day Maha Visnu destroyed the demon Narakasura who harassed the world in the conceit of his strength and power. When Narakasura's mother heard of the death of her son, she did not allow herself to be overwhelmed with grief. She quickly overcame her sorrow and felt happy over her son's great good fortune that he met his fate at the hands of Maha Visnu Himself. Seeing how happy the people of the world were, she too felt happy even though the happiness of the people was due to the death of her own son. So she prayed to God that the anniversary of her son's death be known thenceforward as Naraka Caturdasi which should be observed every year for all time by the people of the land as a festival day in every house when the old and the young men and women should spend it, after

jinn mas/ 24 Society and Culture auspicious oil bath before dawn in an environment of cheer and happiness. According to another version of the story, Narakasura is himself said to have asked for the boon at the time of his death. The popular form of celebrating Diwali with an array of lights is connected with the celebration of this anniversary when every heart felt relieved at the passing away of an evil spirit in the form of Narakasura. jinn The philosophical significance of the festival as it is understood is that it signifies the removal of the darkness of Avidya, ignorance, in the recesses of the human mind by the Vidya, true knowledge. This day is associated with the earnest prayer of a devotee of God who considered the happiness of the world more important than his own personal sorrow. It also emphasises the truth that what is ordinarily considered as human suffering is really a benefit in the divine scheme of human welfare. Narakasura's mother deserved to be honoured to have understood it in proper light. That is why the festival of lights is observed year after year in this land. The Diwali festival is spread ove four days. After Naraka Caturdasi, we have the Laksmi Pujana day when devotees offer prayers to Laksmi, the goddess of wealth. A legend connected with the Laksmi Pujana day is very interesting. A king has four daughters from each of whom he enquires as to whom they owe their prosperity. All of them, except the fourth flatter the king by saying that they owe their prosperity to him (father). The fourth one, however says that it is due to God. The arrogant king, therefore, gets enraged, marries her to a Brahmin and exiles the couple who go to a forest in a neighbouring State. The Brahmin depends upon alms to support himself and his wife. One day he does not get any alms but cannot return home empty-handed for fear of disobeying his wife who had given definite instructions to the contrary. He/on his way back home/sees a dead snake. He picks it up and brings it home. His wife keeps it outside her hut. It so happens that an eagle takes it up and drops the necklace of the king of the country which it had picked up earlier while the king was taking his bath in a river. The wife of the Brahmin at

Hindu Festivals 25 once takes possession of the necklace. In the meantime the king announces prize for the recovery of the jewellery. The wife asks the Brahmin to go to the king, return the necklace and ask for a peculiar boon which is that the king should forbid lighting all buildings, including the royal palace, with the exception of their own house. The king grants the boon. On the Amavasya night Goddess Laksmi comes out in her Vahana on her annual visit. Seeing the only light in the couple's house she enters it and sees the couple offering oblations to her. She is immensely pleased at this. She gives her blessings to the couple which transform them into king and queen. On the Laksmi Puja Day white bed is prepared for Laksmi on which she is represented as sleeping. Her image is known as 'Sukhasuptika' (pleasantly sleeping Laksmi). The third in the chain of festivals is known as Baliraja. According to popular tradition Visnu pleased with the generosity of King Bali gave him the boon that the first day of the bright fortnight of Kartika will be known as Baliraja Day. This Baliraja festival coincides with the Govardhanotsava or the Annakuta. Before the birth of Krsna the cowherds of Gokula used to worship Indra but Krsna asked them to worship Govardhana mountain for it provided them with grass. At this Indra became angry and sent incessant showers. Krsna lifted the Govardhana mountain and protected the cowherds for seven days. Since then the cowherds began to worship Govardhana. In some parts of India people still make a cowdung picture of mount Govardhana on which they place the clay image of Krsna. Next festival is known as the Yamadvitiya. According to Puranic legends Yamuna, the sister of Yama, invited Yama, her brother, at her house and served him with the best dishes. Yama was pleased. He gave a boon to Yamuna that who would dine at her house on the second day of the bright fortnight of Kartika would not see the gate of Yama's city. This is the brief description of the festivals or ceremonies connected with Diwali. They are a standing monument to the assimilating nature of our ancient forbears.

REFERENCES 1. Some Notes on the History of Dewali Festival, Annals of the Bhandarkar Oriental Research Institute, Vol. XXVI, 1945. 2. Kamasutra, 1.4 3. Act I 4. Basham, A.L., The Wonder that was India, chapter VI, p. 207.