and a half. She came ashore from her rock, first wetting her sheet in the waters of the sacred river, for without that safeguard any shadow which might fall upon her would convey impurity to her; then she walked to the pit, leaning upon one of her sons and a nephew—the distance was a hundred and fifty yards.
"I had sentries placed all around, and no other person was allowed to approach within five paces. She came on with a calm and cheerful countenance, stopped once, and casting her eyes upwards, said, 'Why have they kept me five days from thee, my husband?' On coming to the sentries her supporters stopped and remained standing; she moved on, and walked once around the pit, paused a moment, and while muttering a prayer, threw some flowers into the fire. She then walked up deliberately and steadily to the brink, stepped into the centre of the flame, sat down, and leaning back in the midst as if reposing upon a couch, was consumed without uttering a shriek or betraying one sign of agony."
It is fine and beautiful. It compels one's reverence and respect—no, has it freely, and without compulsion. We see how the custom, once started, could continue, for the soul of it is that stupendous power. Faith; faith brought to the pitch of effectiveness by the cumulative force of example and long use and custom; but we cannot understand how the first widows came to take to it. That is a perplexing detail.
Sleeman says that it was usual to play music at the suttee, but that the white man's notion that this was to drown the screams of the martyr is not correct; that it had a quite different purpose. It was believed that the martyr died prophecying; that the prophecies sometimes foretold disaster, and it was considered a kindness to those upon whom it was to fall to drown the voice and keep them in ignorance of the misfortune that was to come.
