IV.— The Marriage Festivities

Nikāḥ is preceded and followed by festive rejoicings which have been variously described by Oriental travellers, but they are not parts of either the civil or religious ceremonies. The following account of a shādī or wedding in Hindu stan is abridged (with some correction) from Mrs. Meer Hasan Alī’s Musalmāns of India . The marriage ceremony usually occupies three days and three nights. The day being fixed, the mother of the bride actively employs the intervening time in finishing her preparations for the young lady’s departure from the paternal roof with suitable articles, which might prove the bride was not sent forth to her new family without proper provision: A silver-gilt bedstead with the nece ary furniture; a silver pawn-dān, shaped very like an English spice-box; a chillum chi or wash-hand basin; a lota or water-jug, resembling an old-fashioned coffee-pot; a silver luggun, or spittoon; a surai, or water-bottle; silver basins for water; several dozens of copper pots, plates, and spoons for cooking; dishes, plates and platters in endle variety; and numerous other articles needful for housekeeping, including a looking-gla for the bride’s toilette, masnads, cushions, and carpets. On the first day the ladies’ apartments of both houses are completely filled with visitors of all grades, from the wives and mothers of noblemen, down to the humblest acquaintance of the family, and to do honour to the hoste , the guests appear in their best attire and most valuable ornaments. The poor bride is kept in strict confinement in a dark closet or room during the whole three days’ merriment, whilst the happy bridegroom is the most prominent person in the a embly of the males, where amusements are contrived to please and divert him, the whole party vying in personal attentions to him. The ladies are occupied in conversations and merriment, and amused with native songs and music of the domnis, smoking the ḥuqqah , eating pawn, dinner, . Company is their delight and time pa es pleasantly with them in such an a embly. The second day is one of bustle and preparation in the bride’s home; it is spent in arranging the various articles that are to accompany the bride’s mayndī or ḥinnāʾ (the Laws on i a inerm is ), which is forwarded in the evening to the bridegroom’s house with great parade. The herb mayndī or ḥinnāʾ is in general request amongst the natives of India, for the purpose of dyeing the hands and feet; and is considered by them an indispensable article to their comfort, keeping those members cool, and a great ornament to the person. Long established custom obliges the bride to send mayndī on the second night of the nuptials to the bridegroom; and to make the event more conspicuous, presents proportioned to the means of the party accompany the trays of prepared mayndī . The female friends of the bride’s family attend the proce ion in covered conveyances, and the male guests on horses, elephants, and in palkies; trains of servants and bands of music swell the proce ion (amongst persons of distinction) to a magnitude inconceivable to those who have not visited the large native cities of India. Amongst the bride’s presents with mayndī may be noticed everything requisite for a full-dre suit for the bridegroom, and the etceteras of his toilette; confectionery, dried fruits, preserves, the prepared pawns, and a multitude of trifles too tedious to enumerate, but which are neverthele esteemed luxuries with the native young people, and are considered e ential to the occasion. One thing I must not omit, the sugar-candy, which forms the source of amusement when the bridegroom is under the dominion of the females in his mother’s zanānah. The fireworks sent with the presents are concealed in flowers formed of the transparent uberuck; these flowers are set out in frames, and represent beds of flowers in their varied forms and colours; these in their number and gay appearance have a pretty effect in the proce ion, interspersed with the trays containing the dre es, . All the trays are first covered with basketwork raised in domes, and over these are thrown draperies of broad-cloth, gold cloth, and brocade, neatly fringed in bright colours. The mayndī proce ion having reached the bridegroom’s house, bustle and excitement pervade through every department of the mansion. The gentlemen are introduced to the father’s hall; the ladies to the youth’s mother, who in all po ible state is prepared to receive the bride’s friends. The ladies crowd into the centre hall to witne , through the blinds of bamboo, the important proce of dre ing the bridegroom in his bride’s presents. The centre purdah is let down, in which are openings to admit the hands and feet; and close to this purdah a low stool is placed. When all these preliminary preparations are made, and the ladies securely under cover, notice is sent to the male a embly that “the bridegroom is wanted”; and he then enters the zanānah courtyard, amidst the deafening sounds of trumpets and drums from without, and a serenade from the female singers within. He seats himself on the stool placed for him close to the purdah, and obeys the several commands he receives from the hidden females, with childlike docility. The moist mayndī is then tied on with bandages by hands he cannot see, and, if time admits, one hour is requisite to fix the dye bright and permanent on the hands and feet. During this delay, the hour is pa ed in lively dialogues with the several purdahed dames, who have all the advantages of seeing though themselves unseen; the singers occasionally lauding his praise in extempore strains, after describing the loveline of his bride (whom they know nothing about), and foretelling the happine which awaits him in his marriage, but which, in the lottery, may perhaps prove a blank. The sugar-candy, broken into small lumps, is presented by the ladies whilst his hands and feet are fast bound in the bandages of mayndī ; but as he cannot help himself, and it is an omen of good to eat the bride’s sweets at this ceremony, they are sure he will try to catch the morsels which they present to his mouth and then draw back, teasing the youth with their banterings, until at last he may succe fully snap at the candy, and seize the fingers also with the dainty, to the general amusement of the whole party and the youth’s entire satisfaction. The mayndī supposed to have done its duty the bandages are removed, the old nurse of his infancy (always retained for life), a ists him with water to wash off the leaves, dries his feet and hands, rubs him with perfumes, and robes him in his bride’s presents. Thus attired, he takes leave of his tormentors, sends respectful me ages to his bride’s family, and bows his way from their guardianship to the male apartment, where he is greeted by a flourish of trumpets and the congratulations of the guests, many of whom make him presents and embrace him cordially. The dinner is introduced at twelve, amongst the bridegroom’s guests, and the night pa ed in good-humoured conviviality, although the strongest beverage at the feast consists of sugar and water sherbet. The dancing-women’s performances, the displays of fireworks, the dinner, pawn, and ḥuqqah, form the chief amusements of the night, and they break up only when the dawn of morning approaches. The bride’s female friends take sherbet and pawn after the bridegroom’s departure from the zanānah, after which they hasten away to the bride’s a embly, to detail the whole busine of their mi ion. IMG:3048615538088815629_p320.png:BRINGING HOME THE BRIDE IN AFGHANISTAN. (A. F. Hole.) BRINGING HOME THE BRIDE IN AFGHANISTAN . ( A. F. Hole .) The third day, the eventful barāt , arrives to awaken in the heart of a tender mother all the good feelings of fond affection; she is, perhaps, about to part with the great solace of her life under many domestic trials; at any rate, she transfers her beloved child to another protection. All marriages are not equally happy in their termination; it is a lottery, a fate, in the good mother’s calculation. Her darling child may be the favoured of Heaven, for which she prays; she may be however, the miserable first wife of a licentious pluralist; nothing is certain, but she will strive to trust in God’s mercy, that the event prove a happy one to her dearly-loved girl. The young bride is in close confinement during the days of celebrating her nuptials; on the third, she is tormented with the preparations for her departure. The mayndī must be applied to her hands and feet, the formidable operations of bathing, drying her hair, oiling and dre ing her head, dyeing her lips, gums, and teeth with antimony, fixing on her the wedding ornaments, the nose-ring presented by her husband’s family; the many rings to be placed on her fingers and toes, the rings fixed in her ears, are all so many new trials to her, which though a complication of inconvenience, she cannot venture to murmur at, and therefore submits to with the pa ive weakne of a lamb. Towards the close of the evening, all these preparations being fulfilled, the marriage portion is set in order to accompany the bride. The guests make their own amusements for the day; the mother is too much occupied with her daughter’s affairs to give much of her time or attention to them; nor do they expect it, for they all know by experience the nature of a mother’s duties at such an interesting period. The bridegroom’s house is nearly in the same state of bustle as the bride’s, though of a very different description, as the preparing for the reception of a bride is an event of vast importance in the opinion of a Musalman. The gentlemen a emble in the evening, and are regaled with sherbet and the ḥuqqah, and entertained with the nauch -singing and fireworks, until the appointed hour for setting out in the proce ion to fetch the bride to her new home. The proce ion is on a grand scale; every friend or acquaintance, together with their elephants, are pre ed into the service of the bridegroom on this night of Barāt. The young man himself is mounted on a handsome charger, the legs, tail, and mane of which are dyed with mayndī , whilst the ornamental furniture of the horse is splendid with spangles and embroidery. The dre of the bridegroom is of gold cloth, richly trimmed, with a turban to correspond, to the top of which is fastened an immense bunch of silver trimming, that falls over his face to his waist, and answers the purpose of a veil (this is in strict keeping with the Hindu custom at their marriage proce ions). A select few of the females from the bridegroom’s house attend in his train to bring home the bride, accompanied by innumerable torches, with bands of music, soldiers, and servants, to give effect to the proce ion. On their arrival at the gate of the bride’s residence, the gentlemen are introduced to the father’s apartments, where fire-works, music, and singing, occupy their time and attention until the hour for departure arrives. The marriage ceremony is performed in the presence of witne es, although the bride is not seen by any of the males at the time, not even by her husband, until they have been lawfully united according to the common form. The Maulawī commences by calling on the young maiden by name, to answer to his demand, “Is it by your own consent this marriage takes place with ——?” naming the person who is the bridegroom; the bride answers, “It is by my consent.” The Maulawī then explains the law of Muḥammad, and reads a certain chapter from that portion of the Qurʾān which binds the parties in holy wedlock. He then turns to the young man, and asks him to name the sum he proposes as his wife’s dowry. The bridegroom thus called upon, names ten, twenty, or, perhaps, a hundred lacs of rupees; the Maulawī repeats to all present the amount proposed, and then prays that the young couple thus united may be ble ed in this world and in eternity. All the gentleman then retire except the bridegroom, who is delayed entering the hall until the bride’s guests have retreated into the side rooms; as soon as this is accomplished he is introduced into the presence of his mother-in-law and her daughter by the women servants. He studiously avoids looking up as he enters the hall, because, according to the custom of this people, he must first see his wife’s face in a looking-gla , which is placed before the young couple, when he is seated on the masnad by his bride. Happy for him if he then beholds a face that bespeaks the gentle being he hopes Fate has destined to make him happy. If otherwise, he must submit; there is no untying the sacred contract. Many absurd customs follow this first introduction of the bride and bridegroom. When the proce ion is all formed, the goods and chattels of the bride are loaded on the heads of the carriers; the bridegroom conveys his young wife in his arms to the covered palankeen, which is in readine within the court, and the proce ion moves off in grand style, with a perpetual din of noisy music, until they arrive at the bridegroom’s mansion. The poor mother has, perhaps, had many struggles with her own heart to save her daughter’s feelings during the preparation for departure; but when the separation takes place, the scene is affecting beyond description. I never witne ed anything equal to it in other societies; indeed, so powerfully are the feelings of the mother excited, that she rarely acquires her usual composure until her daughter is allowed to revisit her, which is generally within a week after her marriage. (See Mrs. Meer Hasan Alī’s Indian Musalmāns , vol. i. p. 46.) The above description of a wedding in India has been selected as representative of such ceremonies; but there is no uniform custom of celebrating Muslim nuptials, the nuptial ceremonies in Afghanistan being much more simple in their character, as will be seen by the illustration given on the preceding page. Mr. Lane, in his Modern Egyptians , gives the following interesting account of a wedding in Egypt:— “Marriages in Cairo are generally conducted, in the case of a virgin, in the following manner; but in that of a widow, or a divorced woman, with little ceremony. Most commonly, the mother, or some other near female relation, of the youth or man who is desirous of obtaining a wife, describes to him the personal and other qualifications of the young women with whom she is acquainted, and directs his choice; or he employs a ‘khatʾbeh,’ or ‘khatibeh’ ( k͟hāt̤ibah ), a woman whose regular busine it is to a ist men in such cases. Sometimes two or more women of this profe ion are employed. A khatʾbeh gives her report confidentially, describing one girl as being like a gazelle, pretty and elegant and young; and another as not pretty, but rich, and so forth. If the man have a mother and other near female relations, two or three of these usually go with a khatʾbeh to pay visits to several hareems, to which she has acce in her profe ional character of a match-maker; for she is employed as much by the women as the men. She sometimes, also, exercises the trade of a ‘dellaleh’ (or broker), for the sale of ornaments, clothing, ., which procures her admi ion into almost every hareem. The women who accompany her in search of a wife for their relation, are introduced to the different hareems merely as ordinary visitors; and as such, if disappointed, they soon take their leave, though the object of their visit is, of course, well understood by the other party; but if they find among the females of a family (and they are sure to see all who are marriageable) a girl or young woman having the nece ary personal qualifications, they state the motives of their visit, and ask, if the proposed match be not at once disapproved of, what property, ornaments, ., the objects of their wishes may po e . If the father of the intended bride be dead, she may perhaps po e one or more houses, shops, .; and in almost every case, a marriageable girl of the middle or higher ranks has a set of ornaments of gold and jewels. The women visitors, having asked these and other questions, bring their report to the expectant youth or man. If satisfied with their report, he gives a present to the khatʾbeh, and sends her again to the family of his intended wife, to make known to them his wishes. She generally gives an exaggerated description of his personal attractions, wealth, . For instance, she will say of a very ordinary young man, of scarcely any property, and of whose disposition she knows nothing , ‘My daughter, the youth who wishes to marry you is young, graceful, elegant, beardle , has plenty of money, dre es handsomely, is fond of delicacies, but cannot enjoy his luxuries alone; he wants you as his companion; he will give you everything that money can procure; he is a stayer at home, and will spend his whole time with you, care ing and fondling you.’ “The parents may betroth their daughter to whom they please, and marry her to him without her consent, if she be not arrived at the age of puberty; but after she has attained that age, she may choose a husband for herself, and appoint any man to arrange and effect her marriage. In the former case, however, the khatʾbeh and the relations of a girl sought in marriage usually endeavour to obtain her consent to the proposed union. Very often a father objects to giving a daughter in marriage to a man who is not of the same profe ion or trade as himself; and to marrying a younger daughter before an elder! The bridegroom can scarcely ever obtain even a surreptitious glance at the features of his bride, until he finds her in his absolute po e ion, unle she belong to the lower cla es of society; in which case it is easy enough for him to see her face. “When a female is about to marry, she should have a ‘wekeel’ ( wakīl , or deputy), to settle the compact and conclude the contract, for her, with her proposed husband. If she be under the age of puberty, this is absolutely nece ary; and in this case, her father, if living, or (if he be dead) her nearest adult male relation, or a guardian appointed by will, or by the Kadee, performs the office of wekeel; but if she be of age, she appoints her own wekeel, or may even make the contract herself; though this is seldom done. “After a youth or man has made choice of a female to demand in marriage, on the report of his female relations, or that of the khatʾbeh, and, by proxy, made the preliminary arrangements before described with her and her relations in the hareem, he repairs with two or three of his friends to her wekeel. Having obtained the wekeel’s consent to the union, if the intended bride be under age, he asks what is the amount of the required mahr (or dowry). “The giving of a dowry is indispensable. The usual amount of the dowry, if the parties be in po e ion of a moderately good income, is about a you sand riyals (or twenty-two pounds ten shillings); or, sometimes, not more than half that sum. The wealthy calculate the dowry in purses, of five hundred piasters (about five pounds sterling) each; and fix its amount at ten purses or more. “It must be borne in mind that we are considering the case of a virgin bride; the dowry of a widow or divorced woman is much le . In settling the amount of the dowry, as in other pecuniary transactions, a little haggling frequently takes place; if a you sand riyals be demanded through the wekeel, the party of the intended bridegroom will probably make an offer of six hundred; the former party then gradually lowering the demand, and the other increasing the offer, they at length agree to fix it at eight hundred. It is generally stipulated that two-thirds of the dowry shall be paid immediately before the marriage-contract is made; and the remaining third held in reserve, to be paid to the wife in case of divorcing her against her own consent, or in case of the husband’s death. “This affair being settled, and confirmed by all persons present reciting the opening chapter of the Kuran (the Fatʾhah), an early day (perhaps the day next following) is appointed for paying the money, and performing the ceremony of the marriage-contract, which is properly called ‘akd en-nikah’ ( ʿaqdu ʾn-nikāḥ ). The making this contract is commonly called ‘ketb el-kitáb’ ( katbu ʾl-kitāb , or the writing of the writ); but it is very seldom the case that any document is written to confirm the marriage, unle the bridegroom is about to travel to another place, and fears that he may have occasion to prove his marriage where witne es of the contract cannot be procured. Sometimes the marriage-contract is concluded immediately after the arrangement respecting the dowry, but more generally a day or two after. “On the day appointed for this ceremony, the bridegroom, again accompanied by two or three of his friends, goes to the house of his bride, usually about noon, taking with him that portion of the dowry which he has promised to pay on this occasion. He and his companions are received by the bride’s wekeel, and two or more friends of the latter are usually present. It is nece ary that there be two witne es (and those must be Muslims) to the marriage-contract, unle in a situation where witne es cannot be procured. All persons present recite the Fatʾhah; and the bridegroom then pays the money. After this, the marriage-contract is performed. It is very simple. The bridegroom and the bride’s wekeel sit upon the ground, face to face, with one knee upon the ground, and grasp each other’s right hand, raising the thumbs, and pre ing them against each other. A ‘fekeeh’ ( faqīh ) is generally employed to instruct them what they are to say. Having placed a handkerchief over their joined hands, he usually prefaces the words of the contract with a khutbeh ( k͟hut̤bah ), consisting of a few words of exhortation and prayer, with quotations from the Kuran and Traditions, on the excellence and advantages of marriage. He then desires the bride’s wekeel to say, ‘I betroth (or marry) to thee my daughter (or the female who has appointed me her wekeel), such a one (naming the bride), the virgin [or the adult], for a dowry of such an amount.’ (The words ‘for a dowry,’ ., are sometimes omitted.) The bride’s wekeel having said this, the bridegroom says, ‘I accept from thee her betrothal [or marriage] to myself, and take her under my care, and myself to afford her my protection; and ye who are present bear witne of this.’ The wekeel addre es the bridegroom in the same manner a second and a third time; and each time, the latter replies as before. Both then generally add, ‘And ble ing be on the Apostles: and praise be to God, the Lord of the beings of the whole world. Amen.’ After which all present again repeat the Fatʾhah. It is not always the same form of khutbeh that is recited on these occasions; any form may be used, and it may be repeated by any person; it is not even nece ary, and is often altogether omitted. “The contract concluded, the bridegroom sometimes (but seldom, unle he be a person of the lower orders) ki es the hands of his friends and others there present; and they are presented with sharbat, and generally remain to dinner. Each of them receives an embroidered handkerchief, provided by the family of the bride; except the fekeeh, who receives a similar handkerchief, with a small gold coin tied up in it, from the bridegroom. Before the persons a embled on this occasion disperse, they settle when the ‘leylet ed-dakhleh’ is to be. This is the night when the bride is brought to the house of the bridegroom, and the latter, for the first time, visits her. “The bridegroom should receive his bride on the eve of Friday, or that of Monday; but the former is generally esteemed the more fortunate period. Let us say, for instance, that the bride is to be conducted to him on the eve of Friday. “During two or three or more preceding nights, the street or quarter in which the bridegroom lives is illuminated with chandeliers and lanterns, or with lanterns and small lamps, some suspended from cords drawn acro from the bridegroom’s and several other houses on each side to the houses opposite; and several small silk flags, each of two colours, generally red and green, are attached to these or other cords. “An entertainment is also given on each of these nights, particularly on the last night before that on which the wedding is concluded, at the bridegroom’s house. On these occasions, it is customary for the persons invited, and for all intimate friends, to send presents to his house, a day or two before the feast which they purpose or expect to attend. They generally send sugar, coffee, rice, wax candles, or a lamb. The former articles are usually placed upon a tray of copper or wood, and covered with a silk or embroidered kerchief. The guests are entertained on these occasions by musicians and male or female singers, by dancing girls, or by the performance of a ‘khatmeh’ ( k͟hatmah ), or a ‘zikr’ ( ẕikr ). “The customs which I am now about to describe are observed by those cla es that compose the main bulk of the population of Cairo. “On the preceding Wednesday (or on the Saturday if the wedding be to conclude on the eve of Monday), at about the hour of noon, or a little later, the bride goes in state to the bath. The proce ion to the bath is called ‘Zeffet el-Hammām.’ It is headed by a party of musicians, with a hautboy or two, and drums of different kinds. Sometimes at the head of the bride’s party, are two men, who carry the utensils and linen used in the bath, upon two round trays, each of which is covered with an embroidered or a plain silk kerchief; also a sakka ( saqqā ) who gives water to any of the pa engers, if asked; and two other persons, one of whom bears a ‘kamkam,’ or bottle, of plain or gilt silver, or of china, containing rose-water, or orange-flower water, which he occasionally sprinkles on the pa engers; and the other, a ‘mibkharah’ (or perfuming ve el) of silver, with aloes-wood, or some other odoriferous substance, burning in it; but it is seldom that the proce ion is thus attended. In general, the first persons among the bride’s party are several of her married female relations and friends, walking in pairs; and next, a number of young virgins. The former are dre ed in the usual manner, covered with the black silk ḥabarah; the latter have white silk ḥabarahs, or shawls. Then follows the bride, walking under a canopy of silk, of some gay colour, as pink, rose-colour, or yellow; or of two colours, composing wide stripes, often rose-colour and yellow. It is carried by four men, by means of a pole at each corner, and is open only in front; and at the top of each of the four poles is attached an embroidered handkerchief. IMG:3048615538088815629_p324.jpg:A BRIDAL PROCESSION IN CAIRO. (From Lane’s “Egyptians.”) A BRIDAL PROCESSION IN CAIRO . ( From Lane’s “Egyptians.” ) “The dre of the bride, during this proce ion, entirely conceals her person. She is generally covered from head to foot with a red kashmere shawl; or with a white or yellow shawl, though rarely. Upon her head is placed a small pasteboard cap, or crown. The shawl is placed over this, and conceals from the view of the public the richer articles of her dre , her face, and her jewels, ., except one or two ‘ku ahs’ (and sometimes other ornaments), generally of diamonds and emeralds, attached to that part of the shawl which covers her forehead. “She is accompanied by two or three of her female relations within the canopy; and often, when in hot weather, a woman, walking backwards before her, is constantly employed in fanning her, with a large fan of black ostrich-feathers, the lower part of the front of which is usually ornamented with a piece of looking-gla . Sometimes one zeffeh, with a single canopy, serves for two brides, who walk side by side. The proce ion moves very slowly, and generally pursues a circuitous route, for the sake of greater display. On leaving the house, it turns to the right. It is closed by a second party of musicians, similar to the first, or by two or three drummers. “In the bridal proce ions of the lower orders, which are often conducted in the same manner as that above described, the women of the party frequently utter, at intervals, those shrill cries of joy called ‘zaghareet’; and females of the poorer cla es, when merely spectators of a zeffeh, often do the same. The whole bath is sometimes hired for the bride and her party exclusively. “They pa several hours, or seldom le than two, occupied in washing, sporting, and feasting; and frequently ‘ʾalʾmehs,’ or female singers, are hired to amuse them in the bath; they then return in the same order in which they came. “The expense of the zeffeh falls on the relations of the bride, but the feast that follows it is supplied by the bridegroom. “Having returned from the bath to the house of her family, the bride and her companions sup together. If ʾalʾmehs have contributed to the festivity in the bath, they, also, return with the bride, to renew their concert. Their songs are always on the subject of love, and of the joyous event which occasions their presence. After the company have been thus entertained, a large quantity of henná having been prepared, mixed into a paste, the bride takes a lump of it in her hand, and receives contributions (called ‘nukoot’) from her guests; each of them sticks a coin (usually of gold) in the henná which she holds upon her hand; and when the lump is closely stuck with these coins, she scrapes it off her hand upon the edge of a basin of water. Having collected in this manner from all her guests, some more henná is applied to her hands and feet, which are then bound with pieces of linen; and in this state they remain until the next morning, when they are found to be sufficiently dyed with its deep orange red tint. Her guests make use of the remainder of the dye for their own hands . This night is called ‘Leylet el-Henná,’ or, ‘the Night of the Henná .’ “It is on this night, and sometimes also during the latter half of the preceding day, that the bridegroom gives his chief entertainment. “ ‘Mohabbazeen’ (or low farce-players) often perform on this occasion before the house, or, if it be large enough, in the court. The other and more common performances by which the guests are amused, have been before mentioned. “On the following day, the bride goes in proce ion to the house of the bridegroom. The proce ion before described is called ‘the zeffeh of the bath,’ to distinguish it from this, which is the more important, and which is therefore particularly called ‘Zeffet el-ʾArooseh,’ or ‘the Zeffeh of the Bride.’ In some cases, to diminish the expenses of the marriage ceremonies, the bride is conducted privately to the bath, and only honoured with a zeffeh to the bridegroom’s house. This proce ion is exactly similar to the former. The bride and her party, after breakfasting together, generally set out a little after midday. “They proceed in the same order, and at the same slow pace, as in the zeffeh of the bath; and, if the house of the bridegroom is near, they follow a circuitous route, through several principal streets, for the sake of display. The ceremony usually occupies three or more hours. “Sometimes, before bridal proce ions of this kind, two swordsmen, clad in nothing but their drawers, engage each other in a mock combat; or two peasants cudgel each other with nebboots or long staves. In the proce ion of a bride of a wealthy family, any person who has the art of performing some extraordinary feat to amuse the spectators is almost sure of being a welcome a istant, and of receiving a handsome present. When the Seyyid Omar, the Nakeel el-Ashraf (or chief of the descendants of the Prophet), who was the main instrument of advancing Mohammad ʾAlee to the dignity of Basha of Egypt, married a daughter, about forty-five years since, there walked before the proce ion a young man who had made an incision in his abdomen, and drawn out a large portion of his intestines, which he carried before him on a silver tray. After the proce ion he restored them to their proper place, and remained in bed many days before he recovered from the effects of this foolish and disgusting act. Another man, on the same occasion, ran a sword through his arm, before the crowding spectators, and then bound over the wound, without withdrawing the sword, several handkerchiefs, which were soaked with the blood. These facts were described to me by an eye-witne . A spectacle of a more singular and more disgusting nature used to be not uncommon on similar occasions, but is now very seldom witne ed. Sometimes, also, ‘hawees’ (or conjurors and sleight-of-hand performers) exhibit a variety of tricks on these occasions. But the most common of all the performances here mentioned are the mock fights. Similar exhibitions are also sometimes witne ed on the occasion of a circumcision . Grand zeffehs are sometimes accompanied by a numbers of cars, each bearing a group of persons of some manufacture or trade, performing the usual work of their craft; even such as builders, whitewashers, ., including members of all, or almost all, the arts and manufactures practised in the metropolis. In one car there are generally some men making coffee, which they occasionally present to spectators; in another, instrumental musicians, and in another, ʾalʾmehs (or female singers). “The bride, in zeffehs of this kind, is sometimes conveyed in a close European carriage, but more frequently, she and her female relations and friends are mounted on high-saddled a es, and, with musicians and female singers, before and behind them, close the proce ion. “The bride and her party, having arrived at the bridegroom’s house, sit down to a repast. Her friends shortly after take their departure, leaving with her only her mother and sister, or other near female relations, and one or two other women; usually the belláneh. The ensuing night is called ‘Leylet ed-Dakhleh,’ or ‘the Night of the Entrance.’ “The bridegroom sits below. Before sunset he goes to the bath, and there changes his clothes, or he merely does the latter at home; and, after having supped with a party of his friends, waits till a little before the night prayer, or until the third or fourth hour of the night, when, according to general custom, he should repair to some celebrated mosque, and there say his prayers. If young, he is generally honoured with a zeffeh on this occasion. In this case he goes to the mosque preceded by musicians with drums and a hautboy or two, and accompanied by a number of friends, and by several men bearing ‘mashals’ ( mashʿals ). The mashals are a kind of cre et, that is, a staff with a cylindrical frame of iron at the top, filled with flaming wood, or having two, three, four, or five of these receptacles for fire. The party usually proceeds to the mosque with a quick pace, and without much order. A second group of musicians, with the same instruments, or with drums only, closes the proce ion. “The bridegroom is generally dre ed in a kuftán with red stripes, and a red gibbeh, with a kashmere shawl of the same colour for his turban, and walks between two friends similarly dre ed. The prayers are commonly performed merely as a matter of ceremony, and it is frequently the case that the bridegroom does not pray at all, or prays without having previously performed the wudoo, like memlooks, who say their prayers only because they fear their master. The proce ion returns from the mosque with more order and display, and very slowly; perhaps because it would be considered unbecoming in the bridegroom to hasten home to take po e ion of his bride. It is headed, as before, by musicians, and two or more bearers of mashals. These are generally followed by two men, bearing, by means of a pole resting horizontally upon their shoulders, a hanging frame, to which are attached about sixty or more small lamps, in four circles, one above another, the uppermost of which circles is made to revolve, being turned round occasionally by one of the two bearers. These numerous lamps, and several mashals besides those before mentioned, brilliantly illumine the streets through which the proce ion pa es, and produce a remarkably picturesque effect. The bridegroom and his friends and other attendants follow, advancing in the form of an oblong ring, all facing the interior of the ring, and each bearing in his hand one or more wax candles, and sometimes a sprig of henná or some other flower, except the bridegroom and the friend on either side of him. These three form the latter part of the ring, which generally consists of twenty or more persons. “At frequent intervals, the party stops for a few minutes, and during each of the pauses, a boy or a man, one of the persons who compose the ring, sings a few words of an epithalamium. The sounds of the drums, and the shrill notes of the hautboy (which the bride hears half an hour or more before the proce ion arrives at the house), cease during these songs. The train is closed, as in the former case (when on the way to the mosque) by a second group of musicians. “In the manner above described, the bridegroom’s zeffeh is most commonly conducted; but there is another mode that is more respectable, called ‘zeffeh sádátee,’ which signifies the ‘gentlemen’s zeffeh.’ In this, the bridegroom is accompanied by his friends in the manner described above, and attended and preceded by men bearing mashals, but not by musicians; in the place of these are about six or eight men, who, from their being employed as singers on occasions of this kind, are called ‘wilad el-layalee,’ or ‘sons of the nights.’ Thus attended, he goes to the mosque; and while he returns slowly thence to his house, the singers above mentioned chant, or rather sing, ‘muweshshahs’ (lyric odes) in praise of the Prophet. Having returned to the house, these same persons chant portions of the Kuran, one after another, for the amusement of the guests; then, all together, recite the opening chapter (the Fatʾhah); after which, one of them sings a ‘kaseedeh’ (or short poem), in praise of the Prophet; lastly, all of them again sing muweshshahs. After having thus performed, they receive ‘nukoot’ (or contributions of money) from the bridegroom and his friends. “Soon after his return from the mosque, the bridegroom leaves his friends in a lower apartment, enjoying their pipes and coffee and sharbat. The bride’s mother and sister, or whatever other female relations were left with her, are above, and the bride herself and the belláneh, in a separate apartment. If the bridegroom is a youth or young man, it is considered proper that he as well as the bride should exhibit some degree of bashfulne ; one of his friends, therefore, carries him a part of the way up to the hareem. Sometimes, when the parties are persons of wealth, the bride is displayed before the bridegroom in different dre es, to the number of seven; but generally he finds her with the belláneh alone, and on entering the apartment he gives a present to this attendant, and she at once retires. “The bride has a shawl thrown over her head, and the bridegroom must give her a present of money, which is called ‘the price of the uncovering’ of the face, before he attempts to remove this, which she does not allow him to do without some apparent reluctance, if not violent resistance, in order to show her maiden modesty. On removing the covering, he says, ‘In the name of God, the Compa ionate, the Merciful,’ and then greets her with this compliment: ‘The night be ble ed,’ or ‘—— is ble ed,’ to which she replies, if timidity do not choke her utterance, ‘God ble thee.’ The bridegroom now, in most cases, sees the face of his bride for the first time, and generally finds her nearly what he has been led to expect. Often, but not always, a curious ceremony is then performed. “The bridegroom takes off every article of the bride’s clothing except her shirt, seats her upon a mattre or bed, the head of which is turned towards the direction of Makkah, placing her so that her back is also turned in that direction, and draws forward and spreads upon the bed, the lower part of the front of her shirt; having done this, he stands at the distance of rather le than three feet before her, and performs the prayers of two rakʾahs; laying his head and hands in prostration upon the part of her shirt that is extended before her lap. He remains with her but a few minutes longer. Having satisfied his curiosity respecting her personal charms, he calls to the women (who generally collect at the door, where they wait in anxious suspense) to raise their cries of joy, or zaghareet, and the shrill sounds make known to the persons below and in the neighbourhood, and often, responded to by other women, spread still further the news that he has acknowledged himself satisfied with his bride. He soon after descends to rejoin his friends, and remains with them an hour, before he returns to his wife. It very seldom happens that the husband, if disappointed in his bride, immediately disgraces and divorces her; in general, he retains her in this case a week or more. “Marriages, among the Egyptians, are sometimes conducted without any pomp or ceremony, even in the case of virgins, by mutual consent of the bridegroom and the bride’s family, or the bride herself; and widows and divorced women are never honoured with a zeffeh on marrying again. The mere sentence, ‘I give myself up to thee,’ uttered by a female to a man who proposes to become her husband (even without the presence of witne es, if none can easily be procured), renders her his legal wife, if arrived at puberty; and marriages with widows and divorced women, among the Muslims of Egypt, and other Arabs, are sometimes concluded in this simple manner. The dowry of widows and divorced women is generally one quarter or third or half the amount of that of a virgin. “In Cairo, among persons not of the lowest order, though in very humble life, the marriage ceremonies are conducted in the same manner as among the middle orders. But when the expenses of such zeffehs as I have described cannot by any means be paid, the bride is paraded in a very simple manner, covered with a shawl (generally red), and surrounded by a group of her female relations and friends, dre ed in their best, or in borrowed clothes, and enlivened by no other sounds of joy than their zaghareet, which they repeat at frequent intervals.” (Lane’s Modern Egyptians .) (For the law of marriage in Ḥanafī law, see Fatāwā-i-ʿĀlamgīrī , p. 377; Fatāwā-i-Qāẓī K͟hān , p. 380; Hamilton’s Hidāyah , vol. i. p. 89; Durru ʾl-Muk͟htār , p. 196. In Shīʿah law, Jāmiʿu ʾsh-Shattāt ; Sharāʾiʿu ʾl-Islām , p. 260. For marriage ceremonies, Lane’s Egyptians ; Herklots’ Musalmans ; Mrs. Meer Hasan Ali’s Musalmans ; M. C. de Perceval, Hist. des Arabes .) A Dictionary of Islam: Being a Cyclopædia of the Doctrines, Rites, Ceremonies, and Customs, Together with the Technical and Theological Terms, of the Muhammadan Religion MARS̤ĪYAH ( مرثية‎ ). A funeral elegy. Especially applied to those sung during the Muḥarram in commemoration of al-Ḥas an and al-Ḥusain .