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There is a fearful sect of fakirs devoted to Siva and to Bhairava, the god of lunacy, who associate with evil spirits, ghouls and vampires, and practice hideous rites of blood, lust and gluttony. They tear their flesh with their finger-nails, slash themselves with knives, and occasionally engage in a frantic dance from which they die of exhaustion.
He is Mahâdeva, the Great God, Hara the Seizer, Bhairava the terrible one, Paśupati, the Lord of cattle, that is of human souls who are compared to beasts. Local gods and heroes are identified with him. Thus Gor Bâba, said to be a deified ghost of the aboriginal races, reappears as Goreśvara and is counted a form of Śiva, as is also Khandoba or Khande Rao, a deity connected with dogs.
The musical mode, Bhairava Raga, for example, was actually associated with Siva, yet because the character of the music suggested furious passion the central figure of the lover dallying with a lady was depicted as Krishna. In Hindola Raga, a mode connected with swinging, a similar result ensued.
Where the path lay over rocks it was worn smooth and slippery by naked feet, the feet of pilgrims for a thousand years. On the right the mouth of a deep cave had been walled up by masonry. Within, so the legend ran, the High Priest of Mandhatta, centuries before, had imprisoned the goddess Kali to stop a pestilence, making vow to offer to Bhairava, her son, a yearly human sacrifice.
Thus, the HINDOLE RAGA is heard only at dawn in the spring, to evoke the mood of universal love; DEEPAKA RAGA is played during the evening in summer, to arouse compassion; MEGHA RAGA is a melody for midday in the rainy season, to summon courage; BHAIRAVA RAGA is played in the mornings of August, September, October, to achieve tranquillity; SRI RAGA is reserved for autumn twilights, to attain pure love; MALKOUNSA RAGA is heard at midnights in winter, for valor.
Now hear the names I mention, in order, of those snakes endued with the speed of the wind and with virulent poison, born in the race of Dhritarashtra: Sankukarna, Pitharaka, Kuthara, Sukhana, and Shechaka; Purnangada, Purnamukha, Prahasa, Sakuni, Dari, Amahatha, Kumathaka, Sushena, Vyaya, Bhairava, Mundavedanga, Pisanga, Udraparaka, Rishabha, Vegavat, Pindaraka; Raktanga, Sarvasaranga, Samriddha, Patha and Vasaka; Varahaka, Viranaka, Suchitra, Chitravegika, Parasara, Tarunaka, Maniskandha and Aruni.
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