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Indian Sati

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The dead husband. Aine O'Connor
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1. Indian Sati
Picart illustrates the widow as wearing the supposed traditional marriage outfit. Aine O'Connor
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1. Indian Sati
A "looking-glass." Aine O'Connor
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1. Indian Sati
Bernard writes that widows should be holding an arrow in their right hand; instead, Picart drew flowers Aine O'Connor
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1. Indian Sati
The crowd and musicians are "joyful spectators" to the event. Aine O'Connor
Contents of this annotation:
1. Indian Sati
This so-called "mat" is supposed to hide the horrible sight from the "eminence," or brahmin. Aine O'Connor
Contents of this annotation:
1. Indian Sati
Translation: The manner in which the Indian women cast themselves into the falmes after the death of their husbands. Aine O'Connor
Contents of this annotation:
1. Indian Sati

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Hindu Satí Bernard focuses his attention on the people they call “pagan Indians,” otherwise known as Hindus. Picart also does not illustrate any Hindu marriages. Instead, the spousal ceremonies described here are about funeral ceremonies, specifically those funeral ceremonies when a widowed Indian woman takes her own life to be with her dead husband. This practice, known as sati and long outlawed in India, was a complicated and difficult spousal ceremony to take. The preparation for the event sometimes took “two, three, and sometimes four months.” Once it arrived, it was nearly impossible to change the widow’s mind; Bernard explains, “whether this heroic courage proceeds from any artful preparation, or the force of a law, which fixes a mark of shame and disgrace on any woman as cowardly survive their husbands, or from a preternatural tenderness and affection, we shall not determine.”
The Looking-Glass and Flowers: Bernard writes of the widow’s dress: “They are decked in all the grandeur of a new-married bride, and crowned with flowers; their hair flows in a loose and careless air all over their shoulders and is adorned with jewels.” He also notes that they hold “a looking-glass in their left hand, and an arrow in their right.” In a fascinating shift from Bernard’s words, Picart chooses to depict the widow at the sati holding flowers rather than an arrow. It is unclear why he made this decision, but it seems to remove any masculine war imagery from the “beautiful bride” image created by the widow.
The Spectators: Dozens of people arrive to witness both types of sati illustrated by Picart. Bernard writes of “crowds that let [the widow] pass” and of “joyful spectators” who “dance and sing” with the widow. Their nearest relation is the person who actually takes them “by the hand” to the funeral pyre or burial site. Then, “some female friend or servant appointed for that purpose pours a whole pot-ful of oil upon the victim’s body.” Finally she throws herself into the fire, or is buried alive. Picart also includes a large mat, to “spread upon the brink of the Eminence, to conceal from their sight the horror of the flames.” “Eminence” signifies brahmins or other types of Indian religious leaders. Again, Picart makes a shift here. In his illustration, the mat is lifted, either by human hands or the wind, so even the most pious can see the horrific events about to unfold.
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