The flowers are arranged as above before the commencement of each Kardeh of the Afringâns. At the end of the recital of the first or the variable part of the Afringân, the Râspi or the Atravakhshi gets up from his seat on the carpet and the Zoti gives him the lowest flower on the right hand side and himself holds the lowest on the left hand side. The former, while receiving the flower, utters the words "Ahurahê Mazdâo raêvato Kharenanghatô," i.e., " of the Glorious and Brilliant God." Then both recite together the second or the invariable part of the Afringâns, the Kardê of Afrinâmi. As said before, this part of the Afringân invokes the blessings of God upon the ruler of the land. Both recite this portion holding the flowers in their hands.

In Persia, the Zoroastrian priests hold up their finger instead of a flower. It seems that in ancient times, there was the praotice for people to hold up their fingers to show approval and consent. In Tibet, even now, when a person with whom you converse, wants to show his approval or agreement with what you say, he raises up his finger. Just as you nod your head a little to show, that you follow what another person with whom you converse says, the Tibetan, now and then raises his finger. We learn from Firdousi that that is a very old custom. When Pirân entrusted young Kaikhosru to some shepherds to be brought up under their care, in order to save him from the grasp of his maternal grandfather Afrâsyâb, who, as the result of a dream, thought of killing the boy-prince, the shepherds now and then raised up their fingers to show their approval and consent: 1

1 pm 9 püz y Gill. (Vuller's Firdusii. Lieber Regum, Tomus secundus p. 678 1. 2648. Mecan's Calcutta ed. Vol. II p. 482, 1. 3. Mohl's Paris ed. Vol. II p. 420.) Vide my paper on " A Tibetan form of Salutation, suggesting an explanation of a Parsee ritual," in the Sir J. J. Z. Madresâ Jubilee Volume, pp. 408-14. Vide also my paper on "Tibetan Salutations and a few thoughts suggested by them." (Journal of the Anthropological Society of Bombay of 1914. Vide my Anthropological Papers. Part II pp. 120-21.)

This part of the ritual seems to indicate, that, as there is one God above to rule over the world, there must be one King. here as his representative to rule over the country. He must be powerful enough to over-rule all impiety, injustice, misrule, oppression and immorality.

On finishing this second part, both the priests exchange their fowers. This exchange symbolizes the exchange of lives between this world and the next. Souls are born and souls pass away. How do they do so? That is indicated and symbolized. by the next process in connection with the flowers. The priests recite twice the prayer of Humatanâm, etc. (Yaçna Haptanghaiti, Yaçna XXXV, 2), wherein the reciters say that they praise those who practise good thoughts, good words and good deeds. Now the Parsee books say that a pious righteous soul passes away to the other world, to the paradise, with three steps reciting, at each stage, the words Humata, Hukhta and Hvarshta, ie., good thoughts, good words and good deeds.1 So, at this juncture, the Zoti, while reciting the above words Humatanâm etc., lifts up the three flowers on the right hand side, one by one, beginning from above. Then, reciting the same prayer of Humatanâm for the second time, similarly lifts up the three flowers on the left hand side, but commencing from below. This process and this recital symbolize the above view, that a pious righteous soul has to come down to and move about in this world and then to pass away from this world to the other with the triad of good thoughts, good words and good deeds. Having thus lifted up the two sets of three flowers with the above prayer praising goodness of thoughts, words and deeds, he gives them into the hands of the Râspi, who, in the end, returns them to him. He finally places them on one side in the tray. At the first recital of the Humatarâm prayer and at the first lifting up of the flowers, the Râspi stands on one side of the Fire-vase, i.e., on the right hand side of the Zoti, and, at the second recital, on the other side. He, thus, changes his situation, to symbolize the change of situation on the part of the soul, after death.

1 Vide also the Vispa húmata prayer : "All good thoughts, good words and good deeds lead us to Heaven."

The pointing of the directions with the ladle.

After the above recitals and after the abovesaid two processes of lifting the flowers from their two rows, the Râspi, who was all along standing before the fire-vase holding in his hand the ladle with which he placed sandal-wood on the fire-vase, presents the ladle to the Zoti. The Zoti holds it, from the side of the broad blade and the Râspi, from the side of the end of the handle. Both recite an Yathâ-Ahu- Vairyo and an Ashem Vohu. While reciting the Yatha, the Zoti moves the ladle in the tray before him pointing out the four sides or directions thus : : . While reciting the Ashem, he points to the four corners thus . In short, he points, as it were, to the different directions of the movements of the sun. In pointing out the first four directions he draws, as it were, a cross x. We know, that anthropologists say, that the Cross existed before Christ, that it symbolized to some extent the ancient sun-worship and pointed out the different directions in connection with the sun. In that respect, it resembled, to a certain extent, the savastikâ of the Hindus which similarly symbolized the movement of the sun. Thus, the pointing of the different sides and corners with the ladle was something like describing a savastikâ.

After reciting the Yathâ and the Ashem, two more Yathaahu-vairyôs and an Yasnemcha' are recited. Then the two priests pass their hands into each other's hands in a particular way. This process of passing hands is known as Hamâzor. Then a short recital of the Humatanâm, etc., finishes the Afringân prayer. The Zoti then recites one or more Afrins. The priests are, at this last stage, paid their fees spoken of as ashodad. I will here describe the terms (a) Hamâzor and (b) Ashôdâd above referred to.

The Hamâzor plays an important part in several ceremonies of the Parsees. It is a particular way in (a) Hamâzor. which, at the end of several ceremonies, one person passes his hands into the hands of another person. One person, say A, holds forth both his hands flattened out

and in the position of the thumbs being uppermost and the palm of one hand facing parallel to the palm of the other. Another person B, with whom he makes the Hamâzor, similarly holds forth his hands, placing his flattened right hand between A's flattened hands. This process places the flattened right hand of A, in turn, between B's flattened hands. Thus, each holds the right hand of another in the folds of his hands. Having thus placed them, they, with a graceful movement withdraw the right hands and similarly pass their left hands in the folds of the hands of another. After thus passing their hands into each other's hands they lift their hands towards their heads just as if to touch them with the tips of their fingers, which is the usual way of saluting elders or superiors. This graceful movement of hands is spoken of as "Hamâzor karvi” or “Hamâzor levi,” i.e., “to make the Hamâzor" or "to take the Hamâzor."

The Ceremonies er occasions during

which the

Hama

or is performed.

The following are the ceremonies at the end of which the Hamâzor is generally performed. 1. The Yajashnê. 2. The Vendidâd. 3. The Visperad. 4. The Afringân. 5. The recital of Nyâishes jointly by a number of persons forming a congregation.

During the first three ceremonies, it is generally the two priests who take part in the ceremonies that perform the Hamâ zor. In the case of the Vendidâd when it is recited for the Nirangdin, the second priest i.e., the Râspi, or the Atravakhshi, at the conclusion of the ceremony, performs the Hamâzor with other priests and laymen assembled to superintend and witness the ceremony.

In the case of the Afringan ceremony, the two priests, the Zoti and the Atravakhshi, perform the Hamâzor at the end of each Åfringân, i. e., at the end of each Kurdê of the Afringân. If there is a large number of priests present and if there is a large congregation of laymen before which the ceremony is performed, at the end of the recital of the last Karde of the Afringân, the Atravakhshi goes round the assembly and performs Hamâzor

with the other priests and laymen. This custom of making Hamâzor with others is getting a little out of practice in Bombay, but is still in practice in the Parsee towns of Gujarât.

In the case of the recitals of the Nyâishes jointly by a congregation, the Hamâzor is performed by the persons assembled with several persons standing next to them. For example, the Oothamnâ ceremony on the third day after death is such an occasion when there are joint recitals of the Khorshed and Meher Nyâishes. There, after the recital of the Pazend Doâ Nâm-setâyeshnê, which always follows the recital of the Nyâishes, this performance of the Hamâzor follows. Again, at some ceremonial gatherings, the Âtash Nyaish is jointly recited. There also the Hamâzor is performed after the recital of the Doâ Nâm-setâyashnê.

In such religious and ceremonial gatherings, people generally take their stand according to their seniority or superiority. The Dastur or the Head Priest or a senior has his place generally in the middle and in the front. At the proper time, he performs the Hamâzor with a few near him, beginning with the next juniors, standing next to him. The latter continues it with those next to him, and so on. Thus, the whole assembly makes the Hamâzor, each person making it with the few round about him.

I think, that the Hamâzor of the Parsees resembles the Kiss of Peace of some of the Bene-Israels of India and the Kiss of Peace of some of the Early Christians. Rev. J. H. Lord thus describes the Kiss of Peace of the BeneIsraels:

The Hamâzor of the Parsees and The Kiss of Peace of some of the Bene-Israels of India and of the Early Christians.

Emanating from the chief minister, who bestows it on the elders nearest to him, it passes throughout the congregation. Each individual seeks it, as far as possible, from his senior or superior. Extending the arms with the hands flattened out, and in the position of the thumbs being uppermost, the person