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22 Part I: Introduction On the morning after the Hoḷī fire has been lit in Kamaḷū Śinde’s vāḍā, Kamaḷū Śinde finds Mhaṅkāḷ in the form of a baby in the ashes (dhuḷ) of the fire (D136–147). Kamaḷu Śinde tries to induce various women of the vāḍā to nurse the baby (D148–165), including a Goldsmith woman who is in his debt (D156–165). Finally he beats his own skinny, infertile wife, Lhāūbāī, until she lactates and nurses the child (D166–180). Afterwards Kamaḷū Śinde tells the other Dhangar men about his method of inducing lactation (D181–182).

Kamaḷū Śinde and Lhāūbāī ride on the horse, and Dhuḷobā travels in the guise of a Gosāvī. Along the way, the family meets an ant and a mouse; both get added to the wedding party (D355–367). At the edge of Māḷśiras, they all stop for the night in Marīāī ’s temple. Here Dhuḷobā transforms himself into a foul-smelling old man, with pus oozing from sores on his body. Water buffaloes let out in the morning to graze discover him, and their owners run to the palace to tell King Hemūt the news (D368–374).

Two of the most important of these elements are the smaraṇ and the signature line. ” A Dhangar ovī typically begins with the phrase sumarān māṇḍilã or, as in these two ovīs, sumbarānu/ū māṇḍalã. We have translated these words as “We set our memory,” supplying the (somewhat ambiguous) pronoun that we believe the context demands. After pronouncing this phrase, the singers of an ovī go on to name the god or gods on whom their memory and that of their audience is to be set. In one line of the ovī part of D225, and in the smaraṇ that starts with D134 (not included in this translation), Pokale adds an extra syllable, saying sumbagarānū.

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