The Many Lives of a Rajput Queen

by Ramya Sreenivasan

  Nasiban has second thoughts about the adversity she has brought upon her Rajput protectors, but Lakshmansinha is now sworn to war against the Delhi sultan. As the Rajputs prepare for battle, Lakshmansinha’s son Arun is deputed to sentry duty at the gates. Attracted by the beautiful Rukma, the daughter of a poor Rajput living in the forest, Arun leaves his post and follows her; when he misses the rana’s summons for battle, Lakshmansinha orders his son’s death for dereliction of duty. Arun marries Rukma in the forest, and returns to Chitor; Padmini intercedes on his behalf with the Rana. Rukma threatens to curse the king and the land if her husband is put to death, but Padmini intervenes to remind her of the Rajput wife’s duty. Lakshmansinha spares his son’s life but exiles him.

  Alauddin’s exiled Vazir has become a wandering mendicant (fakir) and arrives at Chitor, where he is welcomed by Gora and reunited with his daughter Nasiban. Alauddin is aided by treacherous Hindu chiefs in his attempt to conquer the kingdom of Patan. The only resistance he encounters is from the Muslim chief Kafur Khan, who sends a message to Chitor for help. There is bad blood between the kings of Patan and Chitor. Before the Rajputs of Chitor can respond to Kafur Khan’s call for help, Kamaladevi of Patan surrenders herself to the sultan. In return, she asks that the sultan defeat the Chitor king and fulfill her husband’s last wish. Alauddin spares the rebellious Kafur Khan’s life and makes him his commander instead. Alauddin now sets his sights on Chitor but is defeated by Gora and Bhimsinha, who are advised on strategy by the Vazir. As Alauddin lies wounded on the battlefield, Nasiban finds him and asks Gora to spare his life. Alauddin allows himself to be taken prisoner by the unsuspecting Gora, demands to be treated as a guest and desires to behold the queen Padmini. From this point onward, the narrative follows the Annals’ account more closely. Padmini devises the mirror scheme and Alauddin is determined to obtain her. He tricks and captures Bhimsinha, Padmini devises her husband’s rescue by the palanquin ruse and Gora is killed in the ensuing battle. Bhimsinha returns to Chitor but Alauddin is not about to return empty-handed. A battle breaks out near the fortress. At Rukma’s urging, the exiled Arun comes to his father’s aid. When a rumor reaches the queens that Lakshmansinha has been killed, Padmini leads the Rajput women to immolation. The patron goddess of Chitor appears before Lakshmansinha and demands the sacrifice of twelve sons. As the princes are killed in quick succession, Arun and Badal reenter the fort and die defending its gates. The victorious Alauddin enters Chitor and is awestruck at the destruction of the women. Lakshmansinha survives and importunes the goddess for an heir. She reappears to assure him that Arun’s son by Rukma will preserve the lineage. The play ends here with Rukma being sent away to the safety of Kelwara.

  Yajneshwar Bandopadhyay, Mewar (1884)

  I translate only the jauhar episode from Yajneshwar’s account:

  Now the rana began making preparations to finally give up the blood from his own heart to fill up the skull (kharpar) in the hand of Chitor’s patron goddess. Before he completed these terrible preparations, it was decided that it was entirely necessary to arrange an even more terrible matter. The name of this even more terrible matter was the “jauhar vow” (johar brata). The women of the Rajput lineage were hurled into the blazing fire to preserve their chastity and their freedom from the hands of the enemy . . . From the enemy’s terrible assault, when there was no way left for the Rajputs to preserve their land and their freedom; when all their hope had disappeared; in that terrible time—when the situation was beyond any hope, the Rajput warriors would make preparations for this fearsome, most cruel vow. Today that terrible time had come in Chitor; today there was no way left to preserve Chitor; so the arranging of that most terrible jauhar vow was extremely necessary. Underneath the women’s quarters in the royal palace there was an enormous tunnel . . . [In it] enormous logs of sal were piled up and a huge pyre was lit. Before their eyes, countless Rajput women with their hair loose and disheveled, their lamentations piercing the city of Chitor, gathered in front of that terrible cave and began advancing toward it. All those beautiful kshatriya women whom the wicked Musalmans would see and their bestial nature would be aroused, they were all in that gathering of wives. Padmini, favorite of the gods (sura manomohini), brought up the rear of that procession. Chitor’s warriors stood wordless, motionless, as if struck by lightning, and beheld this terrible, heart-wrenching spectacle.—Loving women who gave birth, women who sustained by their love (hrdayer pritidayini) and shared in virtue (sahadharmini), and daughters and sisters who gave delight, took their leave for eternity and before their very eyes were advancing toward the burning fire to give up their lives; still there was not one tear in their eyes! Today those eyes were dry, they were a deep red; as if from them was emerging a fire which would engulf the entire world! Those hearts which had once been the spring of love, today they were transformed into an arid burial ground! Hence they could behold this horrifying spectacle today. As they watched, the women came before the opening of the cave; in front of them was a flight of steps; slowly they descended; and then suddenly above them with a terrible clang the enormous iron gate closed over the tunnel! The piercing cries of countless ill-fated women were silenced in an instant!—Nothing more could be heard! Alas! Everything was over!—Beauty, youth, grace, honor, all were reduced to ashes in the all-devouring fire!10

  Abanindranath Tagore, Rajkahini (1909)

  Abanindranath follows Tod’s account closely, beginning with a brief description of the Rajputs’ glorious history and of the Mewar ruling lineage in particular. Bhimsinha’s voyage to Sinhala and his marriage to Padmini are mentioned in one sentence. As they spend their days happily in Chitor, Alauddin hears of Padmini’s beauty from one of his singing girls. As he leaves for Chitor to obtain the queen, his wife Piyari Begum taunts him that he will fail in his endeavor. Holi celebrations in Chitor cease abruptly at the news of Alauddin’s impending attack. As king and council ponder their course of action, Bhimsinha offers to surrender Padmini to preserve the kingdom. The Rajputs refuse his offer and decide to fight for the honor of their queen and kingdom.

  Alauddin’s siege is unsuccessful. On a hunting expedition one day, the sultan sees his trained hawk capture a parrot, whose companion follows them back to the camp of its own volition. Alauddin is inspired, and plans to capture Bhimsinha and demand the surrender of Padmini. When he beholds her reflection in the mirror, Alauddin is beside himself with admiration and desire. After capturing Bhimsinha, the sultan demands the surrender of Padmini; she devises the palanquin scheme in consultation with Gora and Badal. The king is freed but Gora dies in the ensuing battle. Alauddin is forced to return to Delhi abruptly as he receives news of Timur’s invasion. He returns to besiege Chitor after thirteen years. Depleted of men and supplies, Lakshmansinha considers suing for peace and accepting the sultan’s terms. Bhimsinha pleads that he be allowed to fight for seven more days in a final attempt to avoid the ignominy of serving the sultan as a feudatory. Lakshmansinha agrees.

  When Bhimsinha informs Padmini, she determines to sacrifice herself so that the honor of Chitor can be preserved. With the blessings of Shiva and his priestess, she disguises herself as the goddess and appears before Lakshmansinha, demanding a blood-sacrifice from the king and his people. She reappears the next night to convince the skeptical ministers. As the Rajputs prepare for their last battle, Bhimsinha wonders whether the apparition was Padmini in disguise. After the mass immolation of the women, the outnumbered Rajputs are killed on the battlefield. Alauddin enters Chitor only to find a heap of ashes. He leaves for Delhi after razing the homes, halls and temples of Chitor, leaving intact only Padmini’s palace. Abanindranath ends his account where Tod did, with the black python that guards the cave where Padmini immolated herself.

  Notes

  1. Jayasi provides an allegorical gloss for the fortress kingdom by punning on its name, Chita-ur (the domain of the mind, chita and heart, ura). I use this spelling, closer phonetically to the Avadhi word, to distinguish Jayasi’s usage.


  2. For Nainsi’s career and his compilation of the Khyat, see Saran and Ziegler 2001: vol. 1, 11–14, 15–24.

  3. Sakariya 1984–93: vol. 1, 13–14.

  4. Bhati 1995: 41–2.

  5. Bhati 1984: 10–11.

  6. Tod 1995: vol. 1, 307–14.

  7. Tod’s footnote: “The Author has been at the entrance of this retreat, which, according to the Khuman Raesa, conducts to a subterranean palace, but the mephitic vapours and venomous reptiles did not invite to adventure, even had official situation permitted such slight to these prejudices. The Author is the only Englishmen admitted to Chitor since the days of Herbert, who appears to have described what he saw.” 1: 311.

  8. Jyotirindranath Natya Sangraha, 2 vols (Calcutta: Vishwabharati Granthan Bibhag, 1969) 1: 111–227.

  9. Kshirod Granthabali, 6 vols (Calcutta: Basumati Sahitya Mandir, n.d.) 2: 1–70.

  10. Yajneshwar 1884: vol. 1, 139–40.

  APPENDIX 2

  List of Known Versions/Manuscripts/Editions of the Padmini Legend1

  The Padmavat Tradition

  1. 1592, Hans, Pema nama, Dakkini adaptation, court of Ibrahim Shah in Bijapur (Blumhardt, CHPHM-IOL, p. 57, No. 83, Add. 16880).

  2. 1623, Jatmal Nahar, Gora Badal ki Katha, Braj adaptation, composed in Lahore under Pathan patronage.

  3. Circa 17th century, Padmavat, Persian characters, with texts by Jayasi, Burhan, Sadhan and Bakshan, Maner Sharif Library, Patna.

  4. Circa 1652? Gobind Rai Munshi? Tuhfat-ul-qulub, Persian translation. Presented in 1652 to Shah Jahan.

  5. 1658–9, Aqil Khan Razi, Shama-wa-Parvana, Persian adaptation.

  6. 1660, Husamuddin, Husn-wa-ishq, Persian adaptation.

  7. Circa 1660, Saiyid Alaol, Padmabati, Bengali adaptation.

  8. 1662–3, Mulla Abdul Shakur Bazmi of Karj, Gujarat, Padmavat, Persian adaptation dedicated to Emperor Jahangir.

  9. 1675, Muhammad Shakir of Amroha, pupil of Abdul Qadir Jilani, Padmavat, ms. with interlinear Persian translation, Raza Library, Rampur.

  10. 1685, Padmavat, ms., kaithi nagari script, 447 folios, Leiden University Library.

  11. Circa 1696, Padmavat, ms., Persian script, 166 folios, India Office Library, Mss.Hin.B.12.

  12. Circa 1696, Padmavat, ms., Persian script, 218 folios, India Office Library, (Persian cat. 1018) Mss.Hin.B.11.

  13. 1697, scribe Rahimdad Khan, Padmavat, ms., Persian script, 186 folios, India Office no. 1975, Mss.Hin.B.9.

  14. 1698, Ishrati, Padmavat, prose adaptation in Dakkini.

  15. 1701, scribe Krishna Brahman Baruva ke Dube Hariram putra of Vaitalgarh, Padmavat, ms., kaithi script, 2076 verses.

  16. 1702, Padmavat, ms., Persian script, 180 folios, India Office Library no. 1975, Mss.Hin.B.10.

  17. Early 18th century? Padmavat, ms., Persian script, India Office Library Mss.Hin.B.7.

  18. 1713–19, Husain Ghaznavi, Qissa-i Padmavat, Persian adaptation, preserved in library of Tipu Sultan (r. 1782–99).

  19. 1719, Padmavat, ms., 332 folios, Bibliotheque Nationale, Fonds Indien no. 189, Fonds Gentil no. 32.

  20. 1724, Padmavat, Bihar Sharif.

  21. Circa 1729, Padmavat, 338 folios, Edinburgh University Library.

  22. Circa 1732, Padmavati Katha, ms., nagari script, Maharaja Sawai Mansingh Museum, Jaipur, Kavya, Acc. No. 58.

  23. 1734, Padmavat, illustrations of selected scenes, 21 folios, patron Muhammad Sultan Khan, procured from Gorakhpur, Bharat Kala Bhavan Acc. No. 275.87–295.87.

  24. 1747, Padmavat, ms., kaithi nagari script, in the possession of Babu Krishna Baldev Varma, Kaisar Bagh, Lucknow, 1747.

  25. Mid-18th century, Alaol’s Padmabati, ms., found in Chittagong.

  26. Mid-18th century, Alaol’s Padmabati, ms., found in Chittagong.

  27. Mid-18th century, scribe Abul Hochan, patron Kamdar Ali, Alaol’s Padmabati, ms., found in Chittagong.

  28. 1764? Padmavat, ms., nagari script, Library of Shri Kashiraj.

  29. 18th-century, scribe Than Kayasth of Mirzapur, Padmavat, ms., nagari script, 340 folios.

  30. 17th or 18th century, Padmavat, ms., Persian script, 211 folios.

  31. Circa 1780, Padmavat, ms., Persian script, made in Kartarpur, Bijnor.

  32. 1785, scribe Dayalal Kayasth Basondi of Manje Shahr, Salempur pargana, Padmavat, ms., kaithi nagari script, 3757 verses.

  33. 1786, Padmavat, ms., kaithi script, 167 folios, 1786, Royal Asiatic Society Calcutta.

  34. 1797, Ibrat-o-Ishrat, Mudallil-e Shama-o-Parvana, also known as Qissa-e Padmavat or Padmavat Urdu, Urdu adaptation.

  35. 1802, Padmavat, ms., nagari script, Haragaon.

  36. 1808, Padmavat-i Zakir, adaptation composed in court of Udait Narayan Singh of Banaras.

  37. 1822, Padmavat, ms., kaithi script, 1771 verses.

  38. 1824, Padmavat, ms., nagari script, 308 folios, Bihar Rashtrabhasha Parishad.

  39. 1828–33? Qissa-i-Padmavat, ms., nastaliq script, Bodleian Library, S.C. 22971, Ouseley 196, 191 folios.

  40. 1828, scribe unknown, Mudallil-e Sham -o-Parvana, ms.

  41. Early-19th century, Alaol’s Padmabati, ms., found in Chittagong.

  42. Early-19th century, Alaol’s Padmabati, ms., found in Chittagong.

  43. Early-19th century, Alaol’s Padmabati, ms., found in Chittagong.

  44. Mid-19th century, Alaol’s Padmabati, ms., found in Chittagong.

  45. Mid-19th century, Alaol’s Padmabati, ms., found in Chittagong.

  46. Mid-19th century, Alaol’s Padmabati, ms., found in Chittagong.

  47. Mid-19th century, scribe Kader Baksh, Alaol’s Padmabati, ms., found in Chittagong.

  48. 1858, Ziyauddin Ibrat and Ghulam Ali Ishrat, Padmavat, pub. Lucknow.

  49. Circa 1863, Alaol’s Padmabati, ms., owned by Munshi Haidar Ali, disciple of Pir Abdul Ghaffur Khan of Kesua.

  50. 1865, Malik Muhammad Jayasi, Padmavat, Lucknow (in Persian characters, with commentary in Urdu by Ali Hasan; lith.).

  51. 1870, Malik Muhammad Jayasi, Padmavat, Lucknow (with marginal notes in Hindustani by Ali Hasan of Amethi).

  52. 1871, Maulvi Muhammad Qasim Ali Barelvi, title unknown, Nawal Kishore Press.

  53. 1873, Muhammad Qasim Ali, Padmavat, Kanpur: Nawal Kishore Press.

  54. 1874, Ziyauddin Ibrat and Ghulam Ali Ishrat, Padmavat, Kanpur.

  55. 1879, Ziyauddin Ibrat and Ghulam Ali Ishrat, Padmavat, Delhi.

  56. 1880, Malik Muhammad Jayasi, Padmavat, Lucknow (in Devanagari characters, with meanings of difficult words).

  57. 1881, Padmavat, Lucknow: Munshi Nawal Kishore (rendered into Devanagari script by Lala Raghubardayal, with notes on difficult words).

  58. 1885, Padmavat . . . /murattab Mir Ziyauddin Ibrat aur Ghulam Ali Ishrat, Kanpur: Nawal Kishore Press.

  59. 1885, Vihari Lal Bedil, Padam Samaj, Bijnor: Matba-e Samar-e Hind.

  60. 1889, Ziyauddin Ibrat and Ghulam Ali Ishrat, Padmavat, Delhi.

  61. 1892, Malik Muhammad Jayasi, Padmavat, Farrukhabad (selections; accompanied by explanations of each couplet and notes by Munshi Chintamani; lith.).

  62. 1896, Malik Muhammad Jayasi, Padmavat, Calcutta (in Persian characters, with interlinear Hindustani translation by Ahmad Ali Rasi; lith.).

  63. 1896, Malik Muhammad Jayasi, Padmavat, Calcutta: Steam Machine Press (in Hindi).

  64. 1899, Malik Muhammad Jayasi, Padmavat, Kanpur (in Persian characters, with interlinear Hindustani translation and marginal notes by Ahmad Ali Rasi; lith.).

  65. 1914, Hafiz Khalil Hasan “Khalil” Manikpuri, Butkhana-e Khalil, Urdu adaptation, Agra.

  66. 1915, Ustad Indraman, Sangit Vir Bahadur, or Raja Ratan Simha ka Sakha, Hathras.

  67. 1920, Padmavat Bhasha Malik Muhammad Jayasi, Nawal Kishore Press.

  68. 1919, Pahalvan Srikrishna Khatri, Sangit Maharani Padmini, Kanpur: Uma-datta Vajpeyee.

  69. 1923, Radhakrishna Das, Maharani Padmavati, 2nd edn., Banaras: Durga Prasad Khatri.

  70. 1924, Ramchandra Shukla, Jayasi Gra
nthavali, Kashi: Nagari Pracharini Sabha (Hindi, in nagari script).

  71. N.d., Pandit Bhagvati Prasad Pandey “Anuj”, Padmavat Bhakha matarjum.

  72. 1928, Padmavat Urdu/Mir Ziyauddin Ibrat aur Ghulam Ali Ishrat, Lakhnau: Nami Press.

  73. 1960, Padmavat Bhasha: Raja Ratansen aur Padmavat Rani ki Prasiddh Kahani, Nawal Kishore Press.

  The Rajasthan Tradition

  1. 1589, Hemratan, Gora Badal Padmini Chaupai, first known narrative of Padmini in Rajasthan.

  2. 1606, Hemratan, Gora Badal Padmini Chaupai, ms., collection of Muni Jinavijay.

  3. 1630, Jatmal Nahar putra Dharamsi, Gora Badal ri Varta, Ms. 12580(4), Jodhpur, Rajasthan Oriental Research Institute.

  4. 1639, Jatmal Nahar, Gora Badal ri Katha, Ms. 11585(1), Jodhpur, Rajasthan Oriental Research Institute.

  5. Circa 1645, Labdodhay, Padmini Charit, adaptation based on Hemratan.

  6. Circa 1657, Sisod Vansavali.

  7. 1674, Hemratan, Gora Badal Padmini Chaupai, ms., collection of Muni Jinavijay.

  8. Late 17th century, Chitor Udaipur Patnama, Badva genealogists of the Mewar Sisodia lineage.

  9. 1677–80, Man Kavi, Rajvilas.

  10. 1683–93, Ranchhod Bhatt, Amarakavyam, Sanskrit.

  11. Not earlier than 1691, Rawal Ranaji ri Bat.

  12. 1698, Labdodhay, Padmini Charit, ms., Udaipur, Saraswati Sadan.

  13. 1702, Bhagyavijay, Gora Badal Chaupai, fresh adaptation after Hemratan and Labdodhay.

  14. 1703, Bhagyavijay, Gora Badal Chaupai, ms., Bhindar, Manikya Grantha Bhandar.