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The Lotus Queen Reviewed by Jai Brar "IT is time my queen." These gripping words from The Lotus Queen announce the dramatic irony of the events which unfold in this tale about the legendary queen of Chittor, Rani Padmini. With his beautifully sculpted scenes, highly descriptive characters and vivid narration of events, Rikin Khamar has emerged as a writer par excellence of historical fiction and made a mark for himself in literary circles. As the title of the book suggests, Rani Padmini, who is a quasi-historical figure in the history of Rajasthan, is the focus of the story which is written in an anecdotal form with frequent flashbacks. Padmini, so exalted by bards all over Rajputana, comes alive in the book.
Eloquent in his flow of words, the writer comes across as an avid storyteller who knows how to keep the readers’ attention in his tight grasp. Padmini’s sense of pranking, the portrayal of her as an embodiment of grace, beauty, feminity and bravery have all been played to the hilt, so much so that somewhere right from the beginning of the story, one gets the feel of a grandiose epic with scripted dialogues, a bit over the top and overdone. The characterisation of the devious high priest of the royal family, Guru Prabhu Narayan, who seems to play an invidious part by using the emotions, valorous deeds of the Rajputs to further his designs, comes under scrutiny. One can’t help but notice the role that he plays in this saga. He holds a powerful position, and it his final word that prevails in tricky and sensitive situations. Could he have had an ulterior, selfish motive as he guides the family on various occasions? Allowing Khilji into the royal premises, encouraging the Rawal to commit saka, watching Rani Padmini closely as she consigns herself to the flames makes one wonder what was at stake for him in this whole sordid drama. What did he have to lose or probably gain? Guru Prabhu Narayan determined the outcome of this story and perhaps manipulated events to suit his own interests. In the absence of such undiluted power vested in the priests in the times of yore, this tale may have had a different ending. It is sad that we remember Rani Padmini only because of her beauty and the price that she and her people had to pay for it. A woman having to follow a custom, wherein lies the bravery? A study in contrast was Rani Durgavati who died a valiant death fighting on the battlefield and is known as the epitome of bravery. Women would do better to follow trails blazed by such strong, courageous women as Rani Durgavati. In these modern times,
unfortunately, Rajasthan continues to be a witness to acts supported by
medieval customs and thoughts which have never had relevance to human
society. A rather sordid tale brought to life and given importance, it
is, however, an engrossing read.
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Khamar
conveys a vibrant description of the physical features of the terrain,
the roles of the characters and the changing scenes. The description of
the approaching storm is used metaphorically to emphasise the coming
events which will cast an evil shadow on the fortunes and future of the
family of Rawal Rattan Sen, the ruler of Chittor. Chitrasen Mori deserts
the Rawal and collaborates with Alla’uddin Khilji. He then instigates
Khilji to look towards Chittor to take a glimpse of Rani Padmini’s
unparalleled beauty, probably as an excuse for something else. This
leads to the siege of Chittor, and what follows is the tragedy and
triumph of Rani Padmini.