> folk tales from India + MADH PRADE SH Ol. Compiled by Nand Kishore Sharma Drawings by Vikram Nayak wnmwoc comesEditor: Rukmini Sekhar ‘Series Editor: Shikha Jhingan Design: Anita Jaisinghani Production: Debodeep Khaund In-house support: Roshni Mallik Legal Consultants: Amicus Juris Logo! Mascot: Rustam Vania ‘Compiled by NAND KISHORE SHARMA Drawings by VIKRAM NAYAK Colourists: JAGDISH AICH ROY: The Revenue Collector, The Clever Women, Panihari, Edani RITA TOTEJA: Toolan's Gateway, The Retreat of Hakda KAUSHIK SINHA: Madechi Mumal, Bufo Pir AARON DEVA DANA: The Haunted Haveli SUJATA BANSAL: Behead and get Rich ‘About our mascot — the mascot of Vivalok Comics is called Roama. She is a curious and ‘vivacious eightoen-year old gi, fond of travelling and adventure. She is passionate about folklore and keeps recording her experiences with Dicti, her friend the dictaphone. © The Viveka Foundation ISBN NO. 81-88251-03-8 |All rights reserved. No part ofthis book may be reprocuced in any form or kept in any type of retrieval system, ‘electronic or otherwise, without the express pormicsion in writing ofthe copyright owners. Published in Apr 2002 by Viveka Publications 25C ODA Flats ‘Shanpurjat ‘Now Delhi 10040 Ph: 91 11 6492473, 6492439 E-MAIL: indiagvivekafoundation.com Printed at Viola Packaging Put Lid 188, Patpargan) Industral Area, ‘Deli-110082 ‘ynavoK comesMYTHS, LEGENDS ANO FOLK TALES For those who want to make sense of the world we are in, myths, legends and folk tales offer rich cultural resources of existential help. These three different genres can be grouped under the larger umbrella of folkiore’. According to the well-known folklorist, AK Ramanuian, ‘wherever people live there is folklore.” Myths are not about gods and Goddesses as they are normally Perceived to be. They deal with impossible life situations that are part of the human predicament. Accidents, Unnatural births and deaths, nature's fury, the relationship between character and destiny, good end evil, conflicts in unjust societies, human action and supernatural designs, origin of events, places, objects, species and ideas about the cosmos, are = some of the recurrent themes of Indian myths. Given the intensity of such themes, only gods and goddesses can sometimes unravel these formidable issues. Pan Indian myths share ritual and festival calendars with highly varying regional, local and village temple myths. Major Indian festivals, belief systems, temple ceremonies, life cycle ceremonies, ritual components and behavioural patterns within rituals depend on what myths say. The major corpus of pan Indian Hindu myths contains eighteen major divisions, and their millions of variations and versions have led to the Creation of exquisite temple architecture, stone and bronze sculptures, music and dance. Jain and Buddhist myths also have a pan Indian character with regional variations in architecture, sculpture, ritual and life cycle ceremonies. Indian tribal myths address the same set of issues but they do not share anything with the pan indian myths. Legends are historical chronicles, not necessarily authenticated, of local heroes, antihetoes and their heroic deeds. The local heroes of legends could be bandits, chieftains, caste and clan leaders and their heroic deeds could be M.D Muthukumaraswamy, National Folklora Support Centro, Chennai ‘The NFSC is dedicated tothe promotion of Indian folklore research, taining, networking and publications winning a local battle of getting a cowherd from a rival group. Indian legends normally contain detailed descriptions of local geography, infusing places with historical meaning. Forts, monuments, gathering places, courses of rivers, mysteries of thick forests, mountain terrains, secret spots in the ‘ocean, navigating the deserts, animal behavior and mar's struggles against nature, form the corpus of Indian legends. The heroic values embedded in the legends are often communicated through various folk forms, and over a long passage of time legends blur into myths. Folk tales are about everyday life. Mundane, earthy and honest negotiations that they are, their meanings are best found in their original contoxts. The telling of a tale warrants a situation. Situations create versions of tales. So any tale at any given point is always retold. With every retelling, tales travel - across generations, languages and regions. They are like floating magic carpets which entertain, educate, fret, fume, take vengeance or amuse, They reveal politics of kinship and inter-community relationships ina particular region. We learn the natures of mothers, fathers, brothers, various inlaws, sons, daughters and grand parents from folk tales much more than ‘contemporary psychology would reveal Through folk tales we understand the toles of brahmins, fakirs, sadhus, astrologers, magicians, kings, clowns, fairies and genies and various animals. Could we have made sense of the world in this manner without folk tales? Folk tales also generate proverbs and riddles. It is important to understand the general functions of myths, legends and folk tales in our society so that we appreciate their particular contexts. The ultimate challenge is not about making folklore accessible but itis about making ‘folklore in context accessible to audiences. And that is what this series lends to do.nthe eastern part of the Thar Desert, close to the North Western border of India, stands the beautiful city of Jaisalmer, once ruled by the mighty Chandravanshi Bhatti Rajputs. Legend has it that Maharawal Jaisal laid the foundation of the city in 1156 A.D. after consulting a local hermit by ‘the name of Eesul, Trikuta was the hill chosen and Jaisal abandoned his old fort at Lodarva, the earlier capital, and the most important urban centre of ‘Madh Pradesh. It is believed that the ancient river Saraswati used to flow in an invisible form as the Kak River near the city. Tiss Fatsanes became the new capital of this ‘region called 'Madh Pradesh’. The men of this land were called ‘madu’ and the women, ‘madechi. The beauteous Madechi Moomal is Madh Pradesh's most legendary character, celebrated in poetry cand song. Nicci atest wos lostel on an important trade route that connected Gujarat, and Malwa in ‘Madhya Pradesh to the Punjab and Sindh and further, to Arab lands and even China. It was also a stopover for pilgrims to the Hinglaj Shakti Peeth and ‘Mecca and Medina, The daunting sands of Registan protected Madh Pradesh, shielding it from the marauding forces of the north western provinces. Mc Pradesh is well known for its craftsmen. Particularly well known are the Gordhan temples in stone, many of which have been desecrated. 'Smaraks! ‘re pillar like structures, which commemorate great warrior heroes such as ‘junjhar’ and ‘lohati. Ope leet hae Pradesh covers a range of forms such as ballads, tales, fables, proverbs, arts ‘and songs. The musical tradition in the form of balladic songs is so rich and vibrant that it has captured the imagination of generations who have kept it alive to this day. The region is known for its ‘mand ‘ style of singing. The songs describe the pain of desert women separated from their men who are away earning a livelihood, the beauty of birds and animals, the advent of rains and the ‘magnificent desert wind. Known as ‘jhorava geet’, these ‘songs are sung by the men and women of the Manganiar, Dholi and Langa communities TP isush peceinanty inabited by Hindus, Mach Pradesh has a large population of Sindhi Muslims “The language spoken here, and reflected in the folklore, is a curious mix of Sindhi, Marwari, Punjabi, Gujarati and Kuchhi. Wise this dry, drought prone regio interesting use of colour. The landscape is an endless brown splashed with the green of the shrubs and trees like the khejri, aak, jal ‘and ker as well as the most colourful clothes. «<< ««MARUDHARA , ‘A popular song goes thus: I stood atop a hill And saw the best of all lands Where men are dressed in white And women adorn colours bright And about the ubiquitous camel which is the lifeline of Marudhara and the most loved friend of yearning lovers, as in ‘the ballads of Dhole Maru and Madechi Moomal, Marudhara has produced gems three FFinst is Dhola, Marwan second And camel, the third. Bhuvana Kandla Shahgerh —Khuiyalaforms: writing and drawing. But what happens between the panels isn't about either, it's the author's imagination.’ £ Scott MeCloud, Understanding Comics . om cs ST ae NR che 4; a Comics is often thought of as the joining of two art three thousand years old and maybe as old as art Comics are visual itself." Some examples, though they adopted a rarratives which successfully different style, are ancient Egyptian wall paintings ‘tap the unexplored realms of imagination among all on domes and the walls of ancient Indian temples, its readers, children and adult alike. such as the murals of Kerala, ‘Comics have had a turbulent history so far. Over five hundred years ago, there were proclaiming the triumph of the good and th form ond narrated events in pictures. European comics “beautiful, they have also faced accusations ef being were the first to make an impression and each nation frivolous, unclean, dark and negative. But that would had its own little term of endearment for the comic. In be a criticism of the content and not the medium. France, they used the term ‘BDs' or 'Bandes Dessinee’, Comics have been indomitably resilient and have a as a term for drawn strips. The Italians called them ‘way cf rising from the ashes every time they have _‘fumetti on ‘lttle smokes’ because the blurbs looked been proclaimed dead! What's kept them alive are like little smoke clouds. 3 fis.2 thelr sheer reading pleasure and their place as social Tt was from France, however, that the next M cor ito i itk rior vic wave Pee res ann eit hin UST desc tga or aoe coe | cannot be denied, led by Asterix, Obelix and Getafix the Druid, hit the The medium defies the logical style of readers’ imagination in such a way as to give a whole narration and provides scope for broadened horizons new meaning to comics. The Europeans also blazed a Pea nestce oad Wath orla eweeriet) EY aT) cierto ond uetated peta beans One Telrd eran teee Nee eral eecieeere hi | Batman, Superman, Captain America and Mandrake comics was the evolution of Japanese comics 5 i ‘Magician? Or the mischief of Dennis the Menace, (‘Manga’). The emergence of Tetsuwan Atom (1951) eater diigo oj penta cnel crecadiy Testa cta bal dima aii'st, 1 CE Te DUE LE UO ne eae Ga GTR LEE hee Eee reac AER EREEEN ‘Gauls led by Asterix, or the adventures of Tintin? _like character. This interesting representation of a ed the super hero who fought for peace is best known as world of these characters, which though unreal, “Astro Boy’. Apart from science fiction, Jopanese provided an insight into the real world. comics lent themselves well to thrillers and under- : Comics are now viewed as the unfolding of ground comics, Tn the 80's Kiji Nakazawa's General alternative spaces, From 1865, when the first comic of Hiroshima, a vivid, thought provoking Wee is eateries etree ncetman Cal fobiear erhicdl work: ancetagin Debught ont the! papers, upto the 1960's, which experienced a'dark maturity of style in the Japanese Manga. ane an coc history. thleerh fam nes covert aceeysreetaiain tied ee NEE ee eeepc cade niacnea oe alg pk humorous view of life through lovable and narrative tradition that it already has. The ‘pata Pees gme cn aig acer cate cd is ee cto tii crvconlend trie oF Pere era rane MCN || ncicaicn ie) sebum rete eciicr | tics Art Speigelman’s legendery holocaust creation, combine the excitement of both the oral and visual Maus, shook the world and won the Pulitzer Prize. form of story telling, Anant Pai who started the Amar i Tt was in the US that the comic form Chitra Katha series made the first successful foray in Facile Cees ge |) thu aman cone epee were nerthy of | comics into the mainstream definition of acceptable rareting sacred epic ike the Mehabharta, the | reading, The Times published his strips regularly. But Ramayana and other mythological tales. In the sixties, it was Robert Crumb whe initiated and pepularised a and seventies, Indrajal Comics brought to the Indian 7 FR hole new genre in comics- ‘underground comics. He doorstep clmst every favourite comic werld character. did a lifetime of work on the American way of life. Today, there is a | His (much too) honest depiction of reality and his growing movement of comic book subversive brand of humour won him es many lovers who are trying te inject accolades as criticism. new life into this ‘According to McCloud, comics, or story wonderful art form, telling through visuals, have an older history thanLAST YEAR, AT MY PIHAR'S2 HE MADE KISHORE SHAE WALK THROUGH THE VILLAGE IN HES Wires CLOTHES! JUST BECAUSE THE POOR pL MAN HAD ASKED GOR TWO DAY'S MOHALATS TO. PAY THE LAGAal) vers put our UBT AND NOW ‘ARK SINGH! areyou a Tanon ~43/ (I J. for asarsén>iwhyoo |= Ye YOUNEED THIS NEEDLE J | \Yano TREAD? AW y\HUZOOR ETS ALL MY FATHERS FAULT. HE BID NOT OF, DACOFTS OR WILD "ANIMALS? TU “THiES BOW AND ARROW WALL DO THE eauSE aa RRO Ee FP ciamua uzoor, x Have FexsKeD, | [THIS BARBER FRON HEAD TO, TOE, HE IS NOT CARRYING ANYTHING ExcEPT | 1 His TOOLS. AND HE TS THE LAST BARBER IN THE VILLAGE!“SHANE KHANWA HUZOORI YOU SEE, I USED TO BE A VERY, 1600 BARBER BUT NOW WITH AGE MY HANDS HAVE BEGUN TO game i - HE SAYS ls THE RANA Has sen FoR HIM! “ . AE LONS LIVE THE 4 BARBERS! Sz, sage! 7, ates RASEX!Teelavis Gateway MADH PRADESH, ON THE OUTSKIRTS OF JAISALMER THERE IS A VERY FAMOUS LAKE CALLED GADHISAR LAKE, LOCATED ON THE ANCIENT TRADE ROUTE BETWEEN THE NORTH WEST AND SOUTH ASIA, IT WAS A STRATEGIC RESTING POINT FOR MERCHANTS, SAD- HUS, FAKIFS, MULLAHS AND WANDERING MINSTRELS. IT SERVED AS AN IMPORTANT WATER RESERVOIR. THIS LAKE WAS SO IMPORTANT THAT IT WAS CONSIDERED AN ACT OF MERIT TO BUILD CHATRIS, TEMPLES, SARAIS? AND DHARAMSHALAS? AROUND IT. [BEING ON AN IMPORTANT TRADE ROUTE, MANY COURTESANS LIVED IN JAISALMER, THEY WERE KNOWN AS ‘PATHRIYAS’ AND MADE A LIVING FROM SINGING AND DANCING LOCALLY AND IN THE PROVINCES OF HYDERABAD, SINDH AND KARACHI. THEY WERE PATRONISED BY ROYAL HOUSEHOLDS AND RICH MERCHANTS. PASSING THROUGH THE AREA. ALTHOUGH THESE WOMEN SERVED TO AMUSE MEN AND AMASSED A LOT OF WEALTH, THEY HAD NO SOCIAL STATUS. HOWEVER THEY WERE QUITE INCLINED TOWARDS SOCIAL WELFARE. THEY BUILT SEVERAL WATER SOURCES, SUCH AS PONDS, STEPWELLS AND DHARAMSHALAS. IN SHORT, THEY ‘CONTRIBUTED GENEROUSLY TO ‘OF THOSE WHO LOOKED DOWN UPON THEM. |ACTS WERE BORN OUT OF THEIR DESIRE FOR PENANCE! SOME SAY THAT THEIR THIS STORY IS ABOUT ONE SUCH WOMAN WHO TURNED OUT RATHER UNUSUAL... 1. Awater reservoir in Jiselmer. 2, A resting place for travellers. 3. Charitable boording houses.Pinta mon war 3 Don yousumn soMeTINs \ 5 coop meal w NOT BUILD SONETHI YES, MAY BE A LIFELINE FOr THE crTy, ARESTING LACE “SEND WORD TO BHIM SINGH THAT TAM INDISPOSED. GORA LISTEN, AFTER I DIE, WHO WILL EVER REMEMBER Wie IN THES LAND? OH! WHAT A WASTE OF LIFE! EXTRAORDINARY, SOMETHING rT HERE IN FOR THE WEARY OR..? UL RIGHT a) (/ si31,x HAVE pRoustiT vou aL Baate® with FRESH [Seen see aR Te nosT caste OF ARCHITECTS TUSONS NO STONE CRAFTSMEN WORK HOVED ATA RAPID PCE Hwan IND T KNOW THE BEST "MASONS OF THIS AREA, HAVE THE MONEY, RAND GATE AND A ‘SaRAd AROUND THE | | Saotsae rake! srs, \ You Have bone rt 3, A savoury served with lentils= (Fn Teson's gate ond mansion nk wich as ed won ta leaning forte King’s procession 0Kc R THERE! GY sno wears mone, r BeLreve THE \p Al (loocoven mene), Vim QN cern tas eateries wih ( Henwcey torr 2 TH Ace MO \ Proven inrTrATION ersHTS. EAVETT ASIT TS, 1 CANNOT | OSSEBLY DENOLESH THE GATE Now TH THE GATE NEVER DID GET OEMOLISHED. BUT THE STORY GOES THAT TILL THE END OF Ths DYNASTIC RULE, THE ROYALTY NEVER WENT UNDER THIS GATEWAY. THE GATEWAY STILL STANDS IW JAISALMER, POPL AS TEELON KIPROL. aa =@ Tiils sToRY Is BASED on A ver RY POPULARFOLK SONG CALLED . "PANIHARY SUNG BY WOMEN DURING THE NENSOONS. 16 ATRAGIC TALE WHERE THE SONG HIGHLIGHYS THELONELINESS OF A ne PY] Woman or tHe besexr wHose wetoves WAS <_] Lertror FAR OFF LANDS ‘SEARCH OF WORK, IT WAS THE MONTH OF SAAN THE CLOUDS WERE DARKAND THE RAINS MADE THE SAROVARS® BRIM VITH WATER. IT WAS TIME FOR BANTER AND LAUGHTER FOR THE PANKARANSS, ‘AND PEELE, MY Luscrdus, WHERE br you GET THOSE EARRINGS FROM? rb HE avy THEM FoR YOU? HEE HEE! 4 The month of Savon (Fifth month of the Hindu colander) in the middle of July, marks the begining of the monsoon In Rajesthon. 2 Water tanks or pends. 3 Women carrying water from the village well or ponWHAT DOES HE Le Line T WONDER. 15 HE TALL, BE MARRIED AT INOER IFT CAN O e504, Wo DS ARRE O| : A HAN ASETHAT CAMEL “SS QORREHEA RIDER TO HELP ME, j2,00! Le J ne ‘OTHERS C 4 Soe . AVE all. GONE ai :Hey WATT DONT 60 AWAY. GHOST MAY HAVE BEEN x BETTER|A STRANGER APPROACHED ME (T THE POND TEMPTING TH 6 SEWELS AND SHAWLS. HE EVEN ASKED ‘Me-TO COME AWAY WirTH HMM ‘SHAKING ALL OVER! yy 2 WHAT DID THIS CHEEKY MAN, LOOK LIKE?"AH THAT ONE! THAT, MY DEAR, WAS MY SON AND YOUR HUSBAND! HE Has TUST RETURNED | FROM SOME WORK THAT HAS KEPT HIM AWAY ALL THESE VEaRS, HE P| Was Teasine You To see ©) waeTwee YOU WOULD YEELD To THE CHARIS OF ANOTHER IAAN, INOW HE HAS GONE AGAIN. YOU FOOLISH MAN WHAT DO YOU “THINKYOU ARE DOING, TOYING W2TH (ME LIKE THIS! A DAY WALL COME WHEN. YOU WILL MESS Mé MORE THAN T MESS ‘YOU NOW. ATLEAST LET ME TAKE A 00D LOCK AT YOU SO THAT rcaN “THINK ABOUT YOU., ‘BUT IT WAS TOO LATE AND AS SHE ‘STOOD THERE, THE CLOUDS ‘BURST OPEN AND THE SKIES BEGAN TO CRY WITH HER. “4Madechi Mumal WE ARE IN THE GOLDEN STONE COURTYARD OF RANA SOBHA WAHENDRA'S PALACE IN AMARKOT. AS NIGHT TOOK ‘OVER, THE PALACE CAME ALIVE WITH THE MUSICAL NOTES OF THE RAGA MADH, MAHENDRA WAS LOST IN THE MELODY’ WHEN SUDDENLY HE FOUND HIMSELF DRAWN TO.THE LYRICS OF THE MANGANIARS 1. THEY SANG... a vp ena MUMAL THE PRINCESS OF LODARVA, WHO HAD BUILT: PALACE ON THE BANKS OF THE RIVER KAK. FT WAS SAID THAT THIS MEDHI2 WAS AS BEAUTIFUL: MEDHI WAS BUILT WH" POF HER rT THE WOMAN WHO HAD CREATED IT. THE POSE ORTESTING THE WIT IER. ii ke ightning | that spikes the clouds on rainy days(EiSTINe £08 ON oF MUMAL'S MAIDS TO COME (OUT, AHAHI THERE SHE 7131 SHES MY To onyHEIs NUCH ‘MORE BEAUTIFUL So WHO'S THIS WHO Z HAS MADE ET THIS FARE. ZIT. econo ae Cpl! BU 1s 6000, i Gu <" dy eat owie ee TET Me NOT 6ET DECEIVED By THE Ot MADE OF WEAK THREADS WITH "THE DEE? WELL UNDERNEATH, CoN aa pea a ao ascca- Pyare yi ee ee Saas Rolo Ga) eae em LOVER'S PRESENCE FULFILLS THE ed ‘WOMEN SOW IT WHILE MEN REAP WW THE BELOVED'S EMBRACE PLEASES A Care coney WOMAN MUMAL ASKS MAHENDRA PND NEN Mahe) see Rea eRe Name ney Eyl KEN? Moar eee a aN (ea Bis Deedee PORN Bao aal oman[x GANEHARSA Via UNITED THE TWO WA BOND OF LOVE [AON PNSSED MINGL Ao RNA WERE BLSSFULY FRPP ETE —S at Last HAVE WISH T DID NOT HAVE FOUND THE MAN WhiO 15 TO 60 BACK TO AMARKOT BUT y "worny oF BEING my T DO HAVE TO AND HEL? AY BLIND FATHER RUN OUR, MOMAL WILL cone To ») EVERY NIGH mise! _/ ( GOODBYE! uaexOTAT 3. A marrage selemrised by an exchange of garlands‘pasts sreancel i iy ‘oaueHTes IN-LAW To Kee? A) i} eueceeat cry “omansow rant Ma tebe YOUR SON SETS OUT. ‘EVERY NIGHT AND RETURNS ONLY" INTHE MOBNING. HAVE YOU NOTECED HIS HAIR 15 ORIPPING [WET WHEN HE RETURNS! ‘OF THE NIGHT AND LEAVES BEFORE DAYEREAK SOME OTHER TIME PERHAPS,ro cas ae as ea De was never Cas % see so Lave * i SoH a& iA j {, y -~-COME ON MOVE! MAHENDRA'S CAMEL STICK?! Suna. HE WAS HERE LAST NIGHT BUT Wit DID HEMOVE THE RD DICE! 1 ~ MORE THE ‘ WeRaaeR eal sect) ‘SOMETIMES YOUR OWN EYES BETRAY YOU. WE ARE SISTERS. SHE WAS DISGUISED AS A MANGANEAR TO ‘SEE YOU IN PERSON SEE FOR YOURSELF, DO YOU RECOGNISE HER? WANDERED AROUND THE 7 HAR DESERT UKE A MAD 6. eps es. 7. A gone of dee‘HAE THES 15 4 RUN’ DOWN Havers ters | HALT HERE FoR THE | Ntskt, yi: ae” ( coree rr Lars (we ratte! Dp [(—sursso ‘STUFFY IN HERE I CAN, HARDLY BREATHE! i : 2A rich persons manson, Sense sticksu BANe.aN a TE YOURE ‘ALONE 08 WELL RING THE SUPPOSED 10 fe scaKeD OF Us! TEMPLE SELL DONT SAY LATER € AFTER ALL WERE GHOSTSIJUST "THAT WE DIDNT WARN YOU! ‘SHARE THE HALWA WETH US AND WILLEAVE YOU ALONEP= ERT Sony We {west 0 HUNGRY We HINESHED = OF All THe FOOD! fs Zz SAM) y Some ware: Ly YL Py Vale 9) J ae you maa you can an | exalt fh Ger away WITH THES, 5 YOURE MISTAKEN. ¢ 01 COME NOW, LETS See WHO WINS THES ONEBUT ON ONE CONDITION, DONT TURN BACK AS YOU LEAVE. ‘THES HAVELE TF YOU D0, ALL THES "TREASURE WILL TURN! TO COALKING VIKGAMADITYA'S COURT. THE CHARAN BHATS! HAD JUST FINISHED SINGING THE BIAD, 80 ONROYALHisTonY THEN Ti PET SUVA CLEARED HIS THROAT ‘AND BEGAN TOTELLA STORY FROM THE MADAN fo \ \y ye ume!= Roeaens ATH T CANT BEAR. ITT ANYNORE! wrasteut ca IERS DONT YOU KN CATCHES ren WINES He | sEFORE YOU ¢o, Logse AND TELcnEWnio' es UnearruL3t Te soot oF \ i FE ’ Ts WLLACe‘WOMAN? MAYBE HE CAN. BUT WHEN SHE DECIDES 17's ENOUGH. ( SARUFFA! Pextonen ay Cire gu £ CAN AMANREALLY CONTROL [wear NonseNse\ my ware Is NOT RAS FORGOTTEN WHAT HAPPENED TO YOUR SHOULD. THIS 15 FENE GOLD EARLTER SISTERS-INLAW/? (DEED! TWO TOLAS C: rt 15, Brother's wife. 6, Gold duet, 7. A measurement of weight for predious metele—1 TolaclOgm. 8. Beetel leafHAL THAT CHURATLOSARUFFA MUST HAVE CAST AN EVIL EYE ON ie! OO} i MWA, €0 Call HER INOW! ONLY SHE CAN RID ME JOF THES HORRIBLE PAIN. OH H..60 NOW. WHAT ARE YOU WATING FOR, MY DEATH? 9. A young man at large whe enjeys wocing women 10. Witch[eee (2B Cu are STOMACH ACHE, SHE TS WRITHING ‘ARRE O DOOTE. HURRY! GANGLEHAS ONE DEVEL OF & IN PAIN. PLEASE BO SOMETHING! ‘a MATTER FOR, WOMEN, LEAVE US ALON cS ]\ ANDADOK HER UP EVERYDAY. ‘VEERAM SHAT NOW THAT GANGLEIS MUCH BETTER TM |W LEAVING, BUT SHE NEEDS TO BE J LEFT ALONE TO REST. TLL come | 11, Matcle eromp around the navel. 12, Earthen potKs FREE ‘SOONER YOU REAL ‘THIS THE BETTER!OKAL BHATI1, WAS A RESIDENT OF MOKALA, A VILLAGE IN MADH PRADESH. ONCE ON A HOT. WAS TRAVELLING IN A CARAVAN FROM TANOT, THE ANCIENT CAPITAL OF JAISALMER, WHEN... ‘ARRE LOOK DO You SHEN THOSE ARMS i ARE ATTACHED TOA B00v2 Pres, THEY ARE INDEED! FORT.) | PAANE PANT! oNE “i ‘SEE THE HEAD OF AN OLD MAN, AND WALT. 18 THAT A BEARD? DROP OF WATER ORTUL BIE OF THIRST! orale my (Sete eM) | Sige, suse on ey te ea Peeeiatse nab tas ame 6 ‘MANI ‘ONE Pe Gun beams 5 2 Be Wares 10 A THIRSTY NANI Not 4 DRop TO SPARE! 1, A Rajput tribe known to be the descendents of the Yadves. 2. Leather sacks used Yo cerry water, 3. Desert.HERE, FAKIR BABA TAKE MY DERI AND | Quence your’ \ tiaest. MAN GIVE te YOUR BLESSINGS. Vexwiars nasrars rut) [e poINany ») BurDIONTyoU.HUH>! —)) | RAN ate hig your Lassies, (My GENEROUS Boy, Take THIS BLACK ~ Tausr Go ano meerny —Y Vite nen, nurs ts \ 3 SISTER PEN She WIL 3 ‘tiene We bat ‘AMAZED TO HEAR THIS WAYSITM HEADING 2 ag Toni aes) } d LM 4 A anal blanket, 5, Protective thread[CORE ERENT PEWS CHET] “GOODBYE SrsTeR! [aene, wes OFF again \/4 Wey D0 YOU GIVE THIS 80 MUGeaa TINGAR SNGH WAS BEMEADEDI IS HEAD oe Ih - oe ZC r s FES SESSEDTRUN 1 /icaunesrewosr fonrous ie ; (‘etisatasr yi i we 806 ea am 0 (oe eee Nason) | PAE OM eS . $8-Sohertans. | ) 20 ad 2. Gin Ger some Guu? ok SND THROW TrON “aaa! fibsTaS me Su aaa u THE WAY! THE BRAVE RAUPUT JHUNGAR WAS CALLED ‘AND EVEN TODAY, THERE STANDS A MONUMENT TO HiS MEMORY il KATHORI. 7A headless warrior, 8. Indigo powder, Amongst Rajputa it i belived that Devi Shakti or the Goddess leaves the frenzied THE END Sady of the Thurjor when adi powder fz Shronn on him 9, Grave of « musi sointINV THE ARID AND UNEMBELLISHED LANDSCAPE OF MADH PRADESH STOOD A LARGE AND BEHEAD AND GET RICH S$ A Wien now, vou i Aa ‘ARE SMART, CAN. Dg] 9? oFF your re-0, You erace THis GET RICH AND THEN ‘aysTeRy? ENTOY THE WEALTH! Gf, Of course, rm if ‘san! ET SAV iy "BEHEAD' AND THAT's EXACTLY WHAT TLL DO! rament constructed to conmenarte something. The Govardhan Smarck is essecated with cows ord they are very es in This Pesan.“ALL TH eurcheRtr > WANT MY HEAD (CHOPPED OFF! ‘SO MANY OF US. Have DIED, AND NONE THE BECHER FoR iT,PERHAPS HE CaN INTERPRET THE INSCRIPTION “HES (RAYEE HE HAS HAAN Hi ‘THERE Ts AN INSCRIPTION ON THE “SMARAK WHICH TS DESTROYING US,fi fra ELEMENTARY COMMONSENSE, MAKE GOOD YOUR FOOLISHNESS BY USING THE GOLD FOR COMMUNETY WELLS AND WATER RESERVOIRS,TM NOT GOING TO ANY *S BETTER Te ‘SH -TTER TO WALE AN EXTRA MILE TO KANSAL SETHS THAN TO BE CHEATED BY ‘THESE MUA LUTERAS Now | COME ON!ARRE! SAANVRE'S ISTEN SAANVRE, ul HERE TS FoR THE, oF aE T5 YOUR MONEY, — mpi) Si voseeas | Ml VL}/<-WHAT ARE YOU SAYING, ‘SIGH| WHERE DOT GET THE ARE YOU ee HUS en ou Sana a Trawler naa SEEN ano What wate Tee uy | fo INE HERE Mucor b0 YOO e Tidsan> ve Cor TEse FoR Ie vl Want one? FROM A MELA FOR TEN RUPEES | NUR . ERAL BAVADISS AND DHARAMSHALAS AS WELL AS A JAIN TEM ED THAT KANSAL SETH'S GRANDSON GAVE THE EDANI BACK TO se 2, StepmellsThe Retreat of Hakda ONCE UPON A TIME THE PEOPLE OF MADH PRADESH WERE FACED WITH A SEVERE DROUGHT. WITH NO RAIN FOR FOUR YEARS IN A ROW, THE LAND HAD BECOME PARCHED AND THE BAVADIS AND SAROVARS! HAD GONE DRY. WHEN THE CATTLE STARTED DYING, SEVERAL FAMILIES DECIDED TO LEAVE THE AREA BEFORE IT WAS TOO LATE (THE SPOT WHERE T SPUN MY [ CHARKHA3 WAS MY FAVOURITE. I) \ oanaw | coutDstr AND weave Fo HOURS J eb HOWE. onus!) 1 Step well ond pords 2. Manedh is @ sub-caste of the charan community whe are bords ord genecogists. They als reer cattle 53. Spuming wheelJ) KANT, ( wHERE can we co RAB DID WE HAVE A ouokee WETH Not a oxo? Ve [otWaren ste wenn (TLE WOULD HAVE DIED! WATER, CAN Bret sbi eZTHESE WOMEN AT THE HAIDA / Tex mst 8 STIL BATHING IN THE HARA "AT HARDA THERE WAS HO SGN OF THE SEVEN SISTERS. BEAUTIES T SAY! HHUA ‘SWEAR ON SEETHLA DEVE, SE saw THEMTHE SEARO EVOED AT CHARAN MADHS HUT DSGUISED ASA CAEL PEROSHAN MURA SA TH SEVEN SISTERS, a IC Prews mar Rascal) C euettvawasarent, _) ZA,_SARTNAGEENE! ANOS -LHAVE MADE UP MY IND, FATHER: AND WHAT ts THe Use OF YOUR BEING TH KING TF YOU CANT BADSHAHHUZOORI WHAT ‘ARE YOU SAYING 2 YOU KNOW VERY WELL THAT WE MABRY WETHIN OUR COMMUNE. We ARE HINDUS, UN ce ’AND YOU ARE MUS. ST wate Domne C nus aurves: SON AFTER AL :ASAT ENOW ‘WHAT 15 DISTURBING YOU. LETS LEAVE NANANGARH a 97, BETE,.NOT A SINGLE BOATMAN IMMEDIATELY. 15 READY TO ROW US AWAY. THEY SAY TT'S THE KING'S ORDER! ASL Wn Ws TE NEM TATON OF SODNESS NGL TURNED TOAKRDS HAKDA, Seay camer’ YOU HAKDA, | moe ci)THE ¢ | SWALLOWED THE WHOLE : F HAKDA IN St Rae een |AND SOOMRA'S ARMY WAS CHARRED BY WILD FLAMES,A local proverb “THAT RIVER NOW FLOWS THROUGH MULTAN" Variations: The water is now in Multan The water is now Multani Go find the water in Multan The river has moved to Multan 2 Q English equivalents: To shut the stable when the horses have bolted. To cry over spilt milk Chee upon a time, a nomad who owned a thousand. bulls wandered into Madh Pradesh. The king of a rregion near Multan abducted the nomads beautiful wife. The nomad made many entreaties to the king = to return his wife to him, but to no avail, The king did not relent. So the nomad decided to teach ‘through this region. The nomad used his thou- sand bulls to dam up the river's flow and divert it away from the kingdom of the unjust king Because of the damming, the river changed its course and started to flow towards Multan, This made the king very unhappy and he offered to return the nomad's wife to him, upon which the nomad replied, "That river now flows through Multan." This proverb is used even today to signify repentance over an action when it is too late to be rectified. visto comes88 iu |