The Early History of the Deccan (Parts I–XI) v2.c16.s2.11

v2.c16.s2.11

For dramatic effect the most impressive is the court-scene wherein the rānī faints at the sight of the tusks, for the Shaḍ-Danta elephant in a previous incarnation had been her beloved husband and in a fit of revenge she had sent hunters to bring the tusks of the elephant, since according to her fancy he was more devoted to his other wife than to herself. The rājā of Benares, who is her husband in the present incarnation, is seated next to her, and is supporting her by placing one of his hands behind her back and holding her right shoulder with the other. A maid in attendance is fanning her, another has brought water to pour on her head, or to sprinkle on her face, a third nearest to the rānī is offering her a drink, and a fourth at the right side of the scene has placed her hand on her mouth in characteristic Indian style to subdue her feelings of grief. The maid holding the umbrella is looking towards the tusks, which have struck the entire court with consternation. A woman who is squatting on the floor is massaging the soles of the rānī’s feet in order to revive her. Apart from the general effect of pathos which pervades the entire scene, the grouping of the figures, the graceful poses, the beautiful coiffures and ornaments of the ladies, and the scanty but artistic dress of the various persons in the picture all illustrate the lively imagination and refined taste of the painter, as well as his highly developed technical skill and his power of portraying a subject in any manner he may desire according to the dictates of his fancy.