Empire state of mind

The fourth book  in the ‘Empire of  the Moghul’ series focuses on Akbar’s son, Jahangir, and brings alive a battle-scarred time in history, writes M K Chandra bose


The Moghul era in Indian history has no dearth of spine-chilling episodes of savagery, intrigues and betrayal. It is a saga of a deadly cycle of sons plotting against fathers, brothers murdering brothers and empresses and concubines plotting, scheming and seducing.

Succession was never smooth and eliminating any potential threat from the siblings was an overriding priority for an emperor. In the Moghul warrior code, might was always right, with the strongest taking all. ‘Throne or coffin’ was their motto, handed down from generation to generation. This legacy of bloodshed and passionate interludes could be an ideal backdrop for any fast-paced thriller.

The Empire of the Moghul series recreate the milieu with all the drama associated with a dynasty ruling over one-sixth of humanity, endless struggle for power, machinations and jealousy, insecurity amidst opulence and splendour and loneliness of power. Alex Rutherford is the pen name of the British husband-wife team of Michael and Diana Preston. The Moghul series is their first work of historical fiction. It was while researching on Taj Mahal that the duo got interested in the period.

Exhaustive research for the work took them from many Moghul monuments in the sub-continent to Central Asia, Iran and Afghanistan. The wealth of chronicles on the era and letters from foreign visitors proved handy. The result is a quintet of fascinating novels covering over two centuries.

The first in the series, Raiders from the North, tells the story of the nomadic warrior Babur, the first Moghul Emperor. The second novel, Brothers at War, is about Babur’s son Humayun. The third one, Ruler of the World, covers the epochal reign of Akbar the great. The fourth novel, The Tainted Throne, is about Akbar’s son Jahangir. The fifth and final one covering the Shah Jahan era is in the pipeline.

The Tainted Throne brings alive 17th century India with its many fratricidal battles involving vast armies, hurtling the empire down the path of self-destruction. It is a story of filial betrayal, jealousy, distrust and conspiracy in full play. At the outset, readers come face to face with the battle between Jahangir’s troops and his son Khusrao, who has revolted against him. Jahangir ruthlessly puts down the revolt, meting out brutal punishments to his son and his cohorts. Soon, he begins grooming his favourite son Khurram (Shah Jahan) as his successor. However, everything changes as Mehrunisa (Nur Jahan) enters Jahangir’s life.

He brings Nur Jahan to his harem after getting her husband murdered, to wed her later. She uses her enticing assets with deadly, effect making the mighty Moghul emperor dance to her tunes. She revels in encouraging jealousies and rivalries among Jahangir’s sons to extend her influence. After encouraging Jahangir’s addiction to wine and opium, Nur Jahan takes control of the matters of state, much to the chagrin of the elders. She also gets her daughter Ladli, from her first marriage, to marry Jahangir’s youngest son, and plots to crown him the next emperor. She engineers a rift between Shah Jahan and Jahangir, forcing the prince to flee.

Though all major characters are historical figures, and the main events and battles depicted are real, the authors fill the gaps with their fertile imagination. Rather than great historical figures, they are depicted as plain human beings with raw emotions. The fall of Jahangir from glory after his finding refuge in opium and wine, feeling of loneliness and vacillation in the face of a power-hungry wife’s prodding are vividly presented. He emerges as an impulsive ruler who relishes the sight of men being skinned alive or crushed beneath the feet of elephants. Nur Jahan’s transformation from a loving wife to an omnipotent power behind the throne, dabbling in everything that matters, makes her an unforgettable figure. Gender is no handicap to her. Some of the intimate scenes involving her are salacious.

The hallmark of the novel is its deft characterisation. The behaviour of Moghul courtiers is not different from modern day sycophants surrounding seats of power. The battle scenes, presented in graphic detail, have a touch of authenticity, obviously the result of painstaking research. The horrors of the war, and unspeakable cruelty shown to the vanquished, epitomise a reign that began in blood. We also have a glimpse of the crafty British trying to get a foothold in India with proposals of trade to Jahangir.

The reader never loses interest in the narrative as each event and episode unfolds methodically and evocatively. The grand spectacle of Moghul wealth, the glitzy court, palaces built in milk-white marbles and red sandstones, the rustle of silk and the glitter of gold and diamonds, the exquisite cuisine of the era, the shenanigans in the harem all flit before us. The passionate episodes and action scenes together make the novel all the more riveting. A handy book for anyone interested in the Moghul era.