Back The Collected Novels
Chapters (53)
  1. Cover
  2. Khushwant Singh
  3. COLLECTED NOVELS
  4. Books by the Same Author
  5. Introduction
  6. Train to Pakistan
  7. Dedication
  8. Dacoity
  9. Kalyug
  10. Mano Majra
  11. Karma
  12. I Shall Not Hear The Nightingale
  13. Dedication
  14. Please Read This Note Before Reading the Novel
  15. Characters in the Story
  16. Chapter I
  17. Chapter II
  18. Chapter III
  19. Chapter IV
  20. Chapter V
  21. Chapter VI
  22. Chapter VII
  23. Chapter VIII
  24. Chapter IX
  25. Chapter X
  26. Chapter XI
  27. Chapter XII
  28. Chapter XIII
  29. Delhi
  30. Dedication
  31. Delhi
  32. Lady J.H.T.
  33. Bhagmati
  34. Musaddi Lal
  35. Bhagmati
  36. The Timurid
  37. Bhagmati
  38. The Untouchables
  39. Bhagmati
  40. Aurangzeb Alamgir: Emperor of Hindustan
  41. Bhagmati
  42. Nadir Shah
  43. Bhagmati
  44. Meer Taqi Meer
  45. Bhagmati
  46. 1857
  47. Bhagmati
  48. The Builders
  49. Bhagmati
  50. The Dispossessed
  51. Bhagmati
  52. A Note from the Author
  53. Footnotes

It is not surprising that much of India’s art, music, and literature is concerned with the monsoon. Innumerable paintings depict people on roof tops looking eagerly at the dark clouds billowing out from over the horizon with flocks of herons flying in front. Of the many melodies of Indian music, Raga Malhar is the most popular because it brings to the mind distant echoes of the sound of thunder and the pitter-patter of raindrops. It brings the odour of the earth and of green vegetation to the nostrils; the cry of the peacock and the call of the koel to the ear. There is also the Raga Desha which invokes scenes of merry-making, of swings in mango groves, and the singing and laughter of girls. Most Indian palaces had specially designed balconies from where noblemen could view the monsoon downpour. Here they sat listening to court musicians improvising their own versions of monsoon melodies, sipping wine and making love to the ladies of their harem. The commonest theme in Indian songs is the longing of lovers for each other when the rains are in full swing. There is no joy fuller than union during monsoon time; there is no sorrow deeper than separation during the season of the rains.

An Indian’s attitude to clouds and rain remains fundamentally different from that of the European. To the one, clouds are symbols of hope; to the other, those of despair. The Indian scans the heavens and if cumulus clouds blot out the sun his heart fills with joy. The European looks up and if there is no silver lining edging the clouds his depression deepens. The Indian talks of someone he respects and looks up to as a great shadow; like the one cast by the clouds when they cover the sun. The European, on the other hand, looks on a shadow as something evil and refers to people of dubious character as people under a shadow. For him, his beloved is like the sunshine and her smile a sunny smile. He escapes clouds and rain whenever he can and seeks sunnier climes. An Indian, when the rains come, runs out into the streets shouting with joy and lets himself be soaked to the skin.