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

With the name of Allah on his lips my father took leave of the world. As news of his death reached Agra, people began to collect at our hospice to pay their last homage to him. Among them were some Hindu shopkeepers who offered me money. I declined to take it from them but when one of my father’s Muslim disciples put a bag with five hundred rupees in my lap, I accepted it. I paid off my father’s creditors and buried his body next to the grave of Chacha Amanullah. At the age of eleven I was left alone in the world to look after my widowed mother, younger brother and sister. Besides the hundred rupees that remained with me after I had paid for the burial expenses and creditors my only wealth consisted of the words of wisdom bequeathed to me by my father.

Chacha Amanullah had taught me Farsee and Urdu as well as the technique of composing poetry. I used this little knowledge to coach the children of rich families. Some evenings I would go to mushairas and hear the famous poets of Delhi and Agra recite their compositions. I found most of them were commonplace rhymesters without a single new thought in their poems. Such poets, particularly a songster named Masood who was a great favourite at mushairas, roused my contempt. Masood was a handsome, roguish looking fellow who could make up for the execrable quality of his verses by singing them in a dulcet voice. No sooner would a mushaira start than the audience would clamour for ‘Parwana’ (moth), the pseudonym which he used. (I always referred to him as Patanga which is the pejorative for a moth). Women loved him. At every gathering I saw maidservants bring slips of paper from their mistresses seated behind the purdah with requests for songs composed by him. These songs were usually about the moth’s love for the flame in which it burnt itself. It amazed me how a theme as old as Moses and Abraham could rouse people’s emotions. What irritated me about Parwana was that even on this hackneyed theme he could not produce a single new variation. I confess that it was envy of this worthless moth that first impelled me to try my hand at composing poetry.