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35053668-Empire-of-the-Soul-Paul-William-Roberts

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‘MANY GHOST HERE’<br />

Soon <strong>the</strong> city, with its waking hubbub, faded far behind us, and<br />

<strong>the</strong> enormous peace <strong>of</strong> <strong>the</strong> lone and level sands descended on all<br />

sides, <strong>the</strong> sunlight gentle, still, even in April, cooled by scented<br />

breezes left over from <strong>the</strong> night. But a pleasant 60 degrees began its<br />

inexorable climb with <strong>the</strong> sun toward <strong>the</strong> low hundreds, <strong>the</strong> long<br />

shadows cast by <strong>the</strong> rocks, <strong>the</strong> sole definition in a surreal void, slowly<br />

crawling into <strong>the</strong> sand along with <strong>the</strong> lizards and what few o<strong>the</strong>r<br />

signs <strong>of</strong> life <strong>the</strong>re were.<br />

Sweating pr<strong>of</strong>usely, ghastly pale, Bentley swayed in his seat, lens<br />

caps untouched, <strong>the</strong> odd strangled sigh escaping his blue lips. I<br />

stopped asking him how he felt. It seemed heartless to pretend he<br />

might be perking up when he was so patently perking down with<br />

each roll <strong>of</strong> <strong>the</strong> saddle.<br />

Our first stop was Bada Bagh, four long camel-miles away, where<br />

chattri – royal cenotaphs – marked <strong>the</strong> cremation sites <strong>of</strong> Jaisalmer<br />

monarchs going back six centuries. I thought <strong>of</strong> Shakespeare’s line,<br />

‘Bare ruin’d choirs, where late <strong>the</strong> sweet birds sang,’ and <strong>of</strong><br />

Wordsworth’s ‘The Ruined Cottage.’ There was a silent and lonely<br />

desolation about that eerie place, set though it was in <strong>the</strong> midst <strong>of</strong> a<br />

rich oasis with abundant orchards and verdant rice paddies. It was<br />

not even really a graveyard, but it felt like one. Ashes were removed<br />

after cremation and scattered over <strong>the</strong> sacred river Ganges. The<br />

tiny red henna handprints I’d noticed left on <strong>the</strong> wall by those taking<br />

<strong>the</strong>ir final journey through Jaisalmer fort’s Sati Gate showed that not<br />

only dead princes had been burned out here. Living princesses,<br />

according to <strong>the</strong> custom, attained divine status by throwing<br />

<strong>the</strong>mselves, or, in some cases being thrown, onto <strong>the</strong>ir husbands’<br />

funeral pyres. Though it is outlawed, some villagers continue <strong>the</strong><br />

practice to this day, particularly in Rajasthan. There are shrines to<br />

<strong>the</strong> sati mata worshipped across <strong>the</strong> country, one <strong>of</strong> <strong>the</strong> latest dating<br />

to 1987. Knowing that <strong>the</strong>se young girls were <strong>of</strong>ten in an opiuminduced<br />

haze when <strong>the</strong>y were burned alive does nothing to mitigate<br />

<strong>the</strong> abomination entailed. It was this sad horror that I felt still<br />

hanging over <strong>the</strong> place. The tradition persists for even less exalted<br />

reasons: generally <strong>the</strong> dead husband’s relatives encourage it with<br />

great enthusiasm; o<strong>the</strong>rwise <strong>the</strong>y have to support his widow for <strong>the</strong><br />

rest <strong>of</strong> her life. To this day, no one wants to marry a widow in village<br />

253

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