THE CHILDREN OF THE SUN AND THEIR CITY, AND THE HAT-MARKED CASTE AND THEIR MERITS, AND A GOOD MAN'S WORKS IN THE WILDERNESS.
It was worth a night's discomfort and revolver-beds to sleep upon – this city of the Suryavansi, hidden among the hills that encompass the great Pichola lake. Truly, the King who governs to-day is wise in his determination to have no railroad to his capital. His predecessor was more or less enlightened, and had he lived a few years longer, would have brought the iron horse through the Dobarri – the green gate which is the entrance of the Girwa or girdle of hills around Udaipur; and, with the train, would have come the tourist who would have scratched his name upon the Temple of Garuda and laughed horse-laughs upon the lake. Let us, therefore, be thankful that the capital of Mewar is hard to reach.
Each man in this land who has any claims to respectability walks armed, carrying his tulwar sheathed in his hand, or hung by a short sling of cotton passing over the shoulder, under his left armpit. His matchlock, or smooth-bore, if he has one, is borne naked on the shoulder.
Now it is possible to carry any number of lethal weapons without being actually dangerous. An unhandy revolver, for instance, may be worn for years, and, at the end, accomplish nothing more noteworthy than the murder of its owner. But the Rajput's weapons are not meant for display. The Englishman caught a camel-driver who talked to him in Mewari, which is a heathenish dialect, something like Multani to listen to; and the man, very gracefully and courteously, handed him his sword and matchlock, the latter a heavy stump-stock arrangement without pretence of sights. The blade was as sharp as a razor, and the gun in perfect working order. The coiled fuse on the stock was charred at the end, and the curled ram's-horn powder-horn opened as readily as a much-handled whisky-flask. Unfortunately, ignorance of Mewari prevented conversation; so the camel-driver resumed his accoutrements and jogged forward on his beast – a superb black one, with the short curled hubshee hair – while the Englishman went to the city, which is built on hills on the borders of the lake. By the way, everything in Udaipur is built on a hill. There is no level ground in the place, except the Durbar Gardens, of which more hereafter. Because colour holds the eye more than form, the first thing noticeable was neither temple nor fort, but an ever-recurring picture, painted in the rudest form of native art, of a man on horseback armed with a lance, charging an elephant-of-war. As a rule, the elephant was depicted on one side the house-door and the rider on the other. There was no representation of an army behind. The figures stood alone upon the whitewash on house and wall and gate, again and again and again. A highly intelligent priest grunted that it was a picture; a private of the Maharana's regular army suggested that it was an elephant; while a wheat-seller, his sword at his side, was equally certain that it was a Raja. Beyond that point, his knowledge did not go. The explanation of the picture is this. In the days when Raja Maun of Amber put his sword at Akbar's service and won for him great kingdoms, Akbar sent an army against Mewar, whose then ruler was Pertap Singh, most famous of all the princes of Mewar. Selim, Akbar's son, led the army of the Toork; the Rajputs met them at the pass of Huldighat and fought till one-half of their band was slain. Once, in the press of battle, Pertap on his great horse, Chytak, came within striking distance of Selim's elephant, and slew the mahout, but Selim escaped, to become Jehangir afterwards, and the Rajputs were broken. That was three hundred years ago, and men have reduced the picture to a sort of diagram that the painter dashes in, in a few minutes, without, it would seem, knowing what he is commemorating.
Thinking of these things, the Englishman made shift to get to the city, and presently came to a tall gate, the gate of the Sun, on which the elephant-spikes, that he had seen rotted with rust at Amber, were new and pointed and effective. The City gates are said to be shut at night, and there is a story of a Viceroy's Guard-of-Honour which arrived before daybreak, being compelled to crawl ignominiously man by man through a little wicket-gate, while the horses had to wait without till sunrise. But a civilised yearning for the utmost advantages of octroi, and not a fierce fear of robbery and wrong, is at the bottom of the continuance of this custom. The walls of the City are loopholed for musketry, but there seem to be no mounting for guns, and the moat without the walls is dry and gives cattle pasture. Coarse rubble in concrete faced with stone makes the walls moderately strong.
Internally, the City is surprisingly clean, though with the exception of the main street, paved after the fashion of Jullundur, of which, men say, the pavement was put down in the time of Alexander and worn by myriads of naked feet into deep barrels and grooves. In the case of Udaipur, the feet of the passengers have worn the rock veins that crop out everywhere, smooth and shiny; and in the rains the narrow gullies must spout like fire-hoses. The people have been untouched by cholera for four years, proof that Providence looks after those who do not look after themselves, for Neemuch Cantonment, a hundred miles away, suffered grievously last summer. "And what do you make in Udaipur?" "Swords," said the man in the shop, throwing down an armful of tulwars, kuttars, and khandas on the stones. "Do you want any? Look here!" Hereat, he took up one of the commoner swords and flourished it in the sunshine. Then he bent it double, and, as it sprang straight, began to make it "speak." Arm-venders in Udaipur are a sincere race, for they sell to people who really use their wares. The man in the shop was rude – distinctly so. His first flush of professional enthusiasm abated, he took stock of the Englishman and said calmly: "What do you want with a sword?" Then he picked up his goods and retreated, while certain small boys, who deserved a smacking, laughed riotously from the coping of a little temple hard by. Swords seem to be the sole manufacture of the place. At least, none of the inhabitants the Englishman spoke to could think of any other.
There is a certain amount of personal violence in and about the State, or else where would be the good of the weapons? There are occasionally dacoities more or less important; but these are not often heard of, and, indeed, there is no special reason why they should be dragged into the light of an unholy publicity, for the land governs itself in its own way, and is always in its own way, which is by no means ours, very happy. The Thakurs live, each in his own castle on some rock-faced hill, much as they lived in the days of Tod; though their chances of distinguishing themselves, except in the school, and dispensary line, are strictly limited. Nominally, they pay chutoond, or a sixth of their revenues to the State, and are under feudal obligations to supply their Head with so many horsemen per thousand rupees; but whether the chutoond justifies its name and what is the exact extent of the "tail" leviable, they, and perhaps the Rajputana Agency, alone know. They are quiet, give no trouble except to the wild boar, and personally are magnificent men to look at. The Rajput shows his breeding in his hands and feet, which are almost disproportionately small, and as well shaped as those of a woman. His stirrups and sword-handles are even more unusable by Westerns than those elsewhere in India, whereas the Bhil's knife-handle gives as large a grip as an English one. Now the little Bhil is an aborigine, which is humiliating to think of. His tongue, which may frequently be heard in the City, seems to possess some variant of the Zulu click, which gives it a weird and unearthly character. From the main gate of the City the Englishman climbed uphill towards the Palace and the Jugdesh Temple built by one Juggat Singh at the beginning of the last century. This building must be – but ignorance is a bad guide – Jain in character. From basement to the stone socket of the temple flagstaff, it is carved in high relief with elephants, men, gods, and monsters in friezes of wearying profusion.
The management of the temple have daubed a large portion of the building with whitewash, for which their revenues should be "cut" for a year or two. The main shrine holds a large brazen image of Garuda, and, in the corners of the courtyard of the main pile, are shrines to Mahadeo, and the jovial, pot-bellied Ganesh. There is no repose in this architecture, and the entire effect is one of repulsion; for the clustered figures of man and brute seem always on the point of bursting into unclean, wriggling life. But it may be that the builders of this form of house desired to put the fear of all their many gods into the hearts of the worshippers.
From the temple whose steps are worn smooth by the feet of men, and whose courts are full of the faint smell of stale flowers and old incense, the Englishman went to the Palaces which crown the highest hill overlooking the City. Here, too, whitewash had been unsparingly applied, but the excuse was that the stately fronts and the pierced screens were built of a
