Last year, while looking up folktales related to the Punjabi winter solstice festival Lohri, I came across the legend of the bandit Dulla Bhatti. Dulla Bhatti was a 16th century “Punjabi Robin Hood” who led a rebellion against the Mughal emperor Akbar. He robbed the Mughal officials who collected taxes and tributes for the emperor, and redistributed the money to the poor. One of the tales told of him is that after a Mughal soldier raped a young Hindu woman, Dulla Bhatti — a Muslim — took her in because no one else would. He arranged her marriage to a Hindu man, gave her a dowry, and even officiated the wedding in as close to an approximation to a Hindu wedding ceremony as he could manage. The stories of Dulla Bhatti are linked to Lohri; you can read my take on that relationship here.
Why am I bringing Dulla Bhatti up now, in the middle of June? Because as I mentioned in my last post, I’ve been reading Rabindranath Tagore. Tagore liked to play with folklore and fairy tale. “The Hungry Stones” is one example that comes to mind; there’s also “Once There Was a King,” “A Fanciful Story” (called “A Kingdom of Cards” in this online translation), and “The Wedding Garland” (“Malyadan” in Bengali — I can’t find it in English online), all of which play with folktale tropes and structure, sometimes explicitly, sometimes more subtly. Tagore’s last short story draft, from about a month and half before his death, is perhaps another example, one with some similarity to the Dulla Bhatti story I mentioned above. In the Oxford Press translation Selected Short Stories, it’s called “The Story of a Mussalmani.”