BEATRIFULSultan, Not Sultana: Sultan, Not Sultana: The Crowd and the Coin · Sultan, Not Sultana: The Forty and the FieldSizzleC
album cover

SULTAN, NOT SULTANA: THE FORTY AND THE FIELD

SizzleC · 5 songs · in production

Volume 2 of the Razia Sultan concept album: the Sultan at the head of her army on an elephant, the Turkic nobles who turned on her over the Abyssinian stable master Yaqut, the revolt at Tabarhinda and the cell, the marriage to her jailer and the march on Delhi, and the field near Kaithal in October 1240 with three towns claiming her grave. Every song starts in the sound of 13th-century Delhi and drops hard into tech house, deep house, and one melodic house closer at the fifty-second mark.

war naqqara and bells → driving tech house · sarangi drone → dark minimal tech house · sarangi lament → hypnotic deep house · wedding dhol and shehnai → defiant tech house · solo sarangi and bansuri → melodic house

all takes and alternates →

Bells on the Elephant (The Army) cover

[Intro]

Hear the bells? That's the elephant. Hear the drums? That's mine.

The Sultan rides in front. Fall in line.

[Verse 1]

Twelve thirty-nine, Kabir Khan in Lahore says no,

I don't send a letter. I bring the army and I go.

[Verse 2]

A thousand hooves in the dust behind the howdah,

Naqqara on the camels, every mile a little louder.

He saw the dust from the walls and he counted what he saw,

Kabir Khan bowed before I ever reached the door.

[Pre-Chorus]

No veil, no litter, no curtain on the beast,

The Sultan's face is open from the west to the east.

[Time]

[Drop]

Bells on the elephant! Drums on the plain!

Lahore, open up, or you'll see me again!

Up on the howdah, cap on my head,

The army goes where the woman goes, and the woman goes ahead!

[Verse 3]

Elephants in front and the amirs in the rear,

The Turks don't like the order but the order's very clear.

They watched me ride and they didn't like the view,

A girl in a Turkish cap doing what they couldn't do.

Elephant knows the weight, elephant knows the way,

Twenty paces in the front where a Sultan ought to stay.

Minhaj wrote warlike. He wasn't being kind.

He was being accurate. Look behind.

[Drop]

Bells on the elephant! Drums on the plain!

Lahore, open up, or you'll see me again!

Up on the howdah, cap on my head,

The army goes where the woman goes, and the woman goes ahead!

[Outro]

Bells.

Drums.

Fall in line.

[Fade Out]

[End]

06 · Bells on the Elephant (The Army)

War naqqara and dhol on the march, elephant bells, a shehnai battle call, building → driving Tech House. Relentless kick, rolling tom fills, bells in the percussion, fierce female vocal

🎶 The Sizzle: War drums, elephant bells and a shehnai call for fifty seconds, then a driving tech house drop with the bells kept in the hats. Mood: the Sultan rides in front.

🎬 The Story: The Army: Razia rides at the head of her army on an elephant, unveiled. In 1239 to 1240 she marches on Lahore when Kabir Khan Ayaz rebels and he submits before a battle; earlier she has Husain Ghuri bring the Ranthambore garrison out of a Rajput siege. Minhaj calls her warlike and means it.

Forty Men and a Horse (The Forty) cover

[Intro]

Forty men around a table. Forty beards. Forty knives.

Forty slaves my father bought, now they're running forty lives.

[Verse 1]

Amir of the stables, Jamal ud-Din Yaqut,

A black man in a Turkish job. The Forty went mute.

[Verse 2]

It wasn't about the horses. It was about the chair.

Every post I gave a stranger was a Turk who wasn't there.

They said he touched my arm when I climbed into the saddle,

I ride an elephant, boys. Go check the beast, then check your tattle.

[Pre-Chorus]

Forty men and a horse. Forty men and a lie.

A hundred years later Isami writes it down with a sigh.

[Time]

[Drop]

Forty men and a horse! One of them is black!

That's the whole indictment, that's the knife in my back!

Not the war, not the coin, not the cap or the law,

A Habshi holding the reins was the thing that stuck in the craw!

[Verse 3]

Barani gave them the number, a hundred years on,

Forty was a legend by the time the Forty were gone.

But the knives were real, I counted every blade,

Altunia in Tabarhinda, Aitigin in the shade.

I made them. I paid them. I gave them iqta land,

And every iqta came back as a fist instead of a hand.

Yaqut kept the horses fed. That's what he did.

Ask the Forty what they did. Then ask them where they hid.

[Drop]

Forty men and a horse! One of them is black!

That's the whole indictment, that's the knife in my back!

Not the war, not the coin, not the cap or the law,

A Habshi holding the reins was the thing that stuck in the craw!

[Outro]

Forty men.

One horse.

Guess who paid.

[Fade Out]

[End]

07 · Forty Men and a Horse (The Forty)

Dark sarangi drone and a low naqqara pulse, whispered female backing, building → dark minimal Tech House. Sub-heavy bass, clipped hats, paranoid stabs, cold deadpan female vocal

🎶 The Sizzle: A dark sarangi drone and whispers for fifty seconds, then a cold minimal tech house drop. Mood: forty beards, one grievance, and it isn't the horses.

🎬 The Story: The Forty: Razia makes the Abyssinian Jamal ud-Din Yaqut master of the stables, a post the Turkic slave-nobles think is theirs, and gives other outsiders iqtas. The nobles turn. The story that Yaqut lifted her onto her horse by the arms is Isami's, a century later; Ibn Battuta repeats the rumour. Minhaj records the favour and the jealousy, nothing more. The name the Forty, Chihalgani, is Barani's, also a century later.

Tabarhinda (The Cell) cover

[Intro]

Third of April, back in Delhi, dust still on my boots.

A rider from Tabarhinda. Altunia's cut the roots.

[Verse 1]

Ten days later I'm marching west with my own men,

I didn't know the men were his. I know it now. Not then.

[Verse 2]

They turned in the camp. They came for Yaqut first.

A spear, a shout, a sunrise. That was the worst.

Then they came for me, the Sultan, with the chains in hand,

Ikhtiyar ud-Din Altunia and his iqta land.

[Pre-Chorus]

Twenty-first of April, Delhi crowns my brother Bahram,

Aitigin takes the deputy's chair. I take a cell at Bhatinda.

[Time]

[Drop]

Stone floor! Iron door!

Three and a half years a Sultan. Now I count the floor!

Yaqut's in the ground and the Forty hold the hall,

Tabarhinda keeps a Sultan behind a mud-brick wall!

[Verse 3]

The man who holds the key is the man who made the plot,

Altunia wanted Delhi. Delhi's what he hasn't got.

They gave the crown to Bahram and left Altunia the chore,

A Sultan in a cell and no reward for the war.

I watch him count his losses, I watch him count the hours,

A jailer with a grievance is the only door that's ours.

Fifth of May, they swear to Bahram one by one.

Nobody swears to Altunia. Now the real game's begun.

[Drop]

Stone floor! Iron door!

Three and a half years a Sultan. Now I count the floor!

Yaqut's in the ground and the Forty hold the hall,

Tabarhinda keeps a Sultan behind a mud-brick wall!

[Outro]

Tabarhinda.

Count the days.

I'm counting too.

[Fade Out]

[End]

08 · Tabarhinda (The Cell)

A slow sarangi lament and sparse rubab, a single frame drum, a grieving female modal line, building → hypnotic Deep House. Deep dub bass, long reverb tails, slow steady kick, quiet determined female vocal

🎶 The Sizzle: A sarangi lament and one frame drum for fifty seconds, then a hypnotic deep house drop. Mood: a Sultan counting the floor, and counting the jailer's losses.

🎬 The Story: The Cell: 3 April 1240 Razia reaches Delhi; Altunia has risen at Tabarhinda. Ten days later she marches with men who are already his. The camp turns, Yaqut is killed, Razia is chained in the fort. On 21 April Delhi crowns her brother Bahram and makes Aitigin his deputy; on 5 May the nobles swear to him. Altunia gets nothing. She notices.

Marry the Jailer (The March) cover

[Intro]

He had the key. I had the name.

So we did the arithmetic. Two prisoners, one game.

[Verse 1]

Marry the jailer. Say the words. Sign the deed.

Ikhtiyar ud-Din, you wanted Delhi. Here's what you need.

[Verse 2]

He had a grudge and a fort and a thousand angry men,

I had a crown they stole and the right to it again.

Not love. Don't write love. Write a contract in the heat,

A Sultan and a rebel with one city to complete.

[Pre-Chorus]

Raise the drums. Hire the hills. Khokhar swords and Jat,

September at our back and Delhi's walls ahead of that.

[Time]

[Drop]

Marry the jailer! Open the gate!

Bride on the elephant, Delhi, don't be late!

Second time I come for you, the first time you came to me,

The crowd chose me once. Choose me twice. We'll see.

[Verse 3]

Bahram sent the army out. The Forty rode along.

In a field outside Kaithal we found out we were wrong.

Our hired men looked at the odds and did the hired thing,

By nightfall it was two of us and the crows began to sing.

I married for an army and the army walked away,

Still the only woman who ever made them pay.

October on the plain, the dust is in my mouth,

Sultan of two people, and the road runs out.

[Drop]

Marry the jailer! Open the gate!

Bride on the elephant, Delhi, don't be late!

Second time I come for you, the first time you came to me,

The crowd chose me once. Choose me twice. We'll see.

[Outro]

Marry the jailer.

It nearly worked.

Nearly.

[Fade Out]

[End]

09 · Marry the Jailer (The March)

Wedding dhol and shehnai, fast handclaps and a women's chorus call, building → defiant Tech House. Big rolling bass, marching kick, triumphant stabs, hard-edged female vocal

🎶 The Sizzle: Wedding drums and shehnai for fifty seconds, then a defiant tech house drop. Mood: not love, a contract, and nearly enough.

🎬 The Story: The March: Razia marries her jailer Ikhtiyar ud-Din Altunia, cheated of his reward by Delhi, and the two raise a force and march on the capital in September 1240. Bahram's army meets them near Kaithal in October; their hired men desert. The Khokhar and Jat levies are later chroniclers' detail; the marriage, the march and the defeat are Minhaj.

Kaithal, Three Graves (The Tomb) cover

[Intro]

Fourteenth of October, twelve forty, a field outside Kaithal.

Two of us walking. No army at all.

[Verse 1]

Hungry, tired, a Sultan in a stranger's coat,

The farmers took the jewels and they didn't take a vote.

[Verse 2]

The village found us sleeping and the village did the rest,

Nobody from the Forty had to put it to the test.

Altunia beside me. The jailer kept his word.

Three years and six months, and the rest is what you heard.

[Pre-Chorus]

Now they can't agree on where they put me down,

Three graves, three cities, one woman, one crown.

[Time]

[Drop]

Kaithal, Delhi, Tonk! Pick a grave, pick a stone!

Three towns want the Sultan, not one of them wanted the throne!

Bulbul-i-Khana, Turkman Gate, two slabs and no name,

Ibn Battuta saw the pilgrims and the dome, all the same.

[Verse 3]

Minhaj wrote it down, and this is what he penned,

A great sovereign, just, the patron of the learned, a friend

To her subjects, warlike, every kingly trait,

Then a pity she's a woman. Then he shut the gate.

No portrait on the coin, just my name in a line,

Sultan al-Mu'azzam. Go find one. It's still mine.

I took the veil off once and it never went back on,

Three graves in three cities and the daughter's name lives on.

[Drop]

Kaithal, Delhi, Tonk! Pick a grave, pick a stone!

Three towns want the Sultan, not one of them wanted the throne!

Bulbul-i-Khana, Turkman Gate, two slabs and no name,

Ibn Battuta saw the pilgrims and the dome, all the same.

[Outro]

Sultan.

Not Sultana.

Three graves. One name.

[Fade Out]

[End]

10 · Kaithal, Three Graves (The Tomb)

A solo sarangi and bansuri flute over a distant single naqqara, slow and bare, a quiet female modal line, building → warm Melodic House. Soft four on the floor, deep bass, bright arpeggios, tender clear female vocal, euphoric and sad at once

🎶 The Sizzle: One sarangi and a bansuri for fifty seconds, then a warm melodic house drop. Mood: three towns want the grave, none of them wanted the throne.

🎬 The Story: The Tomb: 13 to 15 October 1240, a field near Kaithal. Deserted and robbed, Razia and Altunia are killed by local villagers, Minhaj says. Her tomb is claimed by Kaithal, by Tonk, and by two bare slabs at Bulbul-i-Khana near Turkman Gate in Delhi, where Ibn Battuta saw pilgrims and a dome a century on. Minhaj's epitaph: a great sovereign, sagacious, just, warlike, and then the pity that she was not a man.