Books

Myth, politics and British propaganda

The authors question colonial narratives and open a door for debate on a sensitive issue

Tej Prakash Bhardwaj

Satish Jhunjhunwala and Ananda Mukherji’s Sati: The Myth of Widow Burning in British India sets out to challenge one of the most disturbing and controversial narratives often associated with Indian history—the practice of Sati, or widow burning. Through a blend of historical analysis, mythological references, and critique of colonial interpretations, the authors claim in the book that the history of Sati has been distorted, exaggerated. It suggests that the propaganda was a nefarious design used as a political tool by the then British administration.

Divided into seven chapters, the central thesis of the book states that Sati—far from being a mainstream or widely accepted religious custom—was never a sanctioned ritual according to the Hindu shastra. The authors argue that the “British colonial government wove a fictitious story of widow burning” based on the tales of stray murders for inheritance. The authors assert that its portrayal as a common practice was part of a colonial narrative designed to justify British moral and administrative intervention in India—stressing that the “barbaric Hindus” were not capable of administrating themselves.

The book walks readers through both scriptural, mythological stories and folklores of the religious traditions drawing upon texts such as the Yajnyavalka Smriti and the Manu Smriti to demonstrate that neither text mandates Sati as a religious obligation. In fact, the authors argue, these texts prescribe codes of conduct for widows that emphasise asceticism and remarriage rather than self-immolation. By doing so, the authors aim to dismantle the assumption that widow burning did not have a religious basis widely accepted across Hindu communities.

The book scrutinises colonial motives at length. In Chapter Two, the book challenges the British claims of hundreds of Sati cases in Calcutta between 1815 to 1828—a period that preceded the enactment of the Sati Abolition Act, 1829 introduced by British Governor-General Lord William Bentinck. The authors call these reported numbers as “exaggerated” and “unsubstantiated,” arguing that they were inflated to build a “moral case for colonial intervention and justify legislative action”. The book delves into British records and speeches, showing how the British administration often spotlighted Sati to construct a moral superiority over Indians and how certain isolated cases were amplified to paint an entire civilisation as barbaric for strategic colonial goals.

Similarly, in Chapter Five, the book delves into the infamous 1987 case of Roop Kanwar—often referred to as the “last Sati of India.” This incident prompted the Indian government to introduce a specific clause banning the glorification of Sati, which prohibits the worship, commemoration, or promotion of the practice in any form. The authors, one of whom, Satish Jhunjhunwala, who is also the President of the Rani Sati Mandir Trust in Jhunjhunu, contend that the worship of Sati Mata has long been part of a “pious cult” rooted in centuries old tradition of Rajasthan. The chapter also critically examines the legal and social complexities surrounding the case of Roop Kanwar, and the subsequent events.

Nonetheless, Sati: The Myth of Widow Burning in British India is a simple read. With their writings the authors ask readers to re-examine colonial history with a critical lens and stress on the idea of questioning British historical narratives. The book may not be the final word on the subject, but it opens a door for debate and further discussion. Through multiple citings of shastras and smiritis, the authors reiterate that the act of widow burning was never part of Hindu religious practice, nor endorsed by religious authorities across Hindu society. They emphasise that the practice of widow burning, where it occurred, was isolated—often rooted in property disputes, family or social pressures, rather than religion.

In an age where reclaiming historical narratives is central to cultural and national identity, Jhunjhunwala and Mukherji’s work serve as critique of controversial colonial history and religious practices.

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