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Fix the driver behind crashes, sound loss and screen glitchesFind Drivers →Clear out junk files and repair common Windows errorsFree Scan →Nagmati is Ratansen’s queen before he sets out to win Padmavati. In Malik Muhammad Jayasi’s Padmavat, she suffers through his absence and, after he returns with Padmavati, becomes jealous of her co-wife. Her story gives the romance a second perspective on love and separation—but it belongs to a work of fiction, not a verified account of historical events.
Who is Nagmati in Padmavat?
Padmavat is a sixteenth-century Sufi romance in Avadhi, an eastern dialect of Hindi. Commonly dated to 1540/41, the poem follows Ratansen, king of Chittor, after he hears of Padmavati, princess of the island kingdom of Simhala, and travels to win her. Nagmati is already his queen when he leaves.
Her role makes the quest more than a story of a king pursuing a distant princess. Ratansen’s departure affects the wife he leaves behind, and his return creates a new relationship within the household: Nagmati and Padmavati are co-wives. Jayasi gives Nagmati emotional experiences of her own rather than making her merely a name in Padmavati’s story. [Nagasaki, 2023]
What happens to Nagmati when Ratansen is away?
Jayasi presents Nagmati’s longing in a barahmasa, a poetic form that sets a lover’s separation against the twelve months. The changing seasons and months provide the frame for her grief at Ratansen’s absence. This passage shifts attention from the distant quest to the person waiting at home.
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The poem’s treatment of separation is one reason Nagmati matters to the romance: her experience gives emotional weight to Ratansen’s journey before Padmavati enters his life at Chittor. [Nagasaki, 2023]
How does Nagmati relate to Padmavati?
When Ratansen returns to Chittor with Padmavati, Nagmati becomes jealous of her co-wife. The poem thus moves from separation to the tensions of sharing a husband. It does not make Nagmati’s earlier place in Ratansen’s life disappear; instead, her presence complicates the apparent happy ending of his quest.
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Beyond this domestic conflict, the larger romance turns toward Alauddin Khalji, who seeks Padmavati and besieges Chittor. The central characters’ story ends tragically. That broader plot is important context, but Nagmati’s distinctive place in it is as the queen who experiences both Ratansen’s absence and the consequences of his return with another wife. [Nagasaki, 2023; Humanities Institute overview]
Is Nagmati’s story historical?
Read Nagmati as a character in Jayasi’s romance, not as a person whose life the poem independently verifies. Hiroko Nagasaki’s 2023 introduction recommends treating Padmavat as love fiction. It notes that Alauddin Khalji’s capture of Chittor is associated with a historical event, while Padmavati’s historicity remains debated. The existence of that historical context does not establish the poem’s romantic plot—or Nagmati’s story—as biography. [Nagasaki, 2023]
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A Humanities Institute overview attributes the translated sentence “I have made up this story” to Jayasi. Because that overview does not identify a role for the words or verify their English wording against a directly consulted primary edition, they are best treated as a translation reported by the overview, not as a quotation checked against the poem itself. [Humanities Institute overview]
Can Nagmati and Padmavati be read as Sufi figures?
Yes, as one scholarly interpretation—not as a settled explanation of the poem. In a 2016 article, Giorgio Milanetti reads the women’s contrasting qualities and relationship as part of a Sufi spiritual itinerary. In his account, they help connect the apparently opposed poles of yoga and bhoga (worldly enjoyment), and everyday life with spiritual life. This allegorical lens adds to, rather than cancels, the narrative of two women whose lives are shaped by Ratansen’s choices. [Milanetti, 2016]
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What is the poem’s form and where can readers learn more?
Nagasaki’s 2023 introduction describes Padmavat as having nearly 653 stanzas, each made up of seven ardhālīs and one dohā. This gives a sense of the poem’s scale and verse structure; it is a count of the work, not a readership statistic. [Nagasaki, 2023]
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- Ruby in the Dust: Poetry and History of the Padmâvat by Thomas de Bruijn is a 376-page English-language scholarly commentary published by Leiden University Press in 2012. It is commentary on the poem, not a translation. [Leiden University Press]
- A university repository records Lakshmi Dhar’s 1940 critical edition and translation of the Padumavati, prepared by comparing manuscript witnesses and an earlier edition. [University repository record]
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