Special take 5: Dedicated to Jodha on May 15th; note on may 16th pg 18 - Page 11

Originally posted by: ---Khushi---

Title : PALMsutra

Sequel: HUGsutra

Originally posted by: Arieltabi

I didn't come to if yesterday after the epi as u won't make post. Today morning I didn't check my inbox. And now suddenly I see ur post. I m really happy.

You should always check and at least you should have dropped by new weekly thread 😆

I m very happy with Jo. Someone in Adi's post said something like this should happen. And they showed exactly like that. I so wanted her to apologize and admit her mistake and finally she did. Now I can enjoy the show with peace. She mentioned that she didn't came for Shivani and Tax. She came for Jalal. But I do have some problem with the cvs but I will ignore it.

It was not a perfect build up ... But a nice finish ... As good as it could be

Finally "No Touching " days r gone 😳 😃 . I love that hug. She hesitantly hug him back. Jalal's expression when she hug him back. The whole scene was beautiful.

Yes it was!

I dont have any problem with Rukku's jealousy and Jalal's care for her. She is also his wife and will feel jealous. But the problem is she needs to accept like her Jo is also his wife and has right on him. I dislike her when she play dirty games to separate them. Actually she had always seen Jalal marrying many women and forget them after one night. She was the only one who had his whole attention. But now things r changing. She is not the only special one anymore. I don't want her to love Jodha. That's not possible. I just want her to accept Jo as Jalal's wife for Jalal's sake. I don't want her to play any games anymore. Cause this will not only ruined Ruklal relationship but also hurt Jalal.
And obviously Rukku is Jalal's cousin, childhood best friend and first wife. He has spent his whole life with her. So obviously he will love her and care for her. He loves Jo that doesn't mean he will forget Rukku.That will be unfair to Rukku.

I know- but I saw a lot of people have issue with it so had made the note ... But liked your view of it. But unfortunately I think Ruqs is going to play a game ...

P

I have always love Ruklal's friendship. But I started disliking Rukku from ben track the way she forced Jalal to marry ben without thinking about Jalal. I don't want Rukku to be negative. I wanted her to be grey. But cvs they will make her negative.
When I see Jo with Open hair me too was thinking about the arti scene. And I knew we will again see a romantic scene. And they showed it in precap.

Can't wait!

I knew It was not a baby. I think its related to Shehnaz. And she was just acting lost. She was trying to find clue in MA's room.

Yea, I hope Shehnaaz plays detective now and gives Jodha a break!

Originally posted by: ngayou

Thanks, Divya. Hehehe, I meant the precap nokjok yaar. Just yday banda got a response finally for physical touching & toorant he got braver & trying his luck more , I mean yday precap scene 😉

Originally posted by: divyavm

Thanks so much! Yes, Jodha and romance is back! 😊

I think BEK had permission to go where ever she wants ... I remember Jalal had said - you have permission to meet me whenever you want - when he asked why she didn't come directly with the boat ride invitation.

Precap is awesome! Can't wait.

Originally posted by: PAPS71

I know BEK is special ... but why the guards will not announce her entry???!!!... ridicules... the Shahenshah-e-hind has no privacy???

Originally posted by: divyavm

Originally posted by: sashashyam

My dear Divya,

No, I am not going to avail of your thoughtful invitation and rib you on this one. I cannot make fun of genuine sentiment. Instead, I will share my take on The Great Confession by my Jodha 2 ( the second half of Jodha's split personality the one who was there in the immediate aftermath of the Benazir track and as Kajri), and its aftermath with such of your readers as might be interested in it.

Extract from my latest: Jodha Akbar 240: The Curious Case of the Changeling Consort.

The Great Confession: It would be what one would expect of Jodha 2, anyway. She can see the depth of Jalal's pain, the crushing sense of guilt that still weighs him down, as her insensitive alter ego could never do. And she cannot bear to see him humiliate himself so much, stoop so low, again in contrast with Jodha 1, who watched haughtily while her husband bent his imperial head and sought her pardon with folded hands, and then turned him down flat with rock hard arrogance.

This Jodha also realises that for her to simply pardon Jalal, as he wants her to do, would still leave him as her karzdaar, laboring under a lifelong burden of gratitude. And this she would want to avoid at all costs.

The only way to do that would be to make herself out, and rightly and honestly so, to be as guilty as he was, and in fact more so, for her failings were the cause for all the mistakes he made. Her unwarranted lack of candour, her deliberate hiding of the truth.

Which is what she proceeds to do, calmly and with unshakeable logic. And in doing so, for all his counter-arguments (which reminded me of the Lucknowi friends who kept saying Aap pehle till the train left without either of them!) she leaches the poison of excessive guilt and undue self-hate out of Jalal's zehen.

I simply could not stand it when he started his head bent and hands folded routine all over again, and I felt like clouting him. But it was a relief when this Jodha put an instant stop to it (unlike Jodha 1, who watched the same gesture by Jalal with hard, unyielding eyes), bringing up the same traditional arguments against such behaviour that one would have expected of a Rajput queen: Ek pati apni patni ke saamne jhuke, yeh uchit nahin. Aur ek Shahenshah apni begum ke saamne jhuke, yeh aur bhi uchit nahin..

The reason why I cannot tell !: I too wondered why Jodha 2, after clarifying why she did NOT return, does not add that one line Aapke liye, aapke saath ke liye, kyonki hamein gyath hua hai ki hum aapke bina adhoori hain.

And about all that talk of his having become the best of men, the best Shahenshah, of her having fulfilled her pran. What pran? This must be the latest in the long list of mysterious zubaans and vaadas that populate the script of Jodha Akbar (or what passes for it, up there in the august company of Jalal's non-existent zubaan not to touch Jodha without her explicit consent.

The only explanation that I can think of it that

(a) she is too inhibited and shy to confess her love out cold turkey, which is understandable in any age not to speak of the 16^th century , and

(b)less understandable and indeed very foolish, that she needs him to say it out first that all that he has done before and after she left Agra, from his blind rage to his desperate hunt for her, were activated not by pure possessiveness and jealousy before her departure and by pure guilt ever since, but by his need for her. That when he told her in Mathura Hum aapke bina ek pal bhi nahin rah sakte, he meant it and still means it.

So she falls back on the kind of explanation Jodha 1 would have chosen, which is safe and does not leave her exposed. Plus, she wouldexpect an alpha male like Jalal (however little like one he has been of late!) to pick up the ball she tosses - Humein garv hai ki hum aapki patni hain (not ki aap humare pati hain, there is a nuance there!) and run with it.

The timely dust mote in the eye!: But he does not do anything, and continues to stare at her . She probably then grasps, for Jodha 2 is far more perceptive than the other one, that he will never make another move on his own, for the shadow of the dhakka still lingers in his zehen.

But she can hardly grab his hand on her own either. Whence the very timely grain of dust, driven by a non-existent wind (one saw no curtains billowing in the room!) , and lo and behold, Jodha has Jalal up close and personal, blowing into her eye from 6 inches away! The girl is learning fast, or maybe she was always like this, witness Kajri!

Discreet invitation: What next? He is still doing nothing. Whence her hand, still on his sleeve, which now moves slowly up to grasp his hand as he watches in near disbelief. Incidentally, Paridhi has delicate, tapering fingers.

Whence the discreet but clearly come hither look from madh bhar nain, that too so close that he must have felt dizzy. Dark, inviting eyes that rise to his, and then fall, in carefully orchestrated shyness that encourages rather than repels.

Jalal gets it at long last, screws his courage to the sticking point (apologies to the Bard and his immortal Lady Macbeth), and scoops Jodha up into an embrace that must seem, to him, like a dream. He is limp with relief , and that shows in his helpless weeping on her shoulder (a path-breaking innovation in the standard operating procedures for romance! ).

Jodha does not weep, but her dark eyes are soft. She is the strong one here, and it shows. But she is also a woman, held close in the arms of her husband for the first time ever, and the ice maiden melts. Slowly, hesitantly, her left arm comes up to grasp his shoulder as she snuggles into his embrace. And Jalal, noting it with incredulous eyes, draws her closer, now with a sense of entitlement that is free of any fear of rejection.

As he releases her and move slightly apart, she is still under the spell, and it shows. It is only now that the old Jalal resurfaces, as he caresses her cheek with a gentle tenderness that says far more than a passionate embrace, and brings her as close as the TV censors will allow. They are both so immersed in each other and this new found closeness that the world outside ceases to exist.

At least till Ruqaiya stage manages that loud crashing descent to the floor, after knocking over as large a vase as she could find.

I loved the precap, not so much for what it showed of the new Jodha, but for what it showed of a new Jalal. This is not the buccaneering free spirit who gate crashed blithely into Amer to catch a glimpse of the registan ki gulab. Nor the dominating Shahenshah with the innumerable begums, cocksure that they would all be yearning for his company.

This is a young man new to love, but full of fresh, delighted confidence that his love is not one-sided. That shows in the delicacy and yet the possessiveness with which he tucks the tendril of wet hair behind his Jodha Begum's ear as she offers him the aarti, and looks at the lights that shimmer in her eyes.

The rest: Do not count for much.
=====================================================================

Shyamala Aunty

Originally posted by: TheIronLady

Aunty🤗

Loved your post. Completely.

Originally posted by: sashashyam

My dear Divya,

No, I am not going to avail of your thoughtful invitation and rib you on this one. I cannot make fun of genuine sentiment. Instead, I will share my take on The Great Confession by my Jodha 2 ( the second half of Jodha's split personality the one who was there in the immediate aftermath of the Benazir track and as Kajri), and its aftermath with such of your readers as might be interested in it.

Awww so sweet to share the excerpt ... And not to rib me on this one ... 😊

Extract from my latest: Jodha Akbar 240: The Curious Case of the Changeling Consort.

I loved every bit of it ... But my ipad does not get alone with your new abode as much ... So more detailed comments here

The Great Confession: It would be what one would expect of Jodha 2, anyway. She can see the depth of Jalal's pain, the crushing sense of guilt that still weighs him down, as her insensitive alter ego could never do. And she cannot bear to see him humiliate himself so much, stoop so low, again in contrast with Jodha 1, who watched haughtily while her husband bent his imperial head and sought her pardon with folded hands, and then turned him down flat with rock hard arrogance.

This Jodha also realises that for her to simply pardon Jalal, as he wants her to do, would still leave him as her karzdaar, laboring under a lifelong burden of gratitude. And this she would want to avoid at all costs.

What a beautiful explanation that she wanted to relieve him of his guilt and gratitude ... I just wanted her to admit her mistake as it was the right thing to do

The only way to do that would be to make herself out, and rightly and honestly so, to be as guilty as he was, and in fact more so, for her failings were the cause for all the mistakes he made. Her unwarranted lack of candour, her deliberate hiding of the truth.

Which is what she proceeds to do, calmly and with unshakeable logic. And in doing so, for all his counter-arguments (which reminded me of the Lucknowi friends who kept saying Aap pehle till the train left without either of them!) she leaches the poison of excessive guilt and undue self-hate out of Jalal's zehen.

I simply could not stand it when he started his head bent and hands folded routine all over again, and I felt like clouting him. But it was a relief when this Jodha put an instant stop to it (unlike Jodha 1, who watched the same gesture by Jalal with hard, unyielding eyes), bringing up the same traditional arguments against such behaviour that one would have expected of a Rajput queen: Ek pati apni patni ke saamne jhuke, yeh uchit nahin. Aur ek Shahenshah apni begum ke saamne jhuke, yeh aur bhi uchit nahin..

The reason why I cannot tell !: I too wondered why Jodha 2, after clarifying why she did NOT return, does not add that one line Aapke liye, aapke saath ke liye, kyonki hamein gyath hua hai ki hum aapke bina adhoori hain.

And about all that talk of his having become the best of men, the best Shahenshah, of her having fulfilled her pran. What pran? This must be the latest in the long list of mysterious zubaans and vaadas that populate the script of Jodha Akbar (or what passes for it, up there in the august company of Jalal's non-existent zubaan not to touch Jodha without her explicit consent.

The only explanation that I can think of it that

(a) she is too inhibited and shy to confess her love out cold turkey, which is understandable in any age not to speak of the 16^th century , and

(b)less understandable and indeed very foolish, that she needs him to say it out first that all that he has done before and after she left Agra, from his blind rage to his desperate hunt for her, were activated not by pure possessiveness and jealousy before her departure and by pure guilt ever since, but by his need for her. That when he told her in Mathura Hum aapke bina ek pal bhi nahin rah sakte, he meant it and still means it.

So she falls back on the kind of explanation Jodha 1 would have chosen, which is safe and does not leave her exposed. Plus, she wouldexpect an alpha male like Jalal (however little like one he has been of late!) to pick up the ball she tosses - Humein garv hai ki hum aapki patni hain (not ki aap humare pati hain, there is a nuance there!) and run with it.

The timely dust mote in the eye!: But he does not do anything, and continues to stare at her . She probably then grasps, for Jodha 2 is far more perceptive than the other one, that he will never make another move on his own, for the shadow of the dhakka still lingers in his zehen.

But she can hardly grab his hand on her own either. Whence the very timely grain of dust, driven by a non-existent wind (one saw no curtains billowing in the room!) , and lo and behold, Jodha has Jalal up close and personal, blowing into her eye from 6 inches away! The girl is learning fast, or maybe she was always like this, witness Kajri!

How observant Aunty- this Jodha 2 is indeed sly!

Discreet invitation: What next? He is still doing nothing. Whence her hand, still on his sleeve, which now moves slowly up to grasp his hand as he watches in near disbelief. Incidentally, Paridhi has delicate, tapering fingers.

Whence the discreet but clearly come hither look from madh bhar nain, that too so close that he must have felt dizzy. Dark, inviting eyes that rise to his, and then fall, in carefully orchestrated shyness that encourages rather than repels.

Jalal gets it at long last, screws his courage to the sticking point (apologies to the Bard and his immortal Lady Macbeth), and scoops Jodha up into an embrace that must seem, to him, like a dream. He is limp with relief , and that shows in his helpless weeping on her shoulder (a path-breaking innovation in the standard operating procedures for romance! ).

Jodha does not weep, but her dark eyes are soft. She is the strong one here, and it shows. But she is also a woman, held close in the arms of her husband for the first time ever, and the ice maiden melts. Slowly, hesitantly, her left arm comes up to grasp his shoulder as she snuggles into his embrace. And Jalal, noting it with incredulous eyes, draws her closer, now with a sense of entitlement that is free of any fear of rejection.

Loved how you described her softness!

As he releases her and move slightly apart, she is still under the spell, and it shows. It is only now that the old Jalal resurfaces, as he caresses her cheek with a gentle tenderness that says far more than a passionate embrace, and brings her as close as the TV censors will allow. They are both so immersed in each other and this new found closeness that the world outside ceases to exist.

TV censors have seen worse!

At least till Ruqaiya stage manages that loud crashing descent to the floor, after knocking over as large a vase as she could find.

I loved the precap, not so much for what it showed of the new Jodha, but for what it showed of a new Jalal. This is not the buccaneering free spirit who gate crashed blithely into Amer to catch a glimpse of the registan ki gulab. Nor the dominating Shahenshah with the innumerable begums, cocksure that they would all be yearning for his company.

This is a young man new to love, but full of fresh, delighted confidence that his love is not one-sided. That shows in the delicacy and yet the possessiveness with which he tucks the tendril of wet hair behind his Jodha Begum's ear as she offers him the aarti, and looks at the lights that shimmer in her eyes.

Loved this description of Jalal and this new version of Jalal ... Confidence is the key word

The rest: Do not count for much.
=====================================================================

Shyamala Aunty