The Enchantress of Florence (2008) by Salman Rashdie

About Author:

SALMAN RUSHDIE (1947--)  is best known for the violent backlash his book The Satanic Verses (1988) provoked in the Muslim community.  He is associated with “Gabriel Garcia Marquez” (Father of Magic Realism).

Won the Booker Prize for Fiction and in 1993; It won "Booker of Bookers" and “Best of Bookers” as the best novel for Fiction on 25th and 40th anniversary of Booker.

Novels:

1.   Grimus (1975): Science fiction, first novel- Set in Axona in India. Flapping eagle, a young Indian becomes immortal after drinking magic fluid and wanders Earth 777 years 7 months and 7 days.

2.   Midnight`s Children (1981)- second novel, Magic realism, the novel narrates key events in the history of India from 15th August 1947, through the story of pickle-factory worker Saleem Sinai, one of 1001 children born with Magical Powers. Shiva has strong knees. Saleem narrates the story to Padma

3.   Shame (1983)- 3rd novel, Shame (1983), was shortlisted for the Booker Prize for Fiction. Political turmoil in Pakistan between Zulfikar Ali Bhutto and General Zia Ul Haq

4.   The Satanic Verses (1988) - 4th novel, leads to accusations of blasphemy against Islam and demonstrations by Islamist groups in India and Pakistan. Iranian spiritual leader Ayatollah Khomeini issued a “fatwa” against Salman Rushdie, calling for his assassination, forcing Rushdie to go underground.

5.   The Moor’s Last Sigh (1995)-5^th novel

6.   The Ground beneath her feet (1999)-6^th novel

7.   Fury (2001)-7^th novel

8.   Shalimar the clown (2005)- 8^th novel

9.   The Enchantress of Florence (2008)- 9^th novel- a European visits Akbar’s court and claims that he is distant relative of Akbar born of an exiled Italian/Indian princess -Florence.

10.   Two Years Eight Months and Twenty-Eight Nights (2015)- fantasy novel, title refers to One Thousand and One Nights

11.   The Golden House (2017)

12.   Quichotte (2019)- picaresque metafiction- Key Shot (Quichotte)- a way to inject drugs. Inspired by Don Quixote.

13.   Victor City (2023)- latest novel, epic tale of woman

 

Children stories:

14.   Haroun and the sea of stories 1990.

15.   Luka and the fire of lake 2010

 

Essay and Non-fiction

16.   Imaginary Homelands:  a post-colonial essay, concept of “common wealth literature does not exist”

17.   The East Is Blue (2004)- about pornography in Asia and the Muslim world.

Memoirs:

18.   The Jaguar smile: A Nicaraguan Journey 1987- first full length non-fiction work.

19.   Joseph Anton: A Memoir 2012- used the names of Joseph Conrad and Anton Chekov

20.   Knife: Meditations After an Attempted Murder (2024)

 

The Enchantress of Florence - Introduction:

The Enchantress of Florence is the ninth novel by Salman Rushdie, published in 2008. According to Rushdie this is his "most researched book" which required "years and years of reading". The Enchantress of the book's title, who was inspired by the Renaissance poem Orlando Furioso.

It is set in both Renaissance Florence and Mughal India and intertwines historical figures with fictional characters. The plot centers on, Qara Köz, mysterious woman, a great beauty believed to possess the powers of enchantment and sorcery, attempting to command her own destiny in a man’s world and with a rich backstory that connects her to both cultures.

The novel explores themes of love, identity, and the intersections of East and West, as well as the power of storytelling. Rushdie's signature magical realism is evident throughout the narrative, blending myth with history and creating a vivid, lush world.

Plot Outline:  

The central theme of The Enchantress of Florence is the visit of a European to the Mughal emperor Akbar's court and his claim that he is a long lost relative of Akbar, born of an exiled Indian princess and an Italian from Florence. The story moves between continents, the court of Akbar to Renaissance Florence mixing history, fantasy and fable.

Part One: The Arrival of Mogor dell'Amore

·        The tale of adventure begins in Fatehpur Sikri, the capital of Mughal emperor Akbar the Great, when a stranger arrives, having stowed away on a pirate ship captained by the Scottish Lord Hauksbank, and sets the Mughal court talking and looking back into its past.

• Focuses on Mogor dell'Amore's arrival at Akbar's court and introduces the emperor and the fascination with Qara Köz.

Part Two: The Story of Qara Köz

·        The stranger begins to tell Akbar the tale, going back to the boyhood of three friends in Florence, Il Machia, Ago Vespucci and Nino Argalia, the last of whom became an adventurer in the East.

• Explores Qara Köz's backstory, her journey to Florence, and her experiences in the Renaissance.

Part Three: The Return and Confrontation

• Chronicles Qara Köz's return to the Mughal Empire and her meeting with Akbar, culminating in reflections on culture and identity.
• The tale returns to the mobs and clamour of Florence in the hands of the Medici dynasty. An eight-page bibliography follows the end of the story.

Major Themes :

The book relates a succession of interweaving stories by a variety of storytellers, travellers and adventurers and of course touches on the histories and cultures of the various settings including the Mughal and Ottoman Empires, the earlier Mongols, and Renaissance Florence. There is also a recurring discussion of humanism and debate as opposed to authoritarianism, and Machiavelli is a character in the book. Like Rushdie's previous works, the book can be considered a work of magic realism.

1. Power of Storytelling:

• Storytelling is central to the novel, emphasizing the transformative power of narratives. The characters frequently shape their realities through the stories they tell and believe in. This theme also reflects how history itself can be seen as a collection of narratives, where power often lies in controlling the story.
• The character of Qara Köz (the Enchantress) is defined by the myths and stories woven around her, making her an embodiment of the way stories can shape identity and perception.

2. Identity and Transformation:

• The novel explores the fluidity of identity, particularly through its central characters who often disguise themselves, change names, and adopt new identities. For instance, Qara Köz transforms from a royal princess to a powerful figure who shapes her own destiny.
• The theme also extends to cities like Florence and the Mughal Empire, both of which are portrayed as spaces where cultures blend, and people are in constant flux, shaping and reshaping themselves.

3. East Meets West:

• A major theme is the intersection and contrast between Eastern and Western cultures during the Renaissance. Rushdie delves into the cultural exchanges between Mughal India and Renaissance Europe, showing both their differences and the common human desires that connect them.
• The novel highlights the exoticization and misunderstandings between the two worlds but also showcases moments of genuine curiosity and admiration. This theme reflects the idea that civilizations are not isolated but influenced and transformed by encounters with others.

4. Power and Desire:

• The novel examines how power is often intertwined with desire—both the desire for control and the more personal desires for love and beauty. Characters like Akbar the Great and Qara Köz wield power in their respective realms, but they are also influenced by their personal passions.
• Qara Köz's beauty and charm make her a figure of desire, giving her power over those around her. However, this power is double-edged, as it also makes her vulnerable to the expectations and desires of others.

5. Illusion vs. Reality:

• Throughout the story, the boundary between reality and illusion is frequently blurred. The novel’s magical realist elements—where the fantastical blends with historical reality—highlight the idea that what people perceive as real can be shaped by belief and imagination.
• This theme is symbolized by the way characters like Akbar create imagined realities, such as his imaginary wife Jodha, which challenges the notion of what is real or unreal.

6. Freedom and Confinement:

• The theme of freedom and confinement runs through the lives of various characters, particularly Qara Köz, who moves through different forms of captivity and liberation, whether in royal courts or within the societal norms imposed on her.
• The novel also explores the idea of freedom in the intellectual and cultural sense, as characters like Niccolò Machiavelli grapple with the political constraints of their societies while dreaming of broader horizons.

Characters     

Fictional Characters

The Enchantress of Florence by Salman Rushdie features a diverse cast of characters that blend historical figures with fictional ones, creating a rich tapestry of personalities across different times and places. Here’s an overview of the key characters:

Qara Köz (The Enchantress)

• Qara Köz is the central character around whom much of the story revolves. She is a Mughal princess, often described as the sister of Babur, the founder of the Mughal Empire, and is known for her beauty and the power she holds over those around her.
• Her name, which means "Lady Black Eyes," signifies her captivating presence. As the Enchantress, she becomes a figure of legend, passing through various lands and leaving a lasting impact on all who encounter her.
• Her journey is one of transformation, as she moves from the Mughal court to the world of the Ottomans and beyond, exercising power through her beauty and the stories told about her.
• This name emphasizes her mysterious, almost supernatural allure. Lady Black Eyes becomes a symbol of the mystique and allure of the East, as seen through the eyes of Europeans like Argalia and the citizens of Florence.
• Her character, as Lady Black Eyes, represents the power of feminine allure and the blending of cultural narratives.

Mogor dell'Amore (The Mughal of Love)

• Mogor dell'Amore is a mysterious, tall, yellow-haired young European traveller who arrives at Akbar’s court, claiming to have a connection to Qara Köz. He tells the story of her life, revealing hidden aspects of history that intrigue the Mughal emperor.
• His name means “The Mughal of Love” in Italian, reflecting his role as a storyteller and his romanticized view of the past. His true identity remains ambiguous, adding to the theme of shifting realities and hidden truths.
• Mogor dell’Amore goes by many names and is introduced as a stranger or foreigner. He tells people that he is nicknamed “Uccello,” a slang term for penis.
• Hauksbank is a mystical place situated near Florence, said to be the origin of Mogor dell'Amore. Hauksbank may be inspired by Sir John Hawkwood, an English mercenary (condottiero) in 14th-century Italy.

Historical Characters

Mughal Empire

• Akbar the Great: The historical emperor of the Mughal Empire, ruling during a time of cultural and intellectual flourishing. He is portrayed as a philosophical and introspective ruler, curious about the world beyond his empire and open to new ideas. Akbar struggles with the responsibilities of power, his desire for connection, and the tension between reality and imagination. He creates an imaginary wife, Jodha, to fill an emotional void in his life, illustrating his desire to shape his reality.
• Jodha Bai (Imaginary Companion): Jodha is Akbar’s imaginary wife, created from his longing for an idealized companion. Though she is a figment of Akbar’s imagination, she becomes as real to him as anyone else, embodying his inner desires and struggles. Her character explores the themes of illusion versus reality and the idea that belief can make something real, even if born of fantasy.
• Maham Anaga: Wet nurse of the Mughal Emperor Akbar, she was the de facto regent of the Mughal state after the exclusion of Bairam Khan in 1560 until Akbar's assumption of full power in 1562, shortly before her death.
• Adham Khan: Akbar's foster brother, a significant figure in the Mughal court.
• Babur: Founder of the Mughal Empire, often mentioned as the brother of Qara Köz. Though not a central character in the story's events, his influence looms large in Qara Köz’s origin story.
• Qutlugh Nigar Khanum: Babur's mother.
• Khanzada Begum: Babur's sister.
• Humayun: The second Mughal Emperor and father of Akbar.
• Gulbadan: Daughter of Babur, sister of Humayun, and aunt of Akbar.
• Prince Khusraw: Son of Prince Salim (Jahangir) and grandson of Akbar.
• Abu'l-Fazl: Akbar's chief advisor and author of the Akbarnama, one of the Navaratnas, or nine gems, in Akbar's court.
• Birbal: Grand Vizier (Wazīr-e Azam) of the Mughal court during Akbar’s reign, also one of the nine gems.
• Miyan Tansen: A legendary musician known for his extraordinary voice and music.
• Ali-Shir Nava'i: A poet from Herat, author of My Dark Eyed One.
• Mir Sayyid Ali: The first master of Akbar's royal art studio.
• Hiren the Physician: Represents the intersection of science, philosophy, and mysticism within the Mughal court. He serves as an adviser to Akbar and bridges the magical realism of the story and the more pragmatic concerns of the empire.

Safavid Dynasty

• Shah Ismail: Shah from 1501 to 1524 and victor of the Battle of Marv, Turkmenistan.

Ottoman Empire

• Sultan Mehmed II: Sultan of the Ottoman Empire for a short time from 1444 to 1446, and later from 1451 to 1481. He conquered Constantinople, marking the end of the medieval Byzantine Empire. He is one of the powerful figures Qara Köz encounters during her journey.
• Bayezid II: Sultan of the Ottoman Empire from 1481 to 1512.
• Selim I "the Grim": Son of Bayezid II and Sultan of the Ottoman Empire from 1512 to 1520.
• Janissaries: Infantry units that formed the Ottoman sultan's household troops and bodyguards.

Western Characters

• Vespucci Brothers (Amerigo Vespucci): Explorers and cartographers after whom the Americas are named. They represent the European curiosity about the wider world during the Renaissance.
• Niccolò Machiavelli: Italian diplomat, political philosopher, and author of The Prince, who appears in the novel as a character living in Florence. Machiavelli serves as a voice of reason and skepticism, offering a perspective on power and human nature, contrasting with the more mystical elements of the story.
• Andrea Doria: A Genoese admiral.
• Giuliano de' Medici: Ruler of Florence from 1512 to 1516.
• Lorenzo de' Medici: Florentine ruler of Florence, whose death from syphilis is mentioned. Machiavelli dedicated The Prince to Lorenzo.
• Savonarola: An Italian Dominican priest and leader of Florence from 1494 until his execution in 1498.
• Angelica: A character connected to the courtly life and artistic circles of Florence. She embodies the Renaissance spirit of beauty and creativity, contrasting with the Eastern allure represented by Qara Köz.
• Argalia: An Italian mercenary and childhood friend of Machiavelli, who becomes Qara Köz's protector and lover. He embodies the figure of the European adventurer navigating different cultures.
• Nino Argalia: The nephew of Argalia, who hears stories about the Enchantress, exploring how legends and stories shape cultural memory.

Other Characters

• Shaybani Khan (Wormwood): Uzbek leader and descendant of Genghis Khan.
• Vlad III, Prince of Wallachia: Also known as "Vlad the Impaler," he is another historical figure referenced in the narrative.

 

The enchantress of Florence (super summary)

Salman Rushdie’s novel The Enchantress of Florence (2008) is the product of many years of research and reading. The story employs Rushdie’s trademark magical realism, playful tone, and occasional anachronisms to tell the story of a storyteller: a European who visits the court of the Mughal emperor Akbar to tell a story that is for the emperor’s ears alone. The novel takes the form of interweaving fantastical stories the visitor spins to explain himself.

The novel opens when a mysterious yellow-haired stranger arrives in sixteenth-century Sikri, the capital of the Mughal Empire under Akbar the Great. The stranger, tasked with bringing a letter to Akbar from Queen Elizabeth I, stowed away on a Scottish ship. When he is discovered, the stranger, calling himself “Uccello,” secretly searches for the letter and finds it the night before the ship reaches its destination. He steals it, murders the captain, and escapes the ship on a dinghy.

The narrative then shifts from the mysterious stranger to the emperor Akbar. Though surrounded by concubines, he loves his wife, Jodha, whom the narrative explains is “imaginary,” and somehow able to “walk, talk, and make love, in spite of not existing.” Akbar is struggling with his own power and the concept of absolute rule. He decides to found a temple in the city where people are free to argue and speak their minds.

The stranger, now calling himself “Morgor dell’Amore,” meets with a master potion-maker, Mohini the Skeleton, at a brothel in Sikri. She prepares a special scent for him that she says will allow him to slip past the guards at the palace and gain an audience with the emperor. He does so, telling Akbar he has a message from Queen Elizabeth requesting an alliance.

Akbar takes Morgor to his new temple, where the stranger makes an enemy of the emperor’s son, Crown Prince Salim. Later, Morgor reveals what he says is his real name: Niccolo Vespucci, and says he has a secret to tell: he is the emperor’s long-lost relative. Vespucci elaborates–his mother, whom he calls Angelica, was the sister of the first Mughal emperor, Akbar’s grandfather. She was kidnapped first by an Uzbeg warlord, then by a Persian shah, who later met defeat at the hands of an Ottoman Sultan.

Akbar confers with his mother and his aunt about this story. They confirm that there was a missing princess. According to them, she was erased from family history because of her preference for the Persian shah over her own family. Originally, her name was Qara Koz, or Black Eyes.

Vespucci continues his story. He claims that in time, after the Shah was defeated, Angelica traveled to Italy alongside the warrior Argalia. Then, his story shifts back in time to three young friends in Florence: Niccolo “il Machia,” Antonino Argalia, and Ago Vespucci. Argalia’s parents die and he runs away from home. Niccolo and Ago remain in Florence.

One night they meet a woman known as “the memory palace.” Her own memories have been supplanted with the stories of others, and she tells the two young men what has become of their friend. As a child, Argalia stows away on one of Andrea Doria’s ships. The crew lets him join them, but later abandons him to act as a decoy when Doria’s fleet comes across Ottoman ships. Argalia is captured and trained as a child soldier. He rises to become an elite Janissary fighter, successfully campaigning against Vlad the Impaler, among others. For his service, Argalia is freed and changes his name to the Turkish Pasha Argalia.

Akbar is fascinated with the story, particularly where Qara Koz is involved. Many in the city, including Prince Salim, fear Niccolo’s story is somehow casting a spell over the emperor. In Niccolo’s story, Qara Koz and Argalia meet. At the battle of Chaldiran, he defeats the Persian army. The Shah flees the battlegrounds, leaving Qara Koz behind him. Argalia finds her and takes her as his mistress. She starts calling herself Angelica. When they return to Stamboul, Argalia thwarts a plot against him and must run away, eventually returning to Florence with Angelica and her servant the Mirror. They seek shelter at Niccolo “il Machia”’s farm.

In Florence, the Medici family has risen to power for the second time. Niccolo, a former official of the overthrown Republic, has been exiled to his country farm, where he works on a treatise about his observations on political power. Niccolo and Ago become enchanted with Angelica and her servant, and soon, the rest of Florence falls under their spell. Angelica becomes known as the Enchantress of Florence.

Lorenzo de Medici plots to have Argalia killed, then tells Angelica of the plot, informing her that unless she sleeps with him, Argalia’s murder will not even be punished. She consents, and soon after Lorenzo dies of syphilis. Angelica shows no signs of disease, so Florence turns on her, claiming she must be a witch. Meanwhile, Argalia, who has avoided assassination, returns to the city and helps her and the Mirror to escape. He dies defending her.

Ago takes the women in, and they travel to the New World. Niccolo Vespucci claims that there, she was able to cast a powerful spell to keep her young forever. He says that at the time of her death, she looked young enough to be his sister.

Akbar is so entranced by the story that he forgets about his imaginary wife, who disappears. But he is displeased by the ending; he says Niccolo Vespucci is too young to be his uncle. He insists that Ago and Angelica must have had a daughter, whom Ago then slept with to conceive Niccolo. And since Niccolo is impure and the product of incest, he can no longer share the emperor’s company.

Prince Salim’s wife hatches a plot against Niccolo, but he escapes danger across the lake, which begins to go dry. This is the city’s source of water, so Akbar packs up and leaves along with his court. Finally, Qara Koz appears to him, telling him that it was the Mirror who had a daughter with Ago. Akbar realizes Niccolo was innocent, and that he has lost his city for punishing him unjustly. Qara Koz says, however, that his belief in her has brought her back home at last, and that she will be his.

Rushdie’s novel explores themes that are common in his work: the power of stories to shape our world and our perspective, and the interplay between Eastern and Western cultures. The Enchantress of Florence received mixed reviews upon release. While fantasist Ursula K. Le Guin called it a “brilliant, fascinating, generous novel,” the Los Angeles Times called it “all artifice and diversion,” elevating style over substance

Quotes:

Ø  “If power was a a cry, then human lives were lived in the echo of the cries of others.”

Ø  “History could claw upward as well as down. The powerful could be deafened by the cries of the poor.”

Ø  “Make as much racket as you like people. Noise is life and an excess of noise is a sign that life is good. There will be time for us all to be quiet when we are safely dead.”

Ø  “Language upon a silvered tongue affords enchantment enough.”

Ø  “If you were an atheist, Birbal," the Emperor challenged his first minister, "what would you say to the true believers of all the great religions of the world?" Birbal was a devout Brahmin from Trivikrampur, but he answered unhesitatingly, "I would say to them that in my opinion they were all atheists as well; I merely believe in one god less than each of them." "How so?" the Emperor asked. "All true believers have good reasons for disbelieving in every god except their own," said Birbal. "And so it is they who, between them, give me all the reasons for believing in none." “This may be the curse of human race. Not that we are different from one another, but we are so alike.”

Ø  “Without water we are nothing", the traveler thought. "Even an emperor, denied water, would swiftly turn to dust. Water is the real monarch and we are all its slaves.”

Ø  “Knowledge was never simply born in the human mind; it was always reborn. The relaying of wisdom from one age to the next, this cycle of rebirths: this was wisdom.”