This article is an initial attempt to study the ‘internal
dynamics’ of the Fatāwā-i
Jahāndārī, a ‘Mirrors for Princes’
text written in the mid-fourteenth century by Ziya Barani, an ex-courtier, resident
in Delhi. It focuses on the author's use of the ‘voice’
of Mahmud of Ghazni and, through examples from the text, tries to understand
possible meanings that it may have en-gendered for the narrative and the reader. As
such, the article is both a methodological and empirical exercise.
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