Motilal Menariya does not assert Dalpati Vijay a contemporary of the Chittor-king Rawal Khumman. He suggests the name of a Jain-monk Dalpat Vijay to be the author of Khumman Raso, and indicates that Rawal Khumman depicted in this text was not a king, but ‘Khuman’ or ‘Khumman’ was a honorific title for Chittor rulers, that’s why the history from Bappa Rawal (First of Mewar Dynasty) to Maharana Sangram Singh II has been introduced in this large text.
The text :
Khumman Raso beautifully and largely describes battles(Yuddha), marriage, women with their secrets (Nayika-bhed), different seasons etc. and mainly focuses, as every raso text features, on Shringar (love and beauty) and Veer (bravery) Rasas . Doha, Savaiya, Kavitta etc. ‘chhandas’ are nicely used in this text. There are inputs of the poems of Prithviraj Rathaur, Sundardas, Bihari etc. of Reeti kal in between text, therefore it is proved that these inputs had been added in 18th century.
Language of Khumman Raso is Rajasthani and it is a successful poetic creation for its poetic beauty, language and style. Find an example from the text to appreciate the flow, simplicity and effect of the language and style-
“पिउ चित्तौड़ न आविऊ, सावण पहली तीज।
जोवै बाट विरहिणी, खिण-खिण अणवै खीज॥
संदेशो पिण साहिबा, पाछो फिरिय न देह।
पंछी घाल्या पींजरे, छूटण रो सन्देह॥”
The first ‘Teej’ (celebrated festival of women) has come, but my dearest, my beloved has not reached yet. ‘Virahini’ (a woman afflicted with the pain of being separated from her beloved) is still alive looking forward the way of his arrival spending every moment in anxiety and trouble. The beloved has sent the message to return soon but yet she is in hope, he will. That’s why the body is not being lifeless as she will she him with her. ‘Panchhi’ (the soul) is caged. It is doubt, it will get away from it. (As the message of the lover has been the hope for her meeting, the beloved being in trouble will not die for the hope of his coming is making her alive.)