While the plays and novels of Tagore have an air of defiant realism, with modern events and situations reflected even in historical plays such as The While the plays and novels of Tagore have an air of defiant realism, with modern events and situations reflected even in historical plays such as The Chess Players, set in the time of the First War of Independence (aka Indian Mutiny) of 1857, his poems are deeply reflective and mystical. The florid language and lush descriptions revert to the poetry of classical India, in which every word was loaded with several layers of meaning.
Tagore's short stories are altogether different. Imbued with the spirit of Western romanticism, they are in the main poignant and infinitely moving. In a few brief, swift strokes, Tagore captures the essential spirit of Kolkata and the Bengalis, which in his time as in ours, reflected the struggle between traditional values and Western progressiveness. He is also able to portray a child's incomprehension of the adult world around him or her, and the betrayal of trust. To that extent, his short stories have much in common with many Russian writers, particularly Tolstoy, with whom he sustained what might be described as a pioneer pen-friendship. Fate, Destiny, Kismet feature strongly in all his work, as do the traditional values of Duty and karma. The supernatural is never absent, and several stories have ghosts and goblins walking as casually across as any of the living people through a Gothic landscape.
The strong bonds of an extended familial life in an Indian context also finds expression in these stories. Even when love is absent, the relationship bond transcends even love, as in ‘The Homecoming’ or ‘Subha,’ while the bond between servant and master is almost indissoluble, as in ‘Raicharan.’
Women in Tagore's short stories are by and large, very traditional, conservative and devout. That said, they have distinct personalities and are highly individualised, like the dumb girl Subha, for instance, or the aunt in ‘The Homecoming;’ she is not a cruel woman, only a very harassed one, who has no love to spare for her husband's nephew, brought home to live without a word to her. Or take the joyless wife in ‘Manihara;’ a cold and beautiful doll, incapable of love. It is in his novels and plays that his women are strong and unconventional, who want their own space, their own lives and their own decisions in the face of societal disapproval. Among the writers of the first half of the twentieth century, Tagore was far and away the most realistic, as well as the most revolutionary, in his treatment of women.
The story of the ‘Kabuliwala' is unique for a simple reason. Afghanis, mainly Pathans, were a common sight in Northern India before 1947, and now are hardly to be seen. They carried the reputation of being totally without guile, utterly fearless, utterly loyal to a friend or comrade, and utterly inimical to a foe. They held the fearsome reputation, furthermore, of being capable of murder over the slightest perceived offence to their honour. Tagore was able to seize upon these few myths to create in the Kabuliwala a tragic hero unsurpassed in nobility and dignity.
A word about the various translations now available. Tagore himself translated some of his poems and novels into English, not trusting the English language to do justice to the lyrical rhythms of Bengali. Unfortunately, what is sensitive and hauntingly, inexpressibly lovely in Bengali is just turgid and sentimental in Tagore's own translation. Besides, it is now outdated and sounds archaic to the modern ear. Other translations have appeared since then, perfectly good ones, but they all seem to vindicate Tagore's fears over the disconnect between a dispassionate Teutonic rhythm, and a deeply emotional Bengali musical beat. ...more
In ‘The River,’ Rumer Godden recreates the golden past of a colonial household, peopled by an English family and their English friends, and staffed byIn ‘The River,’ Rumer Godden recreates the golden past of a colonial household, peopled by an English family and their English friends, and staffed by Indian servants. The river, at the bottom of the garden, where Harriet has her Secret Place, is a symbol for life itself, as comforting in its presence as it is relentless in ever changing. This is a story of growing up, physically and emotionally, facing the consequences of one's actions, of the nature of responsibilities. In this short book, Godden has fitted both the joys of childhood and its terrors, life and death itself in wartime India, in the person one small child on the cusp of girlhood, already a writer, a dreamer and a poet who lives in her imagination as much as her baby brother lives in his world of creatures, not toys or people.
Detailed and exhaustively researched (with an excellent bibliography), this is more of interest to East and South Asian historians, than to a general Detailed and exhaustively researched (with an excellent bibliography), this is more of interest to East and South Asian historians, than to a general reader. Although it made excellent reading, there was just too much information, but perhaps that is not the fault of the author: it is the nature of the beast.
Aubrey Menen's Retelling of the Ramayana is a delightful, satirical and tongue-in-cheek version of the old epic with a modern twist. Some of the old cAubrey Menen's Retelling of the Ramayana is a delightful, satirical and tongue-in-cheek version of the old epic with a modern twist. Some of the old characters, barely recognisable, take their places on this new stage: Rama as a poltroon, Lakshman as the military hero he really was, Ravana as a noble king of a neighbouring land, and Sita, well, not quite the Sita who is worshipped. Only Dasaratha and Mantara retain their original characters.
But it is dangerous to expect it to run true to the original. This is a completely different tale, though it has certain incidents in common with the other. It is to be enjoyed for its rambunctious delight in a good round story, told with great glee. And the little side parables and fables that creep in have a wicked charm of their own.
Good humour, fun and satire are the only words to do it justice. ...more
The real difficulty with 'Anandamath' for a non Bengali reader is the absence of a later translation than the 1941 one by Basanta Koomar Roy, titled 'The real difficulty with 'Anandamath' for a non Bengali reader is the absence of a later translation than the 1941 one by Basanta Koomar Roy, titled 'Dawn Over India.' Wikisource names two others, one in 1906 by Nares Chandra Sen Gupta. This translation has the alternate title of 'Abbey of Bliss'. The third is the 1909 Aurobindo - Barindra Kumar Ghosh's 'Anandamath.' The earlier versions have a tendency to literal translations, which may sometimes confuse the reader not acquainted with Indian speech patterns.
So much for the translations. As far as Anandamath the novel is concerned, it has sunk so deep into the collective psyche of Indians that it is hard to be objective and critical about it. Set in the eighteenth century, when the East India Company was powerful enough to control an army of British soldiers, but not yet in a position to handle the equally powerful local rulers, 'Anandamath' is a revolt against Mughal rule in India, whose landlords were bleeding the populace dry, while the British, eager to ingratiate themselves with the oppressors, afforded them military support.
At a period of actual famine, some people banded together to form an ascetic warrior clan, abandoning wives and children to fight the British and the Mughals. There are scenes of great violence as the militant rebels, the 'Children', as they call themselves, exact vengeance upon their enemies.
Nonetheless, 'Anandamath' was a deeply inspirational book, with its concept of a united India, and its twin goals of self restraint and self sacrifice in the cause of a mother country. Despite its austere leadership, two young women join the group to support their husbands. One of them actually joins as a disguised militant, in men's attire, thereby becoming one of the first feminists of India. All the men wish to outperform each other in deeds of daring to proclaim their devotion to their principles and ideal. The group engages in a terrible battle, in which despite the many casualties on their side, the Children destroy Mughal rule in Calcutta, where the vacuum was soon filled by the East India Company. But that is another story.
If Scandinavia churns out the noirest of noir crime novels, India must surely turn out some of the most hilarious. Tarquin Hall, although not an IndiaIf Scandinavia churns out the noirest of noir crime novels, India must surely turn out some of the most hilarious. Tarquin Hall, although not an Indian, has been long enough in South Asia to know what tickles her, and cleverly plays on it.
Vish Puri is comparable to the great Inspector Ghote, and resolves his cases in much the same way, with determination, despite the efforts of mother's, wives - correction, wife - or staff to detect for themselves, and thwart Puri in his legitimate line of business. The difference is merely that Ghote was still a police officer, while Puri is retired and set up on his own the Most Private Detective Agency.
Satire there is, on all aspects of Indian, and especially Punjabi, life and manners, but tinged with affection and an almost grudging respect for Indian craftiness and ingenuity, as well the close links that bond extended families.
The Case of the Missing Servant takes us from the posh environs of the Gymkhana Club in Lutyens's Delhi and the glitzy kitschiness of Gurgaon to the uranium mines of Jharkhand and its Naxalites. The plotting is brilliant, through the several crossed lines, some tragic, and despite the use of codenames like Facecream and Tubelight, the characters are highly individual and expertly limned.
While all Indians venerate Subhas Chandra Bose as one of the country's great freedom fighters, the negative aspects of his association with Nazi GermaWhile all Indians venerate Subhas Chandra Bose as one of the country's great freedom fighters, the negative aspects of his association with Nazi Germany and the Japanese all but forgotten, not one Indian in ten can claim to know much about the Indian National Army.
Peter Fay's book goes to show how organised this parallel army really was, although the British Indian Army was the official army, the bodies of whose soldiers littered almost all the theatres of war, whether at Ypres or Mesopotamia. No official records of the INA remain. After the war (Japan surrendered a few months before the official end), the Indians who comprised the INA, whether officers or troops, if they came back to India, were summarily executed by the British. This history draws largely on the personal reminiscences of the children of the survivors. Given this drawback, it is a history of a truly forgotten army and the brave men who literally fought for Indian independence. It is another question entirely what would have happened had the Japanese won the war.
What does emerge is the betrayal of the Indian contingent of the British Indian Army by the British command in Singapore; how the Indian National Army was founded, and their eventual disillusionment with the Japanese, who despite their initial successes, were now struggling for survival themselves. Fay also brings out why the Mahatma and Subhas Chandra Bose took diametrically opposite views in their approach to the same objective. Also, certainly without meaning to, how the British practically drove Bose into the arms of Hitler and Mussolini.
An engrossing account of the rise and fading-out of the Indian National Army, very sympathetically studied and with understanding of Indian sensibilities and aspirations. Without deifying or even glorifying Netaji, Fay attempts a portrait of the INA that is both exceedingly brave, and sad....more
"There is nothing sadder in this story than the way it ended. "
"The story of the last thirty years of the Raj reveals little evidence of goodwill or w"There is nothing sadder in this story than the way it ended. "
"The story of the last thirty years of the Raj reveals little evidence of goodwill or wholehearted commitment to India’s well-being. On the contrary, it is an unsettling story of deceit and double-speak."
Most of the histories of the Indian subcontinent, have generally been complacent and written by the British. Post independence, a new light was shone on the aspects the British authors had ignored or dismissed as of little consequence. One particular event was described in directly contradictory words: as The Sepoy Mutiny by one set of writers, and as The First War of Independence by another.
Reid's book is among the first to understand British actions in the events leading up to the Independence of India and Pakistan from a purely Indian/Pakistan perspective. Other British writers who have been equally sympathetic are John Keay and William Dalrymple, but theirs are histories more about the East India Company, than about the mind-numbing day-to-day minutiae and frustrations of the last days of the Raj.
It is also necessary to keep in mind that as the shadow in Europe grew darker, it was important to Britain to keep her Empire intact. Britain had already lost one priceless gem, the American colonies, and was fiercely determined never to lose another. India was the first of her overseas possessions to challenge her so directly, and it is hardly surprising that she resisted so bitterly. Should India gain independence, other states would follow - as indeed did Burma (Myanmar) and Ceylon (Sri Lanka) in 1948. Thus ‘We were proposing a policy of freedom for India, and in practice opposing every suggestion for a step forward’ (Jan Morris, Farewell the Trumpets, p. 481.quoting Lord Wavell, cited in Reid's book).
At the end, when Britain was scuttling its Empire, Reid observes, "What was really unforgivable was not partition in itself, but the failure to prepare for the consequences of partition."
Rarely are histories of any subject moving without being maudlin, but Reid has an impressive battery of facts behind every one of his statements, and he is equally dispassionate in his observation of both Indian and British deeds and pronouncements. The result is a factual and yet heartbreaking record of the expectations on one side and the stubborn intransigence on the other....more
Loading...