The contrast between the magnificent follies of the Nawabs and the decayed, impoverished post-colonial intrusions which stand among them is almost unbearably painful: everywhere, it seems, there has been a universal drop in standards and expectations.
Yet even as the greatest buildings of Nawabi Lucknow were being erected, the Kingdom of Avadh was acutely conscious that it was living on borrowed time. In 1764, before the Nawabs had even established their capital at Lucknow, their armies had already been defeated in battle by the East India Company, and over the course of the early nineteenth century the Company ate like a cancer in to the territories of Avadh: in less than fifty years the British annexed more than half the kingdom. But the Nawabs remained surprisingly well disposed towards Europeans, and delighted in the trinkets and amusements Westerners could provide for their court: European jugglers, portrait painters, watch-menders, piano tuners and even fashionable London barbers were all welcomed to Lucknow, and were well paid for their services.
If the Nawab sometimes amazed foreign visitors by appearing dressed as a British admiral, or even as a clergyman of the Church of England, the Europeans of Lucknow often returned the compliment. Miniature after miniature from late-eighteenth-century Lucknow shows Europeans of the period dressed in long white Avadhi gowns, lying back on carpets, hubble-bubbles in their mouths, as they watch their nautch girls dance before them. Even those who never gave up European dress seem to have taken on the mores of Nawabi society: Major General Claude Martin, for example, kept a harem which included his favourite wife Boulone as well as her three sisters. Nor was this sexual curiosity one-way: at least two British memsahibs were recruited to join the royal Avadhi harem, and a mosque survives which was built by the Nawab for one of them, a Miss Walters.
Much of the surviving architecture of the city reflects this unique moment of Indo-European intermingling. Constantia, Claude Martin’s great palace-mausoleum, now the La Martiniere school, is perhaps the most gloriously hybrid building in India, part Nawabi fantasy and part Gothic colonial barracks. Just as Martin himself combined the lifestyle of a Muslim prince with the interests of a renaissance man – writing Persian couplets and maintaining an observatory, experimenting with map-making and botany, hot-air balloons and even bladder surgery – so his mausoleum mixes Georgian colonnades with the loopholes and turrets of a medieval castle; Palladian arcades rise to Moghul cupolas; inside, brightly-coloured Nawabi plasterwork encloses Wedgwood plaques of classical European gods and goddesses.
For while Martin designed Constantia to be the most magnificent European funerary monument in India, the East India Company’s answer to the Taj Mahal, it was also intended to be defensible. The eighteenth century was an anarchic and violent time in India, and during an uprising in the 1770s Martin had to defend his residence with a pair of cannon filled with grapeshot. It was a lesson he never forgot, and he built Constantia to be his last redoubt in case of danger. Lines of cannon crowned the façade, and thick iron doors sealed off the narrow spiral staircases which connected the various ‘bomb-proof’ floors. On the façade Martin erected two colossal East India Company lions which were designed to hold flaming torches in their mouths. The sight of these illuminated beasts belching out fire and smoke on a dark night was intended to terrify would-be intruders.
In its wilful extravagance and sheer strangeness, Constantia embodies like no other building the opulence, restlessness and open-mindedness of this city on the faultline between East and West, the old world of the Nawabs and the new world of the Raj. To this day the whole extraordinary creation stands quite intact, still enclosed in acres of its own parkland. As you approach on your rickshaw you proceed along a superb avenue of poplar and tamarind, eucalyptus and casuarina, at the end of which you pass the perfect domed Moghul tomb which Martin built for his beloved Boulone. As he rather touchingly wrote in his will: ‘She choosed never to quit me. She persisted that she would live with me, and since we lived together we never had a word of bad humour one against another.’
Not far from Constantia, a short rickshaw ride over the railway crossing, I stumbled across a smaller but equally remarkable building from the same period. It turned out to be the ruins of one of the Nawabs’ most lovely pleasure palaces, named Dilkusha, or Heart’s Delight. Yet despite this very Persian name, Dilkusha was in fact closely modelled on one of the great English country houses, Seaton Delaval in Northumberland – but with four gloriously ornate octagonal minarets added to the otherwise austere Palladian design.
The whole period was an extraordinary moment of Indo-European fusion – a moment pregnant with unfulfilled possibilities, and one which is often forgotten in the light of Lucknow’s subsequent history. For this process of mutual enrichment did not last. As the nineteenth century progressed, the British became more and more demanding in their exactions on the Nawabs, and more and more assured of their own superiority. They learned to scoff at the buildings and traditions of Lucknow, and became increasingly convinced that they had nothing to learn from ‘native’ culture. Relations between the Nawabs and the British gradually became chilly: it was as if the high-spirited tolerance of courtly Lucknow was a direct challenge to the increasingly self-righteous spirit of evangelical Calcutta. In 1857, a year after the British forcibly deposed the last Nawab, Lucknow struck back, besieging the British in their fortified residency.
In the event, after nearly two years of siege and desperate hand-to-hand fighting in the streets of Lucknow, the British defeated the Mutineers and wreaked their revenge on the conquered city. Vast areas of the capital of the Nawabs were bulldozed, and for half a century the administration of the region moved to Allahabad. Every site connected to the Mutiny was lovingly preserved by the British – the pockmarked ruins of the besieged residency, the tombs of the fallen British leaders, every point in the town where the relieving forces were ambushed or driven back – turning much of Lucknow in to a vast, open-air Imperial war memorial, thickly littered with a carapace of cemeteries and spiked cannons, obelisks and rolls of honour. But shorn of its court and administrative status, preserved only for the curiosity of British visitors, Lucknow gradually turned in to the melancholic backwater it is today.
‘Yet even in my childhood something of Lucknow’s old graces survived,’ said Mushtaq. ‘I’ll show you what I mean.’
We walked together through the chowk, the narrow, latticed bazaar-labyrinth which was once the centre of Lucknow’s cultural life. Above us, elaborately carved wooden balconies backed on to latticed windows. Figures flitted behind the wooden grilles. Every so often we would pass the arched and pedimented gateway of a grand haveli: the gateway still stood magnificently, but as often as not the old mansion to which it led had been turned in to a godown or warehouse. A bird’s nest of electricity wires was strung down the side of the chowk, often brutally punched through the walls and arcades of the old mansions.
Below the latticed living quarters was a wonderful collection of tiny, boxlike shops, all arranged in groups by trade: a row of stores selling home-made fireworks would be followed by another row piled high with mountains of guavas or marigold garlands; a group of ear-cleaners – whose lives revolved around the patient removal of wax from their customers’ inner ears – would be followed by a confraternity of silver-beaters who made their living from hammering silver in to sheets so fine they could be applied to sticky Lucknavi sweets.
‘When I was a boy, before Partition, I came here with my brother,’ said Mushtaq. ‘In those days the chowk was still full of perfume from the scent shops. They had different scents for different seasons: khas for the hot season, bhela for the monsoon and henna for the cold. Everywhere there were stalls full of flowers: people brought them in from gardens and the countryside roundabout. The bazaar was famous for having the best food, the best kebabs and the best women in north India.’
‘The best women?’ Looking around now, all I could see was the occasional black beehive flitting past in full chador.
‘Ah,’ said Mus
htaq. ‘You see, in those days the last courtesans were still here.’
‘Prostitutes?’
‘Not prostitutes in the Western sense, although they could fulfil that function.’
‘So what was it that distinguished them from prostitutes?’ I asked.
‘In many ways the courtesans were the guardians of the culture,’ replied Mushtaq. ‘Apart from anything else they preserved the traditions of Indian classical music for centuries. They were known as tawwaif, and they were the incarnation of good manners. The young men would be sent to them to learn how to behave and deport themselves: how to roll or accept a paan, how to say thank you, how to salaam, how to stand up, how to leave a room – as well as the facts of life.
‘On the terraces of upper-storey chambers of the tawwaif, the young men would come to recite their verses and ghazals. Water would be sprinkled on the ground to cool it, then carpets would be laid out and covered with white sheets. Hookahs and candles would be arranged around the guests, along with surahis, fresh from the potters, exuding the monsoon scent of rain falling on parched earth. Only then would the recitations begin. In those days anyone who even remotely aspired to being called cultured had to take a teacher and learn how to compose poetry.’
We pulled ourselves on to the steps of a kebab shop to make way for a herd of water-buffaloes which were being driven down the narrow alley to the market at the far end. From inside came the delicious smell of grilled meat and spices.
‘Most of all the tawwaif would teach young men how to speak perfect Urdu. You see, in Lucknow language was not just a tool of communication: it was a projection of the culture – very florid and subtle. But now the language has changed. Compared to Urdu, Punjabi is a very coarse language: when you listen to two Punjabis talking it sounds as if they are fighting. But because of the number of Punjabis who have come to live here, the old refined Urdu of Lucknow is now hardly spoken. Few are left who can understand it – fewer still who speak it.’
‘Did you ever meet one of these tawwaif?’
‘Yes,’ said Mushtaq. ‘My brother used to keep a mistress here in the chowk, and on one occasion he brought me along too. I’ll never forget her: although she was a poor woman, she was very beautiful – full of grace and good manners. She was wearing her full make-up and was covered in jewellery which sparked in the light of the oil lamps. She looked like a princess to me – but I was hardly twelve, and by the time I was old enough to possess a tawwaif myself, they had gone. That whole culture with its poetic mehfils [levées] and mushairas [symposia] went with them.’
‘So is there nothing left?’ I asked. ‘Is there no one who can still recite the great Lucknavi poets? Who remembers the old stories?’
‘Well, there is one man,’ said Mushtaq. ‘You should talk to Suleiman, the Rajah of Mahmudabad. He is a remarkable man.’
The longer I lingered in Lucknow, the more I heard about Suleiman Mahmudabad. Whenever I raised the subject of survivors from the old world of courtly Lucknow, his name always cropped up sooner or later in the conversation. People in Lucknow were clearly proud of him, and regarded him as a sort of repository of whatever wisdom and culture had been salvaged from the wreck of their city.
I finally met the man a week later at the house of a Lucknavi friend. Farid Faridi’s guests were gathered around a small sitting room sipping imported whisky and worrying about the latest enormities committed by Lucknow’s politicians. A month before, in front of Doordashan television cameras, the MLAs in the State Assembly had attacked each other in the debating chamber with microphone stands, desks and broken bottles. There were heavy casualties, particularly among the BJP politicians who had come to the Assembly building marginally less well armed than their rivals: around thirty had ended up in hospital with severe injuries, and there was now much talk about possible revenge attacks.
Tower has passed from the educated to the illiterate,’ said one guest. ‘Our last Chief Minister was a village wrestling champion. Can you imagine?’
‘All our politicians are thugs and criminals now,’ said my neighbour. ‘The police are so supine and spineless they do nothing to stop them taking over the state.’
‘We feel so helpless in this situation,’ said Faridi. ‘The world we knew is collapsing and there is nothing we can do.’
‘All we can do is to sit in our drawing rooms and watch these criminals plunder our country,’ said my neighbour.
‘The police used to chase them,’ said the first guest. ‘But now they spend their time guarding them.’
Mahmudabad arrived late, but was greeted with great deference by our host, who addressed him throughout as ‘Rajah Sahib’. He was a slight man, beautifully turned out in traditional Avadhi evening dress of a long silk sherwani over a pair of tight white cotton pyjamas. I had already been told much about his achievements – how he was as fluent in Urdu, Arabic and Persian as he was in French and English, how he had studied postgraduate astrophysics at Cambridge, how he had been a successful Congress MLA under Rajiv Gandhi – but nothing prepared me for the anxious, fidgety polymath who effortlessly dominated the conversation from the moment he stepped in to the room.
Towards midnight, as he was leaving, Mahmudabad asked whether I was busy the following day. If not, he said, I was welcome to accompany him to the qila, his ancestral fort in the country outside Lucknow. He would be leaving at eleven a.m.; if I could get to him by then I could come along and keep him company on the journey.
Suleiman’s Lucknow pied à terre, I discovered the following morning, turned out to be the one surviving wing of the Kaiserbagh, the last great palace of the Nawabs. Before its partial destruction during the Mutiny, the Kaiserbagh had been larger than the Tuileries and the Louvre combined; but what remained more closely resembled some crumbling Sicilian palazzo, all flaking yellow plasterwork and benign baroque neglect. An ancient wheelless Austin 8 rusted in the palace’s porte-cochère, beside which squatted a group of elderly retainers all dressed in matching white homespun.
Suleiman was in his study, attending to a group of petitioners who had come to ask favours. It was an hour before he could free himself and call for the driver to come round with the car. Soon we had left the straggling outskirts of Lucknow behind us and were heading on a raised embankment through long, straight avenues of poplars. On either side spread yellow fields of mustard, broken only by clumps of palm and the occasional pool full of leathery water-buffaloes. As we drove Suleiman talked about his childhood, much of which, it emerged, had been spent in exile in the Middle East.
‘My father,’ he said, ‘was a great friend of Jinnah and an early supporter of his Muslim League. In fact he provided so much of the finance that he was made treasurer. But despite his admiration for Jinnah he never really seemed to understand what Partition would entail. The day before the division, in the midst of the bloodshed, he quietly left the country and set off via Iran for Kerbala [the Shias’ holiest shrine] in Iraq. From there we went to Beirut. It was ten years before he took up Pakistani citizenship, and even then he spent most of his time in London.’
‘Did he regret helping Jinnah?’
‘He was too proud to admit it,’ said Suleiman, ‘but I think yes. Certainly he was profoundly saddened by the bitterness of Partition and the part he had played in bringing it about. After that he never settled down or returned home. I think he realised how many people he had caused to lose their homes, and he chose to wander the face of the earth as a kind of self-imposed penance.’
Mahmudabad lay only thirty miles outside Lucknow, but so bad were the roads that the journey took over two hours. Eventually a pair of minarets reared out of the trees – a replica of the mosque at Kerbala built by Suleiman’s father – and beyond them, looking on to a small lake, towered the walls of the qila of Mahmudabad.
It was a vast structure, built in the same Lucknavi Indo-Palladian style I had seen at La Martiniere and Dilkusha. The outer wall was broken by a ceremonial gateway or naqqar khana (drum house), on which was emb
lazoned the fish symbol of the Kingdom of Avadh. Beyond rose the ramparts of a medieval fort on to which had been tucked an eighteenth-century classical bow front; above, a series of balconies were surmounted by a ripple of Moghul chattris and cupolas.
It was magnificent; yet the same neglect which had embraced so many of the buildings of Lucknow had taken hold of the Mahmudabad qila. The grass had died on the lawn in front of the gateway, and the remaining flowers in the beds were twisted and desiccated; bushes sprouted from the fort’s roof. In previous generations the chamber at the top of the naqqar khana would have been full of musicians announcing the arrival of the Rajah with kettle drums and shenai. It was empty now, of course, but there was certainly no shortage of servants to fill it. As we drove in to the qila’s courtyard a crowd of between twenty and thirty retainers was massed to greet the Rajah, all frantically bowing and salaaming; as Suleiman got out of the car the foremost ones dived to touch his feet.
I followed him in to the qila and up through the dark halls and narrow staircases of the fort; the troop of servants followed behind me. Dust lay thick underfoot, as if the qila was some lost castle in a forest in a child’s fairy tale. We passed through a splintered door in to an old ballroom, empty, echoing and spacious. Once its floor had been sprung, but now many of the planks were missing, and others were littered with pieces of plaster fallen from the ceiling. A torn family portrait of some bejewelled Rajah hung half in, half out of its frame. It looked as if no one had entered the room for at least a decade.
The Age of Kali Page 5