The Age of Kali (6 page)

Meanwhile, the anarchy in Bihar grows worse month by month. This winter, a friend of mine tried driving from Patna to the north Bihari district of Purnea to inspect a series of obscure Moghul monuments. On the first day of his trip, in broad daylight, his car was stopped on a national highway by
dacoits
armed with an assortment of spears, swords and automatic weapons. My friend was robbed of everything he had with him – money, cameras and baggage. He had, however, anticipated just such an eventuality, and bravely continued on his journey with the dollars he had secreted in his socks. Twenty miles later he was stopped by a second hold-up, and in the ensuing strip-search his dollars, shoes, socks and car were taken too. He was forced to return to Patna barefoot.

LUCKNOW
,
1998

On the eve of the Great Mutiny of 1857, Lucknow, the capital of the Kingdom of Avadh, was indisputably the largest, most prosperous and most civilised pre-colonial city in India. Its spectacular skyline – with its domes and towers and gilded cupolas, its palaces and pleasure gardens, ceremonial avenues and wide
maidans –
reminded travellers of Constantinople, Paris or even Venice. The city’s courtly Urdu diction and baroque codes of etiquette were renowned as the most subtle and refined in the subcontinent; its dancers admired as the most accomplished; its cuisine famous as the most flamboyantly elaborate. Moreover, at the heart of the city lay Lucknow’s decadent and Bacchanalian court. Stories of its seven-hundred-women harems and numberless
nautch
girls came to epitomise the fevered fantasies of whole generations of Orientalists; yet for once the fantasy seems to have been not far removed from the swaggeringly sybaritic reality.

‘But look at it now,’ said Mushtaq, gesturing sadly over the rooftops. ‘See how little is left …’

We were standing on the roof of Mushtaq’s school in Aminabad, one of the oldest quarters of the city and the heart of old Lucknow. It was a cold, misty winter’s morning, and around us, through the ground mist, rose the great swelling, gilded domes of the city’s remaining mosques and
imambaras
. A flight of pigeons wheeled over the domes and came to rest in a grove of tamarind trees to one side; nearby a little boy flew a kite from the top of a small
domed Moghul pavilion. It was a spectacular panorama, still one of the greatest skylines in the Islamic world; but even from our vantage point the signs of decay were unmistakable.

‘See the grass growing on the domes?’ said Mushtaq, pointing at the great triple dome of the magnificent Jama Masjid. ‘It hasn’t been whitewashed for thirty years. And at the base: look at the cracks! Today the skills are no longer there to mend these things: the expertise has gone. The Nawabs would import craftsmen from all over India and beyond – artisans from Tashkent and Samarkand, masons from Isfahan and Bukhara. They were paid fantastic sums, but now no one ever thinks to repair these buildings. They are just left to rot. All this has happened in my lifetime.’

A friend in Delhi had given me Mushtaq Naqvi’s name when he heard I was planning to visit Lucknow. Mushtaq, he said, was one of the last remnants of old Lucknow: a poet, teacher and writer who knew Lucknow intimately, and who – slightly to everyone’s surprise – had chosen never to leave the city of his birth, despite all that had happened to it since Independence. Talking with my Delhi friends, I soon learned that this qualification – ‘despite all that has happened to Lucknow’ – seemed to be suffixed to any statement about the place, as if it were a universally accepted fact that Lucknow’s period of greatness lay long in the past.

The city’s apogee, everyone agreed, was during the eighteenth century, under the flamboyant Nawabs of Avadh (or Oudh) – a time when, according to one authority, the city resembled an Indian version of ‘[pre-Revolutionary] Teheran, Monte Carlo and Las Vegas, with just a touch of Glyndebourne for good measure’. Even after the catastrophe of 1857 and the bloody reprisals of the vengeful British, Lucknow had been reborn as one the great cities of the Raj.

It was Partition in 1947 that finally tore the city apart, its composite Hindu-Muslim culture irretrievably shattered in the unparalleled orgy of bloodletting that everywhere marked the division of India and Pakistan. By the end of the year, Lucknow’s cultured Muslim aristocracy had emigrated
en masse
to Pakistan, and the city
found itself swamped instead with non-Muslim refugees from the Punjab. These regarded the remaining Muslims with the greatest suspicion – as dangerous fanatics and Pakistani fifth-columnists – and they brought with them their own very different, aggressively commercial culture. What was left of the old Lucknow, with its courtly graces and refinement, went in to headlong decline. The roads stopped being sprinkled at sunset, the buildings ceased to receive their annual whitewash, the gardens decayed, and litter and dirt began to pile up unswept on the pavements.

Fifty years later, Lucknow is renowned not so much for its refinement as for the coarseness and corruption of its politicians, and the crass ineptitude of its officials. What was once regarded as the most civilised city in India, a city whose manners and speech made other Indians feel like oafish rustics, is rapidly becoming notorious as one of the most hopelessly backward and violent, with a burgeoning mafia and a notoriously thuggish and corrupt police force.

‘You must have seen some sad changes in that skyline,’ I said to Mushtaq as we turned to look eastwards over the charmless tower-blocks which dwarfed and blotted out the eighteenth-century panorama in the very centre of the city.

‘In thirty years all sense of aesthetics has gone from this town,’ he replied. ‘Once Lucknow was known as the Garden of India. There were palms and gardens and greenery everywhere. Now so much of it is eaten up by concrete, and the rest has become a slum. See that collapsing building over there?’

Mushtaq pointed to a ruin a short distance away. A few cusped arches and some broken pillars were all that was left of what had clearly once been a rather magnificent structure. But now shanty-huts hemmed it in on three sides, while on the fourth stood a fetid pool. At its edge a cow munched on a pile of chaff.

‘It is difficult to imagine now,’ said Mushtaq, ‘but when I was a boy that was one of the most beautiful
havelis
in Lucknow. At its centre was a magnificent
shish mahal
[mirror chamber]. The
haveli
covered that whole area where the huts are now, and that pool was the tank in its middle.
Begums
[aristocratic women] from all
over Aminabad and Hussainabad would go there to swim. There were gardens all around. See that tangle of barbed wire? That used to be an orchard of sweet-smelling orange trees. Can you imagine?’

I looked at the scene again, trying to picture its former glory.

‘But the worst of it,’ continued Mushtaq, ‘is that the external decay of the city is really just a symbol of what is happening inside us: the inner rot.’

‘What do you mean?’ I asked.

‘Under the Nawabs Lucknow experienced a renaissance that represented the last great flowering of Indo-Islamic genius. The Nawabs were profoundly liberal and civilised figures: men like Wajd Ali Shah, author of a hundred books, a great poet and dancer. But the culture of Lucknow was not just limited to the élite: even the prostitutes could quote the great Persian poets; even the tonga-drivers and the tradesmen in the bazaars spoke the most chaste Urdu and were famous across India for their exquisite manners.’

‘But today?’

‘Today the grave of our greatest poet, Mir, lies under a railway track. What is left of the culture he represented seems hopelessly vulnerable. After Partition nothing could ever be the same again. Those Muslims who are left were the second rung. They simply don’t have the skills or education to compete with the Punjabis, with their money and business instincts and brightly-lit shops. Everything they have has crumbled so quickly: the owners of palaces and
havelis
have become the
chowkidars
. If you saw any of the old
begums
today you would barely recognise them. They are shorn of all their glory, and their
havelis
are in a state of neglect. They were never brought up to work – they simply don’t know how to do it. As they never planned for the future, many are now in real poverty. In some cases their daughters have been forced in to prostitution.’

‘Literally?’

‘Literally. I’ll tell you one incident that will bring tears to your eyes. A young girl I know, eighteen years old, from one of the royal families, was forced to take up this work. A rickshaw driver
took her in
chador
to Clarke’s Hotel for a rich Punjabi businessman to enjoy for five hundred rupees. This man had been drinking whisky, but when the girl unveiled herself he was so struck by her beauty, by the majesty of her bearing, that he could not touch her. He paid her the money and told her to go.’

Mushtaq shook his head sadly: ‘So you see, it’s not just the buildings: the human beings of this city are crumbling too. The history of the decline of this city is written on the bodies of its people. Look at the children roaming the streets, turning to crime. Great-grandchildren of the Nawabs are pulling rickshaws. If you go deeply in to this matter you would write a book with your tears.’

He pointed at the flat roof of a half-ruined
haveli
: ‘See that house over there? When I was a student there was a nobleman who lived there. He was from a minor Nawabi family. He lived alone, but every day he would come to a
chaikhana
[teahouse] and
gupshup
[gossip]. He was a very proud man, very conscious of his noble birth, and he always wore an old-fashioned
angurka
[long Muslim frock-coat]. But his properties were all burned down at Partition. He didn’t have a job and no one knew how he survived.

‘Then one day he didn’t turn up at the
chaikhana
. The next day and the day after that there was no sign of him either. Finally on the fourth day the neighbours began to smell a bad smell coming from his house. They broke down the door and found him lying dead on a
charpoy
. There was no covering, no other furniture, no books, nothing. He had sold everything he had, except his one set of clothes, but he was too proud to beg, or even to tell anyone of his problem. When they did a post-mortem on him in the medical college they found he had died of starvation.

‘Come,’ said Mushtaq. ‘Let us go to the
chowk
: there I will tell you about this city, and what it once was.’

At the height of the Moghul Empire during the early seventeenth century, said Mushtaq, Shah Jehan, the builder of the Taj Mahal, had ruled over a kingdom that stretched from the Hindu Kush in the north almost to the great diamond mines of Golconda in the south. But during the eighteenth century, as the empire fell apart, undermined by civil war and sacked by a succession of invaders from Persia and Afghanistan, India’s focus moved inexorably eastwards, from Delhi to Lucknow. There the Nawabs maintained the fiction that they were merely the provincial governors of the Moghuls, while actually holding a degree of real power and wealth immeasurably greater than the succession of feeble late-Moghul monarchs who came and went on the throne of Delhi.

Gradually, as the Moghuls’ power of patronage grew ever smaller, there was a haemorrhage of poets and writers, architects and miniature-painters from Delhi to Lucknow, as the Nawabs collected around them the greatest minds of the day. They were men such as Mir, probably the greatest of all the Urdu poets, who in 1782, at the age of sixty-six, was forced to flee from his beloved Delhi in an effort to escape the now insupportable violence and instability of the Moghul capital.

The Nawabs were great builders, and in less than fifty years they succeeded in transforming the narrow lanes of a small medieval city in to one of the great capitals of the Muslim world: ‘Not Rome, not Athens, not Constantinople, not any city I have ever seen appears to me so striking and beautiful as this,’ wrote the British war correspondent William Russell in the middle of the Great Mutiny. ‘The sun playing on the gilt domes and spires, the exceeding richness of the vegetation and forests and gardens remind one somewhat of the view of the Bois de Boulogne from the hill over St Cloud … but for the thunder of the guns and the noise of the balls cleaving the air, how peaceful the scene would be!’

After six hundred years of Islamic rule in India, what the Nawabs achieved at Lucknow represented the last great swansong of Indo-Islamic civilisation, a final burst of energy and inspiration before
the onset of a twentieth century holding little for Indian Muslims except division, despair and inexorable decline.

Since I had arrived in the city I had spent a couple of bright, chilly winter days jolting around the old city on a rickshaw, visiting a little of what was left. The architecture of the Nawabs has sometimes been seen as a decadent departure from the pure lines of the great Moghul golden age, and there is some truth in this: there is nothing in Lucknow, for example, to compare to the chaste perfection of the Taj. Moreover, in the years leading up to the Mutiny some of the buildings erected in Lucknow did indeed sink in to a kind of florid, camp voluptuousness which seems to have accurately reflected the mores of a city whoring and dancing its way to extinction. To this day a curtain covers the entrance to the picture gallery in Lucknow, after a prim British
memsahib
fainted on seeing the flirtatiously bared nipple of the last Nawab, Wajd Ali Shah, prominently displayed in a portrait of the period. The same feeling of overripe decadence is conveyed in late-Nawabi poetry, which is some of the most unblushingly fleshy and sensual ever written by Muslim poets: