LEWIS’S ROYAL LYCEUM

In the Making of Homegrown Professional Theatres and Theatricals of Calcutta

View of Calcutta Maidan By Charles D’Oyly. Courtesy: BL. Lewis’ Royal Lyceum Theatre was situated near Ochterlony Monument.

Backdrop

When the English came to Calcutta they brought with them the plays of William Shakespeare. When Lewises arrived in 1864, English theatre made a century dating from Calcutta’s second playhouse: the Calcutta Theatre. The first one, named ‘Play House‘, already destroyed in the Battle of Lalldighi, had left its little but precious history untraceable. It was, however, the collective experience contributed by a number of small private playhouses that shaped the minds of the Calcutta audience of the 1840s to appreciate Augusto Cagli’s Italian operas and the English theatres of Mrs Esther Leach. The immense goodness she brought about in developing Calcutta’s theatrical culture through her two unlucky establishments, the Chowringhee Theatre and the Sans Souci together with her liberal-minded friend circle paving the inroad toward making modern vernacular theatre, which had to wait for a decade more to begin. Lewises entered the scene in that opportune moment and did their best to inspire and facilitate instituting the Bengali theatre on the English model.

For a long time, Calcutta had no permanent home to stage an opera or a theatre after the Sans Souci collapsed in the 1840s. That is why in 1866 it was a challenge for the haut society of the City of the Palace to accommodate in the Town Hall the debut performance of Augustus Cagli – though it was one of his orchestra-less chorus-less semi-staged concerts played by a small band of 12 artists. In spite of the serious limitations of the utilitarian structure of the public Town Hall, the event proved to be a grand success. [Rocha] It was a time when both the media and the townfolk argued that what was missing from Calcutta was an opera house, for the city already boasted a fine opera company and an enthusiastic audience. They genuinely believed, ‘were a suitable building erected, an opera could be maintained here’ [Rocha]. Happily, not even a year went by, as many as three new theatres founded in Calcutta: Cagli’s ‘Opera House’ later rechristened The Corinthian, the Lindsay Street Opera House reserved for Cagli, and the Lyceum on the Maidan set up by Lewis couple. [Rocha]

Rose Edouin Lewis (1844-1925) Courtesy: Mimi Colligan
George Bejamin William Lewis (1818-1906). Courtesy: Mimi Colligan. State Library of Victoria Collection

Lewises in Calcutta

Six years before establishing the Lyceum theatre, George Benjamin William Lewis had toured Calcutta in early October 1860 with his Australian Hippodrome and Mammoth Amphitheatre. He opened here a circus on the 16th of October in a huge tent in the Maidan with the special permission of the British authority. After many gainful years of running the circus business in China and India Lewis had sensed an upcoming market for a British theatre in two colonial cities – Calcutta and Shanghai. Lewis moved from circus to stage in 1864 while in China with lady Rose – a 23-year-old English actress of rare talent and beauty whom he married on their boat sailing to Shanghai. Lewis’s Dramatic and Burlesque and Ballet Company arrived in Calcutta in early September 1867. Acquiring access to a rent-free land on the Maidan, he had erected a prefabricated corrugated iron theatre close to the Ochterlony monument. Lewises inaugurated their first theatre in Calcutta under the banner, ‘Lewis’s Royal Lyceum’ in mid-September 1867. Sadly, in less than two months a disastrous cyclone lashed about Calcutta on the first day of November, tearing down some old buildings and parks including the newborn Lyceum flattened to the ground. It took, however, only eight days for Lewis to erect the structure anew, which he did without taking any help offered by the Calcutta sympathizers.

Programme for the School of Scandal at Lyceum, Calcutta Feb. 1869. Courtesy: Mimi Colligan. State Library of Victoria Collection

Lyceum Royal Theatre

The theatre was impressive and well-equipped, approached by a broad flight of steps. The hall measured about 40 by 100 feet claimed to hold 800 people. With an interior decorated with guilt plaster walls and red velvet seats, ‘ample and imposing stage’, a proscenium, pit, boxes, and a gallery it had a look of an English provincial theatre. While the overall management of the theatre was the responsibility of Mr George Lewis, his wife Edouin Rose Lewis as the ‘Directress and Star’ dominated the acting and the choice of plays, stage managing, and rehearsing. As an actress, her versatility was legendary. She had the ability to play ‘from High Tragedy to Burlesque with equal skill and success ‘. She also appeared in a male role but, as Englishman reviewed on 19 Jan. 1874, with limited success being ‘essentially feminine and graceful in appearance, voice and manner’ [Colligan]. The first dramatic company Lewises had engaged in Calcutta consisted of 21 artists. Except for Austin Shanghai – the young acrobat from China, all others were from Melbourne. Lewises had produced at the Lyceum mainly Elizabethan and Victorian tragedies and comedies besides burlesque and pantomime. Their repertoire reflected the ‘popular taste and largely unquestioned attitudes of London and Melbourne’ an admixture of British and orientalist, melodramatic and burlesque, even sometimes with imperialist and racist appeals. During the two and half years, a transition from the formal stage play of the mid-century to the more natural acting style and realist drama of the late nineteenth century took place representing the theatre of Sydney Grundy, H.A. Jones, Pinero, Ibsen, Wilde, and Shaw. Lewises developed Lyceum to be an audience-oriented professional theatrical enterprise. Both George and Rose Lewises were English by birth, and it was an English theatre of predominantly London repertoire they staged for the Calcutta audience comprising the British and European members of the civil and military services and their families, not discounting, however, the British educated natives of Bengal. Lewises welcomed all theatre lovers irrespective of racial differences, yet their pricing policy restricted admission of the disadvantaged ones. The price-tags of the admission tickets were on the high side: two to five rupees at the beginning, afterwards revised to one to five – which were, in fact, more expensive than at London where the highest being of about seven shillings. Later, they discarded the one-rupee ticket because of the ‘bad behaviour of audience’ at the lower gallery [Colligan]. From the very beginning, Lewises took all care to keep their theatre high in professional standard and in respectability. Lewises took pride in keeping up that will to the last, as revealed from the farewell address of Rose Lewis delivered in 1876 before leaving Calcutta finally [Dasgupta].

Winding-up of Lyceum

In early 1870, after more than two and half years in India and their third season in Calcutta, Lewis decided to end his connection with the sub-continent and return to Australia. He advertised on March 10 1870 his Lyceum Theatre for sale. Lewises wished continuity of the English theatre in Calcutta, and perhaps they were also reluctant to cut off Calcutta link in haste that was what prompted them to encourage Willie Gill, a ‘low’ comedian in their team, to take a venture to start a theatre anew on the site of Lyceum. After a farewell performance at Lewis’s Lyceum on 31 March 1870 night Lewises left Calcutta without any plan to coming back soon. Willie Gill was true to his promise to provide a theatre on the old Lewis site. Together with a Calcutta businessman, named Sultana, Gill opened a theatre on the Maidan in October 1870. He opened their theatre under the banner, ‘Olympic Theatre’, in early October. But although some critics liked the ‘capital actors’ the venture failed. p.95 [Colligan]The Lewis company was only one of many entertainment troupes that visited Calcutta in the mid to late nineteenth century, but they were the first to stay for a length of time of seven years. They influenced Calcutta theatre in the form of their public purpose-built proscenium theatre itself and by their repertoire and production values [Colligan]. The story of Lewis’ Royal Lyceum ends here but not before it lights up the first Modern Bengali Stage.

II A STEP TOWARD BENGALI PUBLIC THEATRE

Apart from the direct influence of the performing English theatres in nineteenth-century Calcutta, there had been a conscious learning process introduced by some extraordinary schoolmasters for their students to acquire tastes and skills of theatrical arts and stage crafts. In the nineteenth century, Shakespeare was taught in several venerable Calcutta schools before it was a subject of higher study in Hindu College. English literature was studied there under great teachers like David Lester Richardson, C.H. Tawney, H.M. Percival, and Henry Louis Vivian Derozio. Prof. Richardson used to advise his students to go to see Shakespeare on the stage. [Dahiya] The boys knew the names of the good actors and actresses of Calcutta, and also familiar with the names of David Garrick, Sarah Siddons, and some other famous performers of London theatres. [Mukherjee]

Theatre In Schools

The reading of English dramas and recitation and enacting of scenes were practised and encouraged in such early nineteenth-century educational institutions of Calcutta as Drummond’s School at Dharamtolla, Sherborne’s School at Chitpore, David Hare’s School, Gour Mohan Auddy’s Oriental Seminary, and Alexander Duff’s General Assembly’s Institution. [Bandyopadhyay]

The boys of David Hare Academy staged ‘The Merchant of Venice’ on 16 and 24 February 1853 under the direction of Mr David Clinger, a teacher of English in Calcutta Madrassa. Mr Clinger was also associated with the Sans Souci Theatre. Sambad Pravakar reported on 10 February 1853 that it was the first such performance by students in an educational institution [Mukherjee]. The credit, however, as we understand, should go instead to the Dharmatalla Academy of David Drummond (1785-1843) for staging Home’s tragedy ‘Doglus’ in 1824 – a decade before the establishment of Hindu Theatre, being the earliest attempt in making young minds ready to appreciate modern theatre.[Dasgupta]

Bengali Private Theatres Before Lyceum

Before Lewises’ Dramatic company landed with its collapsible theatre, Calcutta had experimented with the realities of establishing a few short-lived indigenous private theatres:

HINDU THEATRE (1831) In response to the public demands voiced in Samachar Chandrika since 1826 for establishing a theatre on the model of the English theatre, Prasanna Kumar Tagore, himself a product of Hindu College, founded the Hindu Theatre on 28 December 1831, with his college friends imbibed with westernised values and ideas in mind. This was the first theatre founded by a Bengali, housed in his garden-house in Narkeldanga, a Bengali quarter, for a Bengali audience, but had no place for Bengali drama, and therefore it was never considered as the first English modelled native theatre. The Hindu Theatre was an aristocrat theatre and its audience comprised Indians and Europeans admitted by private invitation only. Hindu Theatre, in spite of its excellent performances, was short-lived. It might have failed to appeal Bengali audience at large because of the sophisticated and exotic content and form of the plays it staged.

SHYAMBAZAR THEATRE (1835) After Hindu Theatre closed, the Shyambazar Theatre came next, again as a private theatre, to stage Bengali plays. The theatre was housed at the residence of Babu Nabin Chandra Basu in North Calcutta. On 6 October 1835, the theatre was inaugurated playing ‘Vidya Sundar’ – a long play that continued from 12 midnight to 6.30 in the morning having its different scenes enacted at separate locations with appropriate makeover within the sprawling mansion. The female roles in Vidya Sundar were played by female artists: Radhamoni, Jaidurga and Rajkumari. The theatre died a premature death like its immediate predecessor. After Nabin Chandra Basu’s Shambazar Theatre there was a lull in the world of Bengali theatre for about two decades. Nothing happened except the handful performances of English dramas at Calcutta schools between-whiles as mentioned before.

ORIENTAL THEATRE (1853-1857)  Bengal Harkaru of 7 April 1853 reported that the students and ex-students of the Oriental Seminary raised a sum of Rs. 800/- to set up the theatre at Garanhata, Chitpore for staging Shakespeare’s plays. The pioneers included Priyanath Dutt, Dinanath Ghosh, Sitaram Ghose, Keshab Chandra Ganguly and others. It took some five months to get ready under the drilling of Mr David Clinger, an English teacher at Madrassa and an associate of Sans Souci, and Mr Roberts and a lady named Miss Ellis. There were also some European actresses who took part in Shakespearean plays, as we find Mrs Greig appeared as Portia in their play Merchant of Venice on 2 March 1854 and then on 17 March. Oriental Theatre was open to the public against admission tickets of Rs. 2 each, which to be had of Messrs F W Brown & Co. and Baboo Woomesh Chunder Banerjee, Cashier, Spences Hotel.

JORASANKO NATYASALA (1854) This was again a short-lived English theatre, contemporaneous with its neighbouring Oriental Theatre at Baranasi Ghose Street. Jorasanko Natyasla was a privately-owned theatre of Babu Parry Mohan Bose but not a ‘private theatre’ since it practised admission by tickets sold publicly. On 3 May 1854, it staged Julius Caesar in English. At the end of the year, Jorasanko Natyasala staged some plays in Bengali in response to the appeal of The Hindu Patriot (11 May 1854).

OTHER PRIVATE  DESHI THEATRES Besides these four theatres, there were some more short-lived private theatres of great historical importance that had performed vernacular dramas with local talents, like the Belgachia Theatre (1858-1861), Pathuriaghata Theatre (1859-1872), Sobhabazar Theatre (1865-1867), Jorasanko Theatre (of Tagores) (1865-1867). All the theatre houses were local initiatives that ceased to exist little before the coming of Lewises in mid-September 1867 to establish Lyceum Royal Theatre at Maidan. Two other such vernacular private theatres, Bowbazar Theatre (1868-1874) and Baghbazar Amateur Theatre (1868-72) were contemporaneous to Lyceum. It was the latter, which had its history intertwined with the Lewis’ Lyceum affairs.

BENGALI AUDIENCE & ESTHER LEACH

Lewises’ theatres had gained a mighty advantage of having a ready Bengali audience receptive and appreciative of theatrical entertainments and artistry, backed by their elementary learnings of the English dramas and theatrical arts at schools, besides their exposures to the stage performances of the English and vernacular plays. An earnest Bengali spectator was born to be tuned to the English theatre of the latter half of the nineteenth century Calcutta and for that largely responsible were Mrs Leach’s theatres, particularly the Sans Souci, which is overstated sometimes by historians as “the last important English theatre in Calcutta” [Dasgupta?] belittling the seven years Lewises contributed to Calcutta’s English theatre. On the other hand, some of them, like Colligan, preferred to overlook the deep imprints of the ‘actress-manager Mrs Esther Leach’ who had achieved, to their mind, only ‘a moderate success’ [Colligan].

LYCEUM: A BOON TO YOUNG BENGALI THEATRE

Advantaged with the new research findings on Lewis’ theatres in Calcutta, which remained unavailable to the veteran theatre historians, one can identify today more confidently the eventualities bearing on the emergence of the professional Bengali theatre – modernistic, realistic and democratic – that outlasted the English theatres of the English in Calcutta. For the sake of convenience, I may be allowed to tag the period of Olympic Theatre (popularly called ‘Sultan’s Theatre’) [Binodini], which followed next, to the history of Lewises’ Lyceum Royal Theatre, on the plea of Olympic Theatre being merely an extension of the former without adding anything new for its identity other than the name. The special significance of the Olympic Theatre was that, in absence of the Lyceum, it facilitated the Baghbazar amateurs to inspect the specimens of Lyceum’s building, auditorium, stage, scenes and screens.

Since this paper is restricted to the phase of Lewis’ Royal Lyceum Theatre most of the contributive issues involved with the Lewis’ Theatre Royal will remain untold. I will concentrate here on only two relevant issues:

  • A historic friendship between the two great thespians: Mrs Lewis and Girish
  • Adaptation of English model by Dharmadas in building early Bengali theatres

CAMARADERIE BETWEEN GIRISH AND MRS LEWIS

The most critical event in the history of professional theatre in Bengal deems to be the chance friendship between Girish Chandra Ghosh, the father of the Bengali theatre, and Mrs Rose Edouin Lewis, the queen of the English theatre of then Calcutta. The two versatile thespians were exactly of the same age, born in 1844, Girish on 28 February, Rose 29 January. Their bonhomie served as the foundation for the generous cooperation and support the young Bengali theatricals received in transforming their traditional resources and styles into the professional theatre of the modern time that should happen in course of the next five years.

Girishchandra Ghosh (1844-1812) Source: Girish-rachanabali. V.4

Amritalal Basu, a doyen of Indian theatre, revealed in his memoir how Girish came in touch with the famous English actress Rose Edouin Lewis. Girish, it looks like, often visited Lyceum theatres even before he met Mrs Lewis in his office. He was then in the employment of the John Atkison & Co. at no. 6 New China Town Street. Mrs Lewis had occasions to visit Atkinson’s as the company was looking after her business account. Incidentally, it was Girish who was keeping her books. Mrs Lewis, already a celebrity – a star actress, unapproachable ordinarily by commoners like young Girish. It is interesting to note here that once Amritalal before he ever met Girish, had refused to believe that mere an office clerk, what Girish was, could ever recite or play a Shakespeare. For Girish, however, theatre came naturally, and his job title did hardly matter. On the contrary, Girish had a sore point with ‘acting as a profession ’ that was looked down on in respectable Bengali society. This was why Girish had been much reluctant to print his name on theatre bills unless a qualifier ’amateur’ was annexed to guard his honour. This again might be the primary reason for his disapproval of ticket selling, which was considered lowly in the middle-class mindset. [Basu]

As mentioned earlier, Girish had frequented Lyceum theatre before he met Rose Edouin Lewis at Atkinson’s. [Gangopadhyay] He had times to talk about the plays he witnessed and frankly exchange views on points of strength and weakness insightfully. Mrs Lewis was supposedly very pleasantly surprised seeing in her bookkeeper a critical mind of a matured artist. She used to take him for an evening ride on her phaeton for prolonging discussions on various aspects of western dramas and their enactments.

Their friendship, Amritalal and other theatre historians think, had helped Girish in flourishing his theatrical genius. The kind of discussions he had with Mrs Lewis and the exposures he had to English plays at Lyceum, helped Girish enacting a ‘Nimchand’ in the play ‘Sadhabar Ekadashi’ so bewitchingly. Amritalal Basu, in his reminiscences, spoke of Girish playing the role of Nimchand in verse:”মদে মত্ত পদ টলে নিমে দত্ত রঙ্গস্থলে । প্রথম দেখিল বঙ্গ নব নট গুরু তার ।।” [Girishchandra] Mrs Lewis must have been present in one of the repeat shows of Sadhabar Ekadashi to witness Girish in acting, which as we understand from Utpal Dutt, she considered a masterpiece. [Dutt]

BAGHBAZAR AMATURE THEATRE

When the Bagbazar Amature Theatre (1868- 11 May 1872) created by a few local theatre enthusiasts who wanted to do their theatre in a modern way as did the English theatres at Lyceum, Opera House, and Corinthian in then Calcutta. They also wanted to make their theatre open to all, that is, not restricted to the few rich elites, but to the commoners as well. In spirit and actions, the Bagbazar Amateur Theatre was the precursor of the Great National Theatre initiated by the same aspirant theatricals: Nagendra Nath Banerjee, Dr Radha Madhab Kar, and Ardhendu Shekhar Mustafi. Girish was then working at Atkinson‘s. The group rehearsed under Ardhendu, and on the day of ‘Experimental Play’ (dress rehearsal), Girish joined the initiative as their undeclared leader. He, however, refused their plan for selling tickets, instead, he advised collecting donations to meet expenses that Madhusudan Dutta had recommended earlier.

The play ‘Sadhabar Ekadasi’ was first staged in October 1868 by Bagbazar Amateur, after a year their theatre founded and repeated four times within a fortnight under the directorship of Girish on different dates in different places. Two more plays of Dinabandhu: ‘Biye-pagla buroh’ and ‘Leelabati’ were staged with overwhelming success. ‘Without Dinabandhu’s simple and socially relevant plays the young thespians would have been nowhere.’ [Mukherjee] They felt now more desperately than ever for a permanent theatre to stage their enactment in a natural style as done in the contemporary world of English theatres.

National Theatre was not born yet. The members of the new Bagbazar Amateur Theatre were then drifting aimlessly without a home. The attention of a few energetic young was drawn to a collapsible theatre building in the maidan belonging to the Lewis’ Lyceum Theatre. Unfortunately, before they reached, the Lyceum sold out. On 10 Mar 1870, George Lewis advertised for the sale of Lyceum building and accessories including the extended stage scenes, dresses, and machinery. Before leaving Calcutta Lewises had encouraged Wille Gill, a funnyman in their team, to take a venture to keep up the presence of the British theatre in Calcutta. Gill took the challenge and reinstalled the theatre on the same site with a new name, ‘Olympic Theatre’ in early October 1870. Gill did it in collaboration with some A.G. Sultana, the proprietor of Liberty Hotel – a small bar at 85 Bentinck Street [Bengal Directory, 1876]. Sultana worked for Gill as the contractor for erecting the theatre building, and perhaps it was he who did the same job two and half years ago for Lewises. Those days, as we may find in Binodini’s ‘আমার কথা’, the theatregoers often referred to the new ‘Olympic’ as ‘Sultana’s Theatre’ after the name of Sultana – a flamboyant who sported earrings [Binodini].

Hunt For A Model Theatre

Apparently, when the three Baghbazarian youth, Amritalal, Dharmadas Sur, and Nagendra Banerjee, at last, reached the English theatre at Maidan, Lewises had left and in place of their Lyceum Theatre, the Olympic Theatre, nicknamed Sultana’s theatre, was in operation. The zealous theatricals bought three ‘pit’ tickets and watched intently the performance of English theatre, and at the same time, sitting on their chairs, they gathered the details of the auditorium and stage-related objects, including an estimated size of the stage screen upon calculating the number of the folds. It was the idea of acquiring building materials cheap and affordable that brought them to the door of Sultana who lived in a lane off Bentick Street. In an adjacent plot, he had dumped the old pieces of dislodged materials of the Lyceum Theatre. They did not succeed in getting those as Sultana demanded an absurdly large amount for the lot. Moreover, some experienced well-wishers advised the youngmen against buying spoiled materials with holes. They spent more justifiably around Rs 3,000 on some good teak logs purchased from the Guillinders company, which were eventually reused in constructing the Star Theatre and remained there in sound condition even in 1927 [Basu].

First Bengali Theatre after the model of Lyceum Theatre

The visit to Sultana, however, was not altogether futile since that had allowed Dharmadas Sur a singular opportunity to steal a look with his penetrating eyes at a wooden miniature of the Lyceum Theatre that served as the model for building the first homegrown theatre. [Amritalal] Lewis theatre had its walls and the roof made of corrugated sheets. Dharmadas made the walls of wooden planks, which were cheaper than corrugated sheets because those were not saleable at the old railway market. Dharmadas finished the building flawlessly proving his extraordinary talent in stagecraft, equipped with his discerning eyes and nimble fingers. He had no engineering background but was fortunate to have someone like Jogendranath Mitra, a civil engineer by his side to provide expert advice whenever needed.

Dharmadas Sur was also generally recognized as the first scene painter of the public theatre. He got his ideas from the scenes used in contemporary local English theatres, the Lewes Theatre at Chowtinghee and Opera House at Lindsay Street. These theatres used portable ‘rolling’ canvas scenes. The style of the English scenes was at first imitated, then modified with a few local touches, to recreate the Bengali play being performed. Scenes of Nildarpan, the first public theatre play, were painted in this manner. [Mukherjee] Dharmadas apart, we understand from the narration of Radha Madhab Kar that he was no less involved in making the first modern stage. It was Girish who told his young colleagues that the use of drop-scene was no good to give effect all kinds of stage events, and we must try to install the sliding scenes as could be found in operation in the Olympia Theatre (Sultana’s) at Maidan. Radha Madhav,
then a student of Engineering College, was surveying the Maidan area living in a camp. He with a few others (names not mentioned) bought tickets to witness ‘Macbeth’ played by one American among mostly Australian artists. The show won their heart. Radha Madhab felt an urge to learn how to reproduce similar theatre scenes. He wrote a personal letter requesting permission to go and study the interior of the Olympic Theatre, which was readily granted. He took full advantage of their friendly cooperation in learning several stage-art techniques like how on the stage the boats float, the man vanishes while flying in the sky, or how to recreate raining and thundering effects on the stage. All these techniques were translated into realities while erecting their own stage in the house of Rajendra Pal. Although Radha Madhab Kar’s episode was not corroborated by the contemporaries, his contributions may not be ignored altogether unless proved otherwise. [Gupta] It is, however, a well-established fact that the Great National requisitioned the service of David Garrick, originally principal of an art school and then an independent painter and photographer, to paint few representative flat scenes: a garden, a forest with mountains, and the interior of a room. He also painted a drop-scene depicting a view of Varanasi on the Ganges. They paid the painter a remuneration to the tune of Rs. 600/-. The next development was the introduction of carpenter or shutter scenes which were painted on flat boards and fixed on two wooden frames in two halves which were to be pushed from two sides to join up in the middle of the stage to form one whole scene. Dharmadas Sur also painted a panoramic scene. As early as 1875, that is. within three years of the beginning of the public theatre, the ‘audience saw a railway train on stage. Dharmadas was regarded as the man who taught the Bengali in making stage, while Girish Ghosh and Ardhendu Mustafi taught them stage-acting. [Mukherjee] All credit of having the permanent stage of the first theatre must go to Babu Bhuban Mohan Neogy who borne the entire expense amounting to Rs. 13,000.00 and kept it under his protection. [Dasgupta v.2]  Such theatres as George Lewis installed at Maidan and served as a model for the National Theatre were said to be available from English iron foundries like Bellhouse and co. of Manchester at a substantially high cost.

End Notes

When the audience of the modern theatre of Calcutta was a product of the 1840s, particularly under the spell of Esther Leach’s English theatres, it is undoubtedly the Lewis’ theatres: the Royal Lyceum and Theatre Royal, that directly contributed to the making of modern Bengali theatre and theatricals. The special significance of Lewis’ first phase, centred around Lyceum Theatre and the contemporary Bengali theatrical movement, remained so far unheeded in the history of theatres because the episodes of the Lewis’ enterprises were never accessible until some credible researchers, like Colligan, published their findings, which have been extensively used in this essay. The second inning of the Lewises coincided with the birth of the first homegrown professional public theatre in Calcutta – a topic for the next post.

REFERENCE

Bandyopadhyay, Brajendranath. 1939. বঙ্গীয় নাট্যশালার ইতিহাসঃ ১৭৯৫-১৮৭৬. Calcutta: Bangiya Sahitya Parishad. https://archive.org/details/in.ernet.dli.2015.477805/page/n5/mode/2up.

Basu, Amritalal. 1982. স্মৃতি ও আত্মস্মৃতি. Edited by Arunkumar Mitra. Calcutta: Sahityalok. https://archive.org/details/in.ernet.dli.2015.298801.

Binodini Dasi. 1959. আমার কথা ও অন্যান্য রচনা. Edited by Nirmalya Sanyal. Calcutta: Subarnarekha. http://boibaree.blogspot.com/2018/09/blog-post_19.html.

Chowdury, Darshan. 1995. বাংলা থিয়েটারের ইতিহাস. Calcutta: Pustak Bipani. https://granthagara.com/boi/331880-bangla-theatrer-itihas-by-darshan-chowdhury/.

Colligan, Mimi. 2013. Circus and Stage: The Theatrical Adventures of Rose Edouin and GBW Lewis. Melbourne: State Library Victoria.

Dahiya, Hema. 2011. “Shakespeare Studies in Colonial Bengal: The Early Phase.” Sheffield Hallam University. https://www.mendeley.com/catalogue/00799a00-c799-3b67-838c-fe0a08050943/?utm_source=desktop&utm_medium=1.19.8&utm_campaign=open_catalog&userDocumentId=%7B2bde07bb-1bbe-42c0-be71-f1cf8300a110%7D.

Dasgupta, Hemendranath. 1938. The Indian Stage; v.2. Calcutta: M K Das Gupta. https://archive.org/details/in.ernet.dli.2015.228124/mode/2up.

Gangopadhyay, Abinashchandra. 1927. গিরিশচন্দ্র. Calcutta: Nath Brothers. https://archive.org/details/in.ernet.dli.2015.302236/page/n1/mode/2up.

Gupta, Bipinbihari. 1952. পুরাতন প্রসঙ্গ. 2nd ed. Calcutta: Bidyabharati. https://archive.org/details/in.ernet.dli.2015.299309/page/n5/mode/1up?q=রাধা+.

Mukherjee, Sushil. 1980. Story of Calcutta Theatres: 1753-1980. Calcutta: KP Bagchi. https://archive.org/details/in.ernet.dli.2015.100095.

Rocha, Esmeralda. 2012. “Imperial Opera : The Nexus between Opera and Imperialism in Victorian,” 1833–1901. https://research-repository.uwa.edu.au/en/publications/imperial-opera-the-nexus-between-opera-and-imperialism-in-victori.

Calcutta’s Grand Opera House

Operatic culture in colonial Calcutta vanishing into the new wave of professional Bengali theatre

Emperor Napoleon III, Queen Victoria, Empress Eugénie, Prince Albert seated in Opera Box at Italian Opera. 1855
Lithograph on chinecollé. Print made by: Marie Alexandre Alophe. Courtesy: Commons

PRELUDE

Italian Opera was most ardently welcome in colonial Calcutta as an icon of British art and culture.    ’Ironically, the cultural supremacy of London and Paris was achieved not through the assertion of a nationalistic culture, but instead through the construction of cosmopolitan identity.’ [Rocha] The bondage between the two, Italian opera and British culture, deems to be a marriage of convenience than of love. The British needed to project an image larger than life in order to institute their cultural supremacy at home and, as enlightened colonialist, to zealously civilize the natives in Italian opera – the queen of all arts. Though in the early 1830s The Englishman lamented the natives being so supine and indifferent in the matter of Italian opera, in the late 1860s, Calcutta turned into a pivot of Italian opera before it faded out finally from the Indian scenario.

To some scholars, one of the root causes of the fade-out was elitism that corrupted Calcutta’s socio-economic and political structures to paralyze the democratization of services and facilities including entertainments. Italian opera was looked upon as the highest form of entertainment and a haut art that necessarily demands a cultivated mind for appreciation, and therefore the opera art aficionados are always fewer in any society, native Indians or the European. The craze for operatic art that ballooned up during the initial phase fizzled out within a decade leaving empty halls with not even fifty enthusiasts in Calcutta to buy opera tickets. One by one all the opera houses in Calcutta turned into picture houses by the end of the nineteenth century.

How one of those institutions of operatic culture, the Grand Opera House, came into existence, performed and lost is the matter of this story narrated based on a limited number of studies and reports including the research of Esmeralda Rocha most extensively used here.


The Town Hall

A view of the Town Hall. Artist: James Baillie Fraser. 1826. Courtesy: British Library

The present Town Hall, which is, in fact, the Second Town Hall of Calcutta still standing as one of the most elegant elevations in the city of palaces, the first one being the Old Court House of Calcutta that had served the township society generously in accommodating formal meetings and public events of every description until 1791 when its construction weakened beyond repair. To find an alternative venue, on May 31, 1792, a meeting was held at Le Gallai Tavern that unanimously recommended erecting a “public building for the general accommodation of the settlement” by crowdfunding through subscriptions. [Carey]

In March 1814, on completion of the Calcutta Town Hall to function as the central hub of cultural activities,   became the new icon of the city. The Hall was declared open to visitors under restrictive conditions — it shall be reserved for authorized general meetings of the inhabitants of Calcutta or for meetings of merchants, or other classes of society, for the transaction of mercantile affairs or other business, and for public entertainments on great occasions, in which the community at large is concerned. The elegance of the Town Hall rests in the simplicity of its doric architecture that consists of only a few parts but quite large to strike a clear view from a distance. Structurally, it exceeds the height of the Government House, the iconic British architecture in India, by several feet. It was planned uniquely for its stated purpose. [Rocha] The edifice still perpetuates the memory of its architect, Major-General John Garstin.

Within a year, however, the Town Hall began to show signs of certain structural snags. When its portico partly collapsed, Captain Richard Blechynden, who was called to investigate, submitted to the Chief Engineer Colonel Alexander Kyd that it was not the poor soil to be blamed, as Garstin suggested. Subsequently he was assigned for the restoration work. [Blechynden] At the close of 1815 plans were put in for several alterations involving a further 40,000 Rs. on top of the initial costs of 7,00000 Rs. [Carey] The working committee wished “to see the interior more durably arranged“, and ”make it as lasting as its appearance will be grand and beautiful“. [Sandeman] Some minor corrections and regular maintenance apart, the Hall had been running its multifunctional hospitality as a central place for committee meetings, public addresses, portrait galleries, a public library and often stage performances as well, although the Chowringhee Theatre already came into existence to stage English theatres for the Calcutta beau monde.

AUGUSTO CAGLI’S OPERATIC DEBUT AT THE TOWN HALL

In April 1866, after a spell of long 16 years since Sans Souci, the last of the theatre houses, charred and closed down, the Calcutta elite received the rumour that an Italian opera company, now touring in Bombay, would be visiting them soon. The news was met with ‘mixed feelings of excitement and embarrassment’ [Rocha]. It was totally unacceptable for the Calcuttans that on the plea of not having a playhouse they should bid adieu to the opera company coming to their city on finishing a grand session in Bombay.  A rivalry between the presidencies let the white-towners strive under psychic stress to provide a hospitable and profitable environment for the troupe. Ultimately they were relieved to rediscover the best of the Town Hall, which should be appropriately refurbished to meet all the requirements of staging an Italian opera.

Augusto Cagli. Courtesy: Victoria State Library

The Company arrived in late April and greeted with enormous public excitement. The Town Hall, freshly painted and polished, looked bright and beautiful, though the paints not fully dried. That was an occasion of great enthusiasm for the European patrons who came to attend the shows in newly prepared dresses. “Wives and daughters were equipped with new gowns, mantles and gloves, often on credit, whilst many of the men outfitted themselves with new dress coats. Despite the audience coming away from the Town Hall with their seat numbers branded across their new clothes, like a convict or a sheep, the concert was deemed a complete success by the press and public alike. [Rocha] The carriages of the opera patrons clogged the streets of Calcutta in such a chaotic manner that the Calcutta Police had to devise a set of road regulations for the first time to deal with the unprecedented volume of traffic. [Englishman, May 5, 1866, cited in Rocha] Like the recital, the full operatic performances attracted crowded houses and effusive applause. Such success encouraged both the Calcutta public and Augusto Cagli. By mid-May 1866 Cagli and the Opera Committee had decided to present a full session of opera in Calcutta on a contractual arrangement. Cagli ‘s Company will perform twice a week for Rs. 60,000 before 300 audiences against membership subscriptions. It was a great challenge for Cagli and the Committee to endorse the agreement being fully aware of the inherent limitations of the Town Hall.

“The Town Hall acoustics, which the media was complaining for a generation, still remained abysmal, and the stage and poor airing made it unbearably hot for the audience and performers alike. Furthermore, the Town Hall was beginning to prove socially inadequate…” Many believed it improper to house opera, the queen of all arts, in such a utilitarian building. In achieving a longstanding opera culture in Calcutta, the most lamentable drawback was that the city had no appropriate opera house in and around. Cagli and the Opera Committee made every effort to construct new opera houses. As many as three playhouses readied within a very short time to entertain the White Town patrons with plentiful plays. Between 1866 and 1872, Augusto Cagli and his troupe presented seven seasons of opera and established a vibrant operatic culture worthy of the prestige and self-conscious privilege of the ‘City of Palaces’. It was more about fulfilling a social, political and ideological need in Calcutta than a sudden inspiration brought along by Cagil’s enchanting performance that demanded its own Opera House.[Rocha] It may be noted that the first purposive opera house, at Tivoli, was built in the city not by any white-town sponsors but by Augusto Cagli of the touring Italian opera company to serve primarily his personal business interests.

The Grand Opera House 1867-1917

Grand Opera House. 7 Lindsay Street, Calcutta ( Later Globe Theatre). Photographer: DBH Ker. Courtesy: Flickr

Besides the will of the Opera Committee, an association of esteemed men, mostly British, there was a widespread interest in the idea of having a new opera house. While Cagli was away in Italy to hire a grander company, the Committee worked hard for setting up a new opera house. There was a growing concenscious that the opera house should be located somewhere within the white-town of Chowringhee, rather than in the vast open space of the Maidan.  As soon as the Committee found a suitable plot on Lindsay Street they acted upon quickly constructing their first opera House. The New Opera House at Lindsay Street was kept reserved for Augusto Cagil’s shows. Cagil’s Tivoli Garden Opera House was henceforth being used by other impresarios, and after a while shifted to 5 Dhurumtollah Street under the banner Corinthian Theatre. There was also a third theatre, the Lyceum, that existed on Maidan.

The Grand Opera House at Lindsay Street was founded in 1867 by the Opera Committee initially composed of all British dignitaries. After a decade Sir Alex Apcar the then Chairman had leased to Mr William B English, an American impresario for the 1875-76 season. There might have been others who owned the house temporarily before or after William B English. The Grand Opera House continued for half a century in its original form until taken over by a Bijou Company Limited of  Mr E M D Cohen in 1917. From a High Court correspondence, we gather that it was E H Ducasse, the then owner of the Opera House, who transferred the premises No. 4 Mudge Street, a corner plot at the crossing of Lindsay Street, on the 1st of April 1917 on a five-year lease to Cohen under some partly unclear terms. [High Court] It deems for operational convenience, the new house address no.7 Lindsay Street was registered in lieu of no. 4 Mudge Street. It is not yet clear if Ducasse had purchased ownership right from the Opera Committee or from someone else having the title of the property. Cohen extensively refurbished the house and reopened it as the New Opera House, which was Calcutta’s premier vaudeville venue. Among its new attractions were the roof garden fitted with marble tables around the fountain, and the beautifully appointed bar, There are also luxurious lounge rooms and smoking rooms and comfortable retiring rooms. The body of the house is equipped with comfortable opera chairs and electric fans. The modern ventilating system makes the theatre cool on the hottest nights. One unique feature of the house is that each division, the pit, the dress-circle and the gallery, is separate from the others, with separate box offices and entrances so that the various classes of patrons need not “rub shoulders” with one anothera typical elitist designing disapproved by the Calcutta society at large. Audiences were rigidly divided and separated on socio-economic lines. As a ticket increases in price, the seat becomes more conspicuous and yet more isolated. The house had 1,500 comfortable seats. Prices of admission range were from 8 cents in the gallery to $1 for a seat in the boxes. [Howells] Although the media credited all-new features to Ducasse, in fact, those were the contributions of Cohen instead who took the charge from him a year back. [Rocha]

Life in Calcutta since then was not the same anymore. The political unrest, the famine, and the war crippled the social and personal lives of Calcutta irrespective of their class. During wartime, all the halls of entertainment were closed, barring Roxy cinema (previously The Empire), which screened day and night only one movie, the ‘Kismet’, without break throughout the barren period. In the mid-1940s, the Grand Opera House was converted into the Globe Theatre – the largest cinema hall in India that entertained the new generation of Calcutta people liberally until closed down permanently in recent time.

Italian Operas on Stage

The Grand Opera House established by the Opera Committee for staging Italian Operas by acclaimed artistes hand-picked by the famous impresario Augusto Cagli to entertain Calcutta’s opera aficionados. Besides full-fledged Italian operas, Cagil also presented some Italian ballets as a pleasant surprise. The performances furnished the white-town residents ‘with the sense of pride, accomplishment and cultivation for which they had been so desperate’. Viceroyalty seemed eager to promote opera in Calcutta. Lord Mayo and the Lady Mayo were, particularly, great admirers of the high arts. Quite often they visited the Grand Opera accompanying some foreign dignitaries. When they did, declared a ‘Grand State Opera Night’ as a gesture of patronization.

The Audience

The hall admitted the audience on seasonal tickets with a price tag of Rs.100, i.e. Rs.6.25 per concert, which was pricey in 1867 but not too high for a white-towner. We may find that determining the admission fee had always been one of the most tricky issues for the survival of the Italian opera in Calcutta because the presentation of the haut art has always been an expensive affair, which could be met either by selling high-priced tickets to the maximum number of heads belonging to the relatively small upper-class community or by selling tickets with discounted price to a much larger working-class community. The first season began with the maximum number of the Calcutta elites occupying the expensive seats letting its hall half-empty – much worrying for Calcutta’s opera aficionados, who soon warned by the press that ‘should the [Italian opera] company slip through Calcutta’s hands the City of Palaces would be guilty of its current reputation for being narrow-minded and mercenary’. Next year, Cagil’s new company represented the single greatest improvement to Calcutta’a operatic culture. The popularity of his new recruit Zenoni and her talent helped Cagli to shape the repertoire and concentrating on modern tragic operas. Cagli knew by experience how fond the Calcutta audiences were sopranos and took care to choose singers more mature than their predecessors from Italy’s best regional opera houses.Repertoires

The Repertoire

During his tenure, Cagli feasted Calcutta aficionado with compositions of Bellini, Donizetti, Flotow Gounod, Mercadante, Mozart, Rossini, Verdi. Among the operas presented his time we notice that the following plays were staged often: La Sonnambula, L’Elisir d’Amore, Linda di Chamounix, Lucrezia Borgia, Il Giuramento Don GiovanniMarta, Faust, Barbiere di Siviglia, Barbiere di Siviglia, Un Ballo in Maschera Ernani, Luisa Miller, Macbeth, La Traviata, Il Trovatore.

Italian Opera had its best time when Cagli ruled Calcutta stages and after him, it waned. There was a long spell of uncertainty when the Opera Committee failed to select a new impresario after rejecting the candidature of Giovanni Pompei. Calcutta, after a long while, had to pass the winter of 1871–72 bereft of Italian opera. The city found instead a variety of lesser performative arts on its stages entertaining people in jam-packed playhouses. One such popular performer was Deb Carlson, a stage name of David Nunis Cardozo. He was an American vaudeville player renown for his Blackface roles that demeaned African Americans. [Chattopadhyay] Dalhousie Institute also launched a series of soirées musicales. The black-face minstrel Dave Carson added quite a few new musical numbers like ‘Coolie’, and ‘Bangali Babu’ specially composed for his India tour, rather than ‘Mammy’ and ‘Negro Dandy’. Carlson stayed in Calcutta for three months only, during 1872-1874, performing in Bengali and English stages.

Hindu National Theatre at Grand Opera House

Interestingly, this was the beginning of the most significant phase of the professional Bengali theatrical movement inspired by the birth of the Calcutta National Theatrical Society. The Society was established in November 1872 by a few native gentlemen of Bagh Bazar with the objective to improve the stage, as also to encourage native youths in the compositions of new Bengali dramas from the proceeds of the sales of tickets. [Englishman Nov. 1872] Immediately after, the Society was split into two groups, one being called ‘Hindu National Teatre’ led by Ardhendushekhar Mustafi and Nagendranath Bandyopadhyay, the other called ‘National Theatre’ led by Sishir Bhaduri. None of these two had any permanent stage of their own, and both were eager to negotiate with the professional as well as amateurish stages inside and outside of Calcutta.

At this juncture, Alessandro Massa took over the office of impresario and realised soon enough his inadequacy in meeting the demands of the local aficionado for the quality Italian opera artistes and attractive repertoires. Massa was honest in his efforts. He did his best to present good Italian operas and made few contributions to Calcutta’s orchestra by introducing some enchanting instruments, like the clarinet and the horn. Massa had a small working committee of his own solely for making liaise with the public and to facilitate administration. We are not sure whether it was Massa himself or his committee was responsible for inviting Hindu National Theatre to stage their Bengali dramatic performances at Grand Opera House during April 1873 for three nights.

An advertisement appeared in the Englishman, 5 April 1873 :

OPERA HOUSE

Lindsay Street
Hindu National Theatre, Calcutta
Grand Opening Night This Evening Saturday 5th April, 1873
The plays advertised were pantomimes including Mustafi
Sahbka Pucka Tamasha and the drama Sarmistha, by Michael
Madhusudan Dutt. Tickets, it was said, would be available at
at the Opera House and at the House of the Late Kaliprasanna
Singha, Baranassee Ghose’s St. The signatory at the bottom was
Nagendra Nath Banerjee. Hony. Secretary.
[The Englishman, April 5, 1873]

Hindu National Theatre performed the following items at Grand Opera House:

5 April 1873
  • Model School
  • Belati Babu
  • Title of Honour Distribution
  • Aukhil’s Wonderful Feats
  • Mustafa Saheb ka Pucca Tamassa
  • Sharmistha of Madhusudan Dutta

[With Nagendra Babu (Yayati), Ardhenu Mustafi (Vakasur),                                 Shibchandra (Shukracharya), Bel Babu (Devajani),  Kshetra Mohan (Sarmistha)]

12 April 1873  
  • Tragedy of Vidhova-Vibaha
19 April 1873  
  • Kinchit Jaloyog
  • Ekei-ki Bale Sobhyota
  • Charitable Dispensary
  • Bharat Sangit

Admission Tickets

Private Boxes  to admit 5  Rs.20  Lower Stage to admit 4  Rs 16

Dress Circle …      Rs 4  Stalls Front  …      Rs 3

Stall Back     …      Rs 2  Pit       …      Re 1

[Dasgupta vol.2]

Mustafa Saheb Ka Pucca Tamassa

The experience of performing Bengali drama with full house attendance on an exclusive modern stage in the white town was amply rewarding to the young institution that was founded to provide public performances of newly-composed Bengali theatre works and to invigorate Bengalis’ cultural pride, and fan the flame of nationalist sentiment. Among the items performed on April 5, there was one extraordinary piece, Mustafa Saheb Ka Pucca Tamassa (Item No.4) that deserves special attention. It was a highly appreciated satire composed and played by Ardhendushekhar Mustafi in response to Mr Dev Carson’s item, the Bengali Babu, a hot favourite caricature he staged a number of times here at Grand Opera House beside Dalhousie Institute, and Jorasako Public Theatre. He used to draw large crowds, earned a good deal of money and was much applauded when he sang :

“I am a very good Bengalee Babu
“I keep my shop at Radhabazar ;
“I live in Calcutta, eat my dalbhat
“And smoke my Hookka.”
   

[Indian Mirror, 22nd, Jan. 1873.]

Deb Carson stayed only a couple of months in Calcutta and was spoken of with much interest by The Englishman as it appears from the following:

“The inimitable Deb gave his last regular performance on the Bengali stage, however, there was only one man, who was a match for this Saheb and that was Babu Ardhendu Sekhar Mustafi. To give a retort to Debcarson’s above caricature, Ardhendu, dressed as a Saheb with an old hat, torn coat and dirty trousers with Violin (Behala) in hand, used to show Mutafi Sahebka Pucca Tamassa to caricature the so-called Sahebs in the following song, which he used to sing with gestures :

Ham vada sahev hai duniyame
“None can be compared hamara sath ;
“Mister Mustafi” name hamara
“Catgaon me mera Vilat.
“Coat pini, pentaloon pini
“Pini mera trousers;
“Every two years new suit pini
“Direct from Chadney bazar.


[The Englishman Friday, Dec, 20, 1872,200 Pucca Tamasa]

Mustafi who was henceforth regarded in the stage as Mustafi Saheb or Saheb by all was a match for Deb Carson and both drew equally crowded houses by their pucca tamassa, though in the opinion of Girish Chandra, Deb Carson’s humour was of a much lower order than that of his Bengali rival. [Dasgupta v.2] The Englishman writes on Dec. 20, 1872, about this show held previously: At the Opera House, on Wednesday night and the attendance was full. Though not such as might have been expected, Deb’s part of the performance was capital and we are glad to hear that he will take a benefit at the Town Hall before leaving Calcutta with his Company. He deserves, and ought to have a bumper house.” The theatre historian Sushil Mukherjee thinks “Ardhendu’s was a fitting retort to Dave Carson’s low comic at the expense of the Bengalis.” He thinks Ardhendu “paid the Englishman back in his own coin through songs and mimicry.” [Mukherjee]  We may, however, consider Ardhendu’s mode of paying back a bit differently as will be discussed soon after.

After Massa, Percy Wyndham, an Englishman, volunteered his service in saving Italian opera culture but could do little in improving the quality of the opera performances. Nevertheless, he gave constant efforts to popularise Italian opera in the wider cross-sections of the Calcutta society. For his own survival, Wyndham wanted to reach audiences beyond the white-town. This he attempted to achieve, against the wish of the elite society, by introducing tickets at the discounted price to working-class and free tickets on Wednesdays to soldiers and their accompanying wives. Wyndham was increasingly disliked by the Opera Committee and the British patrons, except a few. Knowing the uncertainty of his position he took care to build an image of himself as ‘Calcutta’s Impresario’. Toward the end of the Italian opera season, he decided to lease the Lindsay Street Opera House to the Great National Opera – a Bengali initiative. Although Wyndham’s idea reflected a strong business potential to back up operatic culture in Calcutta, while the majority of Calcutta’s elite feared an irreversible loss of social and economic prestige that opera patronage represented. They took pride in believing that ‘the opera as a cultural symbol, never to be sullied by association with native culture’. On February 1875, a spokesman of such discriminatory dogmas, under the penname ‘F’ pronounced, Bengali opera would invade and desecrate the ‘pretty, little theatre’, marking and sullying the house with their ‘disagreeable substances’ (ghee and mustard oil). The Editor of the Englishman hand in hand with the high society Britishers, some Europeans and the opera-house proprietors, promptly supported ‘F’. In a hurry, The Englishman’s Editor momentarily forgot his unreserved admiration of the Bengali opera সতী কি কলঙ্কিনী Sati ki Kalangkini performed by the Great National Opera last January at Corinthian Theatre. That time the Editor found that performance ‘a promising development in Indian culture’ and appreciated the Bengali orchestra composed by Madan Mohan Barman as ‘a very good band’. This support, however, evaporated once the Great National Opera, a product of the Bengali intelligentsia, began to compete, and perhaps usurp, Italian Opera, the symbol par excellence of Western cultural superiority. [Rocha] A good thing, there were some liberal Britishers too to challenge the stands of ‘F’ and The Englishman’s editor. One British man, pen-named ‘G’, retorted ‘F’ that ‘far from undermining Italian Opera, Wyndham’s invitation to the GNO would help to make the Italian Opera financially viable, and that the ‘ungenerous avowal’ admitting racial discrimination was simply an expression of private illiberal opinion of ‘F’ and The Englishman.

While racism and nationalism are two different concepts they are inherently related, which can be observed in many agitated nationalist slogans, posters and advertisements released in support of the swadeshi movements. It required renaissance men to go above the dogma of hatred in reacting to racial/ national issues with humanitarian values and understanding. Mr Mustafi’s ‘Pucca Tamassa’ – a retort to Carlson’s ‘Bengali Babu’ – was an example of an empathetic satire addressed to a fellow ‘native saheb’ pranking him for aping the British snobbery, instead of attacking the Britishers directly with a racial vengeance.

ENDNOTES

The period between the late 1860s and early 1870s was indeed the golden age of the Italian operatic culture in Calcutta. The musical seasons all these years became increasingly meritorious and socially important. The period was also marked glorious for the rise of the Bengali theatre which drew much of its enthusiasm and sparks from the Italian operas and English theatres performed in the white town playhouses and at the Town Hall. More importantly, Bengali stagecraft including architectural designing was initially borrowed from the English stages. The house of the first Bengali theatre, the Bengal Theatre, was built after the wooden architecture of Lewis Lyceum theatre once existed on the maidan. The Bengali professional theatre nevertheless had started with vernacular repertoires freshly created by the contemporary literary giants highly relevant socially and politically to the realities of everyday life in colonial India, Bengal in particular. In comparison, the contents of the Italian and English stage performances in most cases had little relevance to contemporary lifestyle and social issues, and often too sophisticated to be appreciated by an uninitiated audience. This may be the foremost reason why the Bengali stages were being multiplied while the Italian opera houses and the English theatre halls vanished into the ‘picture houses’.

REFERENCE

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Bandyopadhyay, Brajendranath. n.d. বঙ্গীয় নাট্ট্যোশালার ইতিহাস. 1st ed. Calcutta: Bangiya Sahitya Parishad.https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=&cad=rja&uact=8&ved=2ahUKEwjWyYPY8_zvAhVMxTgGHZovD3YQFjADegQIBBAE&url=https%3A%2F%2Fgranthagara.com%2Fboi%2F322562-bangiyo-natyashalar-itihas-ed-1%2F&usg=AOvVaw2dUzi3Nyvbw5N4YEvinhE9

Bandyopadhyay, Brajendranath. n.d. সংবাদপত্রে সেকালের কথা; ২য় খণ্ড. Calcutta: Sahitya Parishat. https://archive.org/details/in.ernet.dli.2015.354540/page/n39/mode/2up.

Blechynden, Richard. 2011. Richard Blechynden’s Calcutta Diaries, 1791-1822. Sentiment and Self. Edited by Peter Robb. Kindle. New Delhi: OUP. https://www.amazon.com.au/Sentiment-Self-Blechyndens-Calcutta-1791-1822-ebook/dp/B0746LK6H6.

Chattopadhyay, Devasis. 2020. “British India’s Racist Theatre.” The Quint, no. Aug12,2020. https://flipboard.com/article/british-india-s-racist-theatre-how-blackface-took-centre-stage/a-VQ9gSCafRTCwSnXsr4c_5A%3Aa%3A433591375-01f3630c84%2Fthequint.com.

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Dasgupta, Hemendranath. 1938. Indian Stage; v.2. Calcutta: M K Das Gupta. https://archive.org/details/in.ernet.dli.2015.228124/mode/2up.

Dasgupta, Hemendranath. 1934. Indian Stage. Calcutta: Metropolitan. https://archive.org/details/indianstage029370mbp/page/n21/mode/2up.

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Howells, David P. 1918. “Bijou Grand Opera House, Calcutta: Among the Picture Theaters.” The Moving Picture World 35 (Feb. 23). https://archive.org/details/movingpicturewor35newy/page/1100/mode/2up.

Massey, Montague. 1918. Recollections of Calcutta for Over Half a Century. Calcutta: Thacker, Spink. https://www.google.co.in/url?sa=t&rct=j&q=&esrc=s&source=web&cd=3&cad=rja&uact=8&ved=0ahUKEwjRr_WylsPXAhUDV7wKHTWJAXcQFggxMAI&url=https%3A%2F%2Farchive.org%2Fdetails%2Frecollectionsofc00massiala&usg=AOvVaw3uvydXqyjqB3xbkOOZe4jp.

Mukherjee, Sushil. n.d. Story of Calcutta Theatres: 1753-1980. Calcutta: KP Bagchi. https://archive.org/details/in.ernet.dli.2015.100095.

Rocha, Esmeralda. 2012. “Imperial Opera : The Nexus between Opera and Imperialism in Victorian,” 1833–1901. https://research-repository.uwa.edu.au/en/publications/imperial-opera-the-nexus-between-opera-and-imperialism-in-victori.

Sandeman, Hugh David. 1868. Selections From Calcutta Gazettes: 1806-1815. Vol. XXX. Calcutta: GOI. https://doi.org/10.1016/0003-6870(73)90259-7

WAYS OF LIFE IN COLONIAL CALCUTTA: CHRONICLE OF ACCULTURATION

Dedicated to the memory of my dear friend Dr. Alok Ray (March 1937- June 2019)

 

Calcutta International Exhibition 1883_84

ঔপনিবেশিক কলিকাতায় সাংস্কৃতিক বিনিময়

PROLOGUE
If we believe that acculturation is an interactive process that brings about changes in lifestyles as well as moral and aesthetic values of two or more autonomous cultural systems, then it was a two-sided process of acculturation that happened in nineteenth-century Calcutta merging interests and identities of the two civilizations in encounter between a technologically superior Western society and a non-Western society inclined toward its empirical traditions. Acculturation in colonial India is generally interpreted as a deliberate process initiated by the British Orientalists and the English-educated enlightened Indians notwithstanding the dominating spirit of the 19th century nationalism in Victorian sense. In fact, on either side, players were products of the 18th-century world of rationalism, classicism, and cosmopolitanism. [Koff] Many Orientalists, notably William Jones, H. T. Colebrooke, William Carey, H. H. Wilson, and James Prinsep, made significant contributions to the fields of Indian philology, archeology, and history. On the other hand, Rammohun, Dwarkanath, Radhakanta, Debendranath, Vidyasagar and so many Indian reformists encouraged their fellowmen to get exposure to western science and literature, on top of vernacular sagacity. They effected in remarkably short time a widespread dissemination of western knowledge through institutionalized means like schools and colleges, printing-press and newspapers. By 1821, the Calcutta School-Book Society, sponsored by a number of public spirited individuals like David Hare, Rammohun, Radhakanta, belonging to different religious denominations, without any backing of Government grant, produced and distributed as many as 126446 copies useful works in different languages; no fewer than 14,792 were books in the English language’. Another interesting feature was the decrease in the demand for books in the Sanskrit, Arabic, and Persian languages, ‘being the spoken language of no one’. By 1835, the Society had sold 31,864 books in English. Five year before the Medical College in Calcutta started professional courses in English, it was claimed that Calcutta had in 1830 nearly 200 who wrote English as naturally as their mother tongue. As for Bengali language, long before the coming of the English in Bengal, the mother tongue of the majority had been discounted as simplistic and unworthy of official status. ‘The languages of the superior civil and commercial stations were English, Portuguese, and Persian, and ambitious Hindus made certain that of these they knew at least Persian’. It was Halhed who first urged upon British civil officers the necessity of acquiring knowledge of it for the efficient transaction of their duties. He argued for the Bengali language, before anyone else ever did, specifying its inherent qualities: ‘its plainness, its precision and regularity of construction, than the flowery sentences and modulated periods of Persian.’ His Grammar printed and published in Calcutta, gave practical support to his arguments, by providing British officers with a book from which they could learn the language. [Clark, 1956]

The earliest printed book in Bengali

No sooner Bengali becomes a popular medium of communication it started borrowing words from English and the English from Bengali as well. There have been many familiar words, e.g. coolie, cowrie, cot, curry, godown, pagoda, etc., originated from some other languages, commonly used by the English and the Bengalese. There are also some distinctively of Bengali origin, like babu and bungalow. A glimpse through Hobson-Jobson may reveal many interesting evidences of liberal linguistic behavior of the Colonial Bengal despite the racial bias of which the world is continuing to suffer till today. As we understand from Sarah Ogilvie the author of ‘Words of the World’ that the former OED editor Robert Burchfield found to be an inward-looking anglocentrics who had erased 17 per cent of the ‘loanwords’ and ‘world English words’,  Indic included, that had been added by earlier editor Charles Onions. [Ogilvie]

While all these conscious efforts of magnificent persona of both the camps created a short-lived glorious age of awakening and also a golden opportunity for a giant leap toward a modern society at par with global standards. Around 1880s that opportunity got lost. Western education reached a tiny proportion of the Indian population largely confined to the major urban centres. A chauvinistic nationalism back lashed the progressive movements. The undercurrent of acculturation, however, continued to flow effortlessly as conscious and unconscious acceptance of new ideas, often with the intention of revitalizing Indian cultural practices and institutions. Slowly steadily new things and ideas percolated through layers to the bottom level of society undergoing series of changes through interactions. [Peers] What were those ‘new’ things and ideas? Historically speaking, the things and ideas branded ‘colonial’ are supposed to be grown out of Industrial Revolution directly or indirectly, which may be as big as Indian Rail or as small as a gramophone pin – everything targeted to make living in the colonial society convenient and agreeable.

Nipper, the dog is listening to a wind-up gramophone. New Vector Records September 1905 ad. Courtesy: HMV

It was still an industrial age when the Colonial style of living was being shaped through interactions with native environment. Changes incorporating new things and ideas were taking place faster and in an unprecedented large scale than ever happened in history because of the boon of technology. The Industrial Revolution, however, may not be seen as a movement for achieving speed and volume in industrial sphere. Its ultimate gain for the human society proved to be more an attitudinal change toward accepting values associated with new products than productivity itself. Acculturation during the colonial era may be more meaningfully interpreted, essentially in terms of the attitudinal changes.

EUROPEAN HABITATION IN CALCUTTA BEFORE 1830s
Captain Williamson provided immaculate descriptions of the living conditions of late 18th century Calcutta that provides us with significant resource for identifying some down-to-earth relationship between the ‘new products’ of the Industrial Age and the formation of the ‘new society’, which yet to be fully surfaced.

The EIC officers adopting some local customs while remaining distinctly British_doyely

To the gentlemen coming to settle in Calcutta on civil, military, or naval service of the Hon. East India Company, Captain Williamson offered in his Vade Mecum many practical advices along with cautionary against belittling the native sagacity unwittingly while finding the most suitable mode of living for them. During Williamson’s time, between 1787 and 1798, a new Calcutta suburb was being born south of Town Calcutta to meet the craving of the settlers for ‘airy’ life close to Nature in the Gangetic Bengal mingled with the comfort and convenience of European way of living. New townships at Chowringhee-Dhurrumtollah locality were then only at their initial stage. In 1793-94, all over the town there were no fewer than 1114 pucca houses; in 1821 it increased to 14,230. [Oneil] The new suburbs grew faster with masonry houses built by Europeans and deshi well-to-dos as nucleus of new urban experience of ‘airy habitation’.

It is worth noting that the English inhabitants were still chiefly to be found ‘where their fathers had lived before them’ in the year 1810, Colonel Sleeman spoke of the residences of the Europeans as lying mainly between Dhurrumtollah and China Bazar; and the Tank Square was in the middle of the posh ‘Belgravia of his day’. [Cotton] This happens to coincide with the timeframe Williamson depicted in his Vade Mecum pinpointing some cultural issues involved in modeling ‘airy’ homes to live in comfy liberal style, which European settlers aspired to attain once they crossed Cossitollah toward further south. And so they did achieve their ‘model home’ through an intricate acculturation, after more than three decades of trials and errors, by coming into terms with indigenous methods and means of house building that the settlers initially tended to neglect. [Williamson 1810]

IN SEARCH OF A EUROPEAN MODE OF LIVING
Williamson was one who believed that taking the general outline of indigenous customs should be considered an axiom for the settlers in exploring a new possibility of improving their quality of life. All the European settlers remained anxious to see airy habitations, through which the wind could pass freely in every direction. When the English first visited India, they adopted a mode of building by no means consistent with common sense, and displaying a total ignorance of the most simple of nature’s laws. For instance, they wasted much time to ‘become convinced that the most insupportable heats are derived from the glare of light objects’ and were to be judiciously used in designing habitats. Williamson’s advice to the settlers was ‘to coincide with the habits of the natives, to a certain extent if they mean to retain health or to acquire comfort’.
Upon arrival, travelers learnt from local doctors that nine out of ten of the advices prescribed by doctors at London, would infallibly have sent them to ‘kingdom come!’ but readily approve the homie piece of good sense that ‘do as one should find the old inhabitants do’.
Travelers, he observed, often suffer extreme inconvenience, and expose themselves to much danger because of the fact that they “bent on the refutation of the most reasonable assertions, and influenced by a ridiculous determination to support some equally ridiculous hypotheses”. Williamson tipped them with a piece of his mind: however absurd many indigenous practices may at first appear, it will ordinarily result that ‘necessity was their parent’.

British Styled Bungalow. Photographer: James Kerr (pumpparkphotos.com) c1880

All the buildings forty to sixty years old were, “like the celebrated Black-Hole, constructed more like ovens, than like the habitations of enlightened beings”. The doors were very small; the windows still less, in proportion, while the roofs were carried up many feet above both. Those roofs were in themselves calculated to retain heat to an extreme, being built of solid tarras, at least a foot thick, lying horizontally upon immense timbers, chiefly of teak, or of saul wood. Until around 1790s, the whole of the family resided in the first floor; leaving the whole of the ground floor as basements for reception of palanquins, gigs, cellars, pantries, and even stables. Since around 1780s their preferences changed in many ways. Living in single-floored thatched houses, styled as bungalows, became the way of European life. The settlers remained engaged indefatigably to improve upon the habitability of bungalow. They closed up all the intervals between the thatch, and the walls, on which it rested; so as to exclude the external air, as well as the dust: a practice religiously observed even to the present date. They improved upon the arrangement by installing a tin ventilator near the summits of the thatches. [Williamson 1810]

The shape and size of bungalows changed further having their apartments surrounded by a veranda, of full fourteen feet in width; with apertures, of a good size, in the exterior wall, corresponding with those of the interior. This arrangement renders the generality of bungalows remarkably pleasant; but, it must be noticed, that there was a very wide difference in the expense incurred in rendering them so, both as relating to the labor, and to the materials.

COLONIAL LIVINGSTYLE INVENTED
As we discussed, Europeans modeled their new home and styled a new way of living for themselves through a continuous process of interactions between their own perceptions and desi sagacity. The model was generally found most comfortable and highly adaptable for living in changing Gangetic Bengal climate, and therefore the overall cost of a complete bungalow in tune of Rs 40,000, found quite acceptable by the well-to-do families of different cultural origin. Besides Europeans, there were quite a few desi families moved to Chowringhee-Dhurrumtollah to their newly owned bungalows. The natives of the land, on the other hand, increasingly appreciated whatever the settlers fashioned for their everyday use including bungalows, furniture fixture utensils wearable, as wonderful user-friendly amenities.

The spread of English education might have a partial role in changing people mindset toward western culture – the way of life and the things they use every day. The ‘new products’ we talk about, however, more often than not, were made of old familiar things into new design; like a folding umbrella, for example. The settlers learnt by experience that it should be a madness to use a European umbrella, like a parapluie or a parasol, against a heavy Indian shower or a blazing sun. So they designed a new tough umbrella employing seasoned bamboos and heavy canvas to stand Indian weather best, and then add a collapsible holder inside to turn the old chattah into a surprisingly convenient ‘folding umbrella’. This novelty item was expected to be on high demand in Chandney shops, and the shops were expected to store umbrella and its parts as well to promote use of umbrella to all communities of Calcutta society.

A Fakir with umbrella. Details not known. Source: ebay

Bengalese Babu. Courtesy: Mary Evans.

Like the umbrella, there happen to be a innumerable new products originally designed and developed by the European settlers out of local ingredients generally employing local tools and technology to facilitate their living a decent comfortable life in India as they were used to. Such products of Colonial origin not anymore sensed as foreign to local habits and practice, and the locals feel at ease in using those, hand in hand with things they use traditionally in everyday life. Today, after a lapse of two centuries, Indian populace in general, have converted their mode of living so completely that rarely a dhoti-clad babu can be spotted on road unless he was to attend a special festive occasion. Desi dresses, Desi dishes ending with a bouquet of Benaresi pan will be soon things of forgotten past together with many essential items that remained parts of our heritage so long. The way the tune of Senhai is giving way to the resounding Rock music, every single item of our traditional pieces of life and art will be replaced with newer kinds in course of never-ending societal change.

Colonial-inspired house and interior design Courtesy: @myLusciousLife

HOUSE & FURNITURE
Colonial Scenario:
In all parts of the country houses are let with bare walls. Rent was expensive; some two hundred rupees a month for small house; which was then equal to three hundred pounds yearly. [Williamson 1813] Terrace-work is substituted for plank; and, being covered with a fine kind of matting, made of very hard reeds, about the thickness of a crow-quill, worked in stripes of perhaps a foot or more in breadth each gives a very remarkable neatness to the apartments; many of which, however, are laid with ‘satringes’ (সতরঞ্চি), or striped carpets, made of wool, or cotton, during the cold season. Carpets, in imitation of those manufactured at Wilton and Brussels, are now made in India; some of which are of incomparable excellence and beauty.
The necessity which exists for keeping the doors and many windows open at all times renders it expedient to guard the candles, which are invariably of wax, from the gusts of wind that would speedily blow out every light. Shades, made of glass, are put over such candles as stand on tables.

Present-day Scenario
Majority lives in rented accommodation; mostly unfurnished. Few have preference to ethnic furnishing with satringes’ (সতরঞ্চি), or striped carpets, sitalpapties, madoors, chics, ctc., while the generality love showy interiors with sofas, chairs centre table, side tables and so on. Urban folks keep doors closed, windows open all seasons except when gusty wind blows. Even then there was no need to guard candles as no candle was there any more, but modern homes still need shades for cutting the glare of electric lamps. As it appears, the mode and style of living in Calcutta now and then in many respects alike outwardly, yet an attitudinal difference remains much to explain why the homes of today so ill-kept in contrast with the spic and span Colonial home. The other notable difference is that the modern families ‘sacrifice comfort to appearance’ contradicting the principle of the Colonial Style as we have already discussed at length.
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GARMENTS & OUTFITS
Colonial Scenario:

Major-General Charles Stuart (circa 1758 – 1828), wrote  his first article in 1798 about military clothing and there he professed the use of Indian clothing and accessories, as they are convenient and appropriate, attacking European prejudices. Better known as ‘Hindu Stuart’, Charles was not just an admirer of the Indian religions but also an enthusiastic devotee of Indian fashions. In a series of disputed articles in the Calcutta Telegraph he tried to persuade the European women of Calcutta to adopt the sari on the grounds that it was so much more attractive than contemporary European fashions. Because of his Hindu craze, Charles Stuart was certified as ‘gone native’.  [Dalrymple]

The friends of the English young men, who are sent to the East Indies, generally fit them out with a great variety of apparel, and other articles, enumerated in the slop-merchant’s list under the head of “Necessaries” that basically include quantities of the followings: Calico Shirts, Stockings, Trousers, Drawers, Jackets, Waistcoats, Night Caps, Hats, Handkerchiefs, Neck Kerchiefs Or Bandana, etc. “Of these a large portion is entirely useless.” Among the indispensables, according to Williamson, should be a good stock of wearing apparel; generally speaking, white cotton, manufactured into various cloths; such as dimity, calico, if not made of nankeen. The beauty of some fabrics of this description was considered ‘very striking’. Thirty suits will not be found too many for a European in Calcutta society. [Williamson 1813]

 

A European, probably Sir David Ochterlony (1758-1825), in Indian dress, smoking a hookah and watching a nautch in his house at Delhi. Artist: unknown. c.1820. Courtesy: BL

Present-day Scenario
Inside home, Calcutta men commonly wear pajama kurta (পাঞ্জাবী), and the ladies stuck to sari (শাড়ি) wherever they go, inside or outside, till around 1980s when a wave of Anglo-American fashion maxi midi mini dresses became choices of convenience for the young ladies that ultimately gave way to oriental varities of salwar kamiz. Outside, almost all men folks and children of both sexes appear in western attire – but with no caps on head. The corporate or institutional dress codes in Calcutta do not insist to wear a headdress – a useful accessory for resisting weather bite, but a necktie around the neck to look smarter at the cost of agonizing physical discomfort. There were quite a few things Europeans invented for tropical climate that become obsolete now in spite of their latent advantages. The Sola-topee or topi, may serve a good example of such things. Topi is made of lightweight sholapith covered with khaki or white cloth. The reason for using sola is its lightness and its heat-resistant capacity for protecting head from the scorching tropical sun, cleverly fitted with two tiny holes at both sides for ventilation. Colonial men and women loved to wear it for convenience and comfort, Indians rejected it possibly because of its prosaic appearance on the first place.

KITCHEN & TABLEWARE
Colonial Scenario:
The favourable oriental dejeuner usually consisted of tea, coffee, eggs, toast, and fish, (either fresh or slightly powdered with salt, rice, &c.). Many gentlemen, especially those from North Britain, add sweetmeats and soogee; the latter corresponding with porridge, oats, which were not cultivated in India. Of all things of European liking Hilsa might be the foremost. The fish tasted ‘remarkably fine’ especially when baked in vinegar, or preserved in tamarinds worcestersauce.

The knives and forks were all of European manufacture, though, within few years, some excellent imitations appeared in market. The greater part of the plate, used throughout the country, was made by native smiths, who, in some instances, might be seen to tread very close on the heels of English jewelers. Table cloths and napkins were manufactured in several parts of the country, where ‘piece goods’ were made, especially at Patna.

Present-day Scenario
Not for breakfast alone, tables for lunch and dinner (or supper as it was called then) resemble by and large what commonly Calcuttans having these days. Although, Bengalese still prefer to use hands in dining at home, cutlery are being used increasingly along with a large number of local variety of tableware like Tea Cups and Plates, Tea Cozy, Pepper Grinder, Salt Shakers, Napkins, and Pickles, Vinegar & Sauce as for instance. The English, as we all know, is basically a highly traditional race who still calls their lamb cutlet a ‘mutton cutlet’ retaining the French legacy of the product they had borrowed. Following the same tradition they call many products of Indian origin with vernacular appellations. On the contrary, in case of the colonial products, which they designed and developed using local ingredients and technology, reference to the source of origin is rarely provided. The story of the world famous Worcestershire Sauce and the theme British Curry may exemplify my view point adequately.

LEA & PERRINS® .The story of Lea & Perrins® famous Worcestershire Sauce begins in the early 1800s, in the county of Worcester. Returning home from his travels in Bengal, Lord Sandys, a nobleman of the area, was eager to duplicate a recipe he’d acquired. On Lord Sandys’ request, two chemists, John Lea and William Perrins, made up the first batch of the sauce but were not impressed with their initial results. They needed few years more to find right kind of aging process to turn the ingredients into a delicious savoury sauce. Without any kind of advertising, in just a few short years, it was known and coveted in kitchens throughout Europe.

Portrait of William Fullerton of Rosemont, Dip Chand, Murshidabad, India, 1760-1763. Opaque watercolour on paper. Company Painting. Courtesy: VAM

In the space of a few years Duncan, a New York entrepreneur, was importing large shipments to keep up with demand. Lea & Perrins was the only commercially bottled condiment in the U.S., and Americans loved it right away. Almost 170 years later, Lea & Perrins sauce remains a favorite in households across the U S.

BRITISH CURRY. “The idea of a curry is, in fact, a concept that the Europeans imposed on India’s food culture. Indians referred to their different dishes by specific names … But the British lumped all these together under the heading of curry.” [Collingham] In fact, there are many varieties of dishes called ‘curries’. In original traditional cuisines, the precise selection of spices for each dish is a matter of national or regional cultural tradition, religious practice, and, to some extent, family preference. Such dishes are called by specific names that refer to their ingredients, spicing, and cooking methods. Curry, which becomes now Britain’s adapted national dish, is largely viewed as an Anglo-Indian theme. Luke Honey, a columnist, writes “how fond I was of Anglo-Indian curry powders; the sort of thing I chuck into stews and then have the nerve to call ‘curry’”. He made his own version of Dr Kitchener’s curry powder, as described by Mrs Beeton. He slightly adapted it for the modern kitchen and added cardamom and black pepper. [Honey] Wyvern’s recipe for basic powders reveals a large number of similar ingredients, hinting at very similar flavour profiles. They all include turmeric, cumin seed, fenugreek, mustard seed, black peppercorns, coriander seed, poppy seed and dried ginger and chilies.

In 1810, the entrepreneur Sake Dean Mahomed, from the Bengal Presidency, opened the first Indian curry house in England: the Hindoostanee Coffee House in London. The theme of British Curry, as distinguished from Proto-Curry and Anglo-Indian Curry, presumes that Curry is the result of over four hundred years of British interaction with India. As the findings of a recent British academic research suggests, Curry is a way that the British made Indian cuisine understandable in their minds and on their palates. It is more than a mixture of Indian spices, an idea or a symbol of the success of British imperial endeavors in possessing, converting and incorporating an object of other i.e. of India, into their world. [Waldrop]

BRITISH GIFT OF TEA CULTURE TO INDIAN PEOPLE

British Tea
Tea Culture of India, Calcutta in particular, tells a fascinating story of social dynamics involving the ways of life of the British and the Indian people. The British gifted Tea Culture to India where they cultivated tea plants of native origin as well as the Camellia sinensis variety that Robert Fortune smuggled from China in 1849 for the East India Company. In Britain initially it was a luxury of the high society under the spell of Braganza the Queen Consort of Charles II during 1662 -1685, who happened to be the primary motivator behind the emerging British tea culture. Because the British East India Company had a monopoly over the tea industry in England, tea became more and more popular; and as its prices slowly fell, the luxury of drinking tea became middle-class habit. At the close of the 18th century tea – a cheaper drink than bear – turned out to be the drink of Britons of every class. There have been, nonetheless, the ways of making tea and taking tea remain distinctive of every class conforming nuances of tea culture. The popularity of tea, its respectability and domestic rituals, supported the rise of the British Empire, and “contributed to the rise of the Industrial Revolution by supplying both the capital for factories and calories for labourers” . Tea became the national drink of Britain. [Mintz]

Colonial India
In late 1870s the drinking of tea was in fashion all over India and commonly a part of everyday informal social meets. [Mandelslo] We can see from contemporary writers that ladies and gentlemen had occasions to socialize themselves many a time a day – at breakfast, lunch, afternoon tea, supper, dinner, and after-dinner – and never without cups and shimmering teapots to induce sharing of minds. Calcutta was then a city of ceremonials and carnivals. Tea-parties were enlivened with spirit of sociability where anything could be discussed, less the delicate subjects like tea growing and its politics and economics. Tea and the Britain have a shady history. ‘The British brought tea to England by way of monopolistic trade, smuggling, drug dealing, and thievery’ as modern research admits [Petras]. The Colonial India produced highest bid tea in auction markets by employing bonded labourers from Assam and North Bengal. From Calcutta, troops of hair-dressers and shoe-makers of Chinese origin were also called to join on the presumption that every Chinese a good tea-plucker. The plight of these hapless slaves was first known when Ramkumar Vidyaratna and Dwarkanath Ganguly reported in Sanjibani (সঞ্জিবনী) aroud 1886 [Ganguly] long before Mulk Raj Anand portrayed their misery in his famous Two leaves and a bird appeared in 1937. [Anad]

Recent Scenario
The Tea Culture in India virtually started with the Tea Cess Bill of 1903 provided for levying a cess on tea exports – the proceeds of which were to be used for the promotion of Indian tea both within and outside India. Large hoardings and posters for tea recipes were put up in Indian languages, on several railway platforms; at Calcutta tram terminals they distributed free cups of tea, added with milk and sugar to make the drink agreeable to uninitiated tongues, and the like promotional plans put into operation to convert the teetotaler Indian public, especially the Bengalese, into a tea-addict race to whom ‘every time a tea time’. The plans, however, failed to meet their goal so long the aggressive opposition from the Swadeshi camp was in force. Gandhi called tea ‘an intoxicant’, in the same class of avoidable substances as tobacco and cacao. In the early 1920s, Acharya Prafulla Ray, an eminent chemist and a passionate nationalist, published cartoons equating tea with poison [Sanyal], in contrast of the British outlook that drinking tea is good for health of every family member including the dog. “Young dogs are frequently kept in health by a cup of tea being given to them every day.”[Roberts]

Tea Set. Oil on canvas. Artist: Jean-Étienne Liotard. 1781-83. Courtesy:Getty Center

Rabindranath Tagore, to whom the spirit of nationalist was never chauvinistic, welcomed tea cordially not only as a refreshing drink but an engaging Culture as he had experienced in Japan in 1916. He also established at Santiniketan a unique café exclusively for tea, ‘Cha-Chawkro’ (চা চক্র) in around 1929 – an addaa for the চা-স্পৃহ চঞ্চল চাতক দল tea lovers, [Chakraborty 2019]. Cha-Chawkro probably was the third stand-alone Tea Room in India, the first being The Favourite a typical vernacular tea joint set up in1918, and the second, a typical well-groomed Anglican tea-shop that the Swish Mr. and Mrs. Joseph Flury opened in 1927 under the banner “Flurys”.

Today’s Flurys is no more a tea-room – but surely a brazen joint best known for its exquisite breakfast meals. The décor has given away its colonial vibe for a fusion of cultural trends of no character of its own. [Majumdar,2009]

The old Favourite Cabin, however, still continuing with its inimitable tea-culture indigenously developed since 1918. Excepting the tea tables, crockery and the style of tea making, Nutan Barua, and his elder brother Gaur, borrowed nothing from the English to steer this first stand-alone tea room making a history contributed by generations of regular customers, many of them were firebrand writers, political activists, and young intellectuals. The tea-table manners were guided by the unwritten codes the customers formed themselves over the years that surely helped the cafe in continuing with its esprit de corps so long. [Bhaduri]

Other than the three pioneering tea shops we discussed Calcutta had quite a few local bistros famous for their addictive teas, often with some fried specialties. Basanta Cabin, Jnanbau’s tea stall, in North, Radhubabu’s stall, Sangu Valley, Bonoful in South, and Café de Monico at the city centre had been then crowdie hangouts of different social groups who were largely responsible for hauling an independent tea culture of this colonial city. Although the tea industry is still looking optimistically for the prospect of India’s National Drink status, the culture of Tea is seemingly dying a silent death. Already assaulted by coffee and the American soft-drink lobbyists, it may not stand the shock of being robbed its very identity in recent time. The good name of ‘tea’ is now being abused to mean some novelty refreshments that have little or no tea content, but mostly made of heady spices often with large proportion of milk and sugar. Such brands of desi teas sound like new versions of Gandhian tea now being marketed as Tulsi tea, Masala tea, Malai tea, Rhododendron tea, and the like. The Kahwa tea, is however different being the soul-warming drink of the Kashmiris and a part of their culture. All these refreshment drinks, of dissimilar taste and flavour, meant for people of different mind-sets than those who enjoyed tea the way Tagore’s Gora did, or a Nazrul did in Favourite Café, or someone, not necessarily an intellectual like Sydney Smith [Smith], who thanks God for tea, wondering “What would the world do without tea! How did it exist? I am glad I was not born before tea.”

 

END NOTE
It is highly interesting to note, all these ‘new things’ created by the Europeans for themselves proved in no time to be equally good for Indian homes. Those products actually gave indigenous people an exposure to alternative styles of living and an opportunity to preview their relative merits that instigated necessary attitudinal change to tolerate differences in socio-cultural values and accept what found ‘best’ for them objectively. This attitudinal change we may consider as an indispensable condition for bringing about the ‘Awakening of Bengal’ and its recurrences around 1880s and 1930s.

 

REFERENCE

Anand, Mulk Raj. 1937. Two Leaves and a Bud. Bombay: Kutub.

Bhaduri, Arka. 2019. “ফেবারিট কেবিন.” Indian Express, May 9, 2019. https://bengali.indianexpress.com/west-bengal/favourite-cabin-a-century-old-kolkata-cafe-college-street-100180/.

Biswas, Oneil. 1992. Calcutta and Calcuttans From Dihi to Megalopolis. Calcutta: Firma KL. https://archive.org/details/in.ernet.dli.2015.149376.

Chakraborty, Sumita. 2016. “শান্তিনিকেতনে চিন ও জাপান.” Parabas, 2016. https://www.parabaas.com/rabindranath/articles/pSumita_china-japan.html.

Chunder, Rajarshi. 2016. “Dishes and Discourses: Culinary Culture at Jorasanko.” Sahapedia. 2016. https://www.sahapedia.org/dishes-and-discourses-culinary-culture-jorasanko.

Collingham, Lizzie. 2006. Curry: A Tale of Cooks and Conquerors. London: Vintage Books. https://books.google.co.in/books/about/Curry.html? id=Sr3GUyWe3O0C.

Cotton, H E A. 1907. Calcutta: Old and New; a Historical and Descriptive Handbook of the City. Calcutta: Newman.https://archive.org/details/calcuttaoldandn00cottgoog/page/n3

Dalrymple, William  (2002). White Mughals: Love and Betrayal in 18th-century India. London: Harper.

Davies, Pauline. 2013. “East India Company and the Indian Ocean Material World at Osterley, 1700-800,.” Internet: East India Company at Home. 2013. https://blogs.ucl.ac.uk/eicah/osterley-park-middlesex/osterley-case-study-winds-of-trade/.

Gandhi, Arun. 2014. Grandfather Gandhi. NY: Atheneum Books. https://books.google.co.in/books?id=wduwz6-DapAC&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false.

Honey, Luke. 2008. “Dr Kitchener’s Curry Powder.” The Greasy Spoon. 2008. https://lukehoney.typepad.com/the_greasy_spoon/2008/11/dr- kitcheners-curry-powder.html.

Koff, David. 1969. No TitleBritish Orientalism And The Bengal Renaissance 1773-1835. Calcutta: Firma KL. https://archive.org/details/in.ernet.dli.2015.98306/page/n7.

Mahomet, Sake Deen. 1794. The Travels of Dean Mahomet : A Native of Patna in Bengal, through Several Parts of India, While in the Service of the Honourable the East India Company. [Ireland]: Cork. https://archive.org/details/b28742898/page/n5.

Majumdar, Rakhi. 2009. “Into the Future: Apeejay Surrendra Group Post Jit Paul.” ET :Jun 04, 2009, 2009. https://economictimes.indiatimes.com/into-the-future-apeejay-surrendra-group-post-jit-paul/articleshow/4617853.cms?utm_source=contentofinterest&utm_medium=text&utm_campaign=cppst.

Mandelslo, Johann Albrecht von. 1669. Voyages Celebres & Remarquables, Faits de Perse Aux Indes Orientales. London: John Starkey, and Thomas Basset. https://archive.org/details/voyagescelebresr00mand/page/n8.

Mintz, Sidney W. 1993. “The Changing Roles of Food in the Study of Consumption.” In Consumption and the World of Goods; Ed. by Brewer, John; Porter, Roy. NY: Routledge. https://www.amazon.com/Consumption-World-Goods-Culture-Centuries/dp/0415114780.

Ogilvie, S. (2012). Frontmatter. In Words of the World: A Global History of the Oxford English Dictionary (pp. I-Vi). Cambridge: Cambridge University Press. https://doi.org/10.1017/CBO9781139129046″>https://doi.org/10.1017/CBO9781139129046

Peers, Douglas M. 2006. No TitlIndia under Colonial Rule: 1700-1885. NY: Routledge. https://books.google.co.in/books? id=dyQuAgAAQBAJ&printsec=frontcover&source=gbs_book_other_v ersions_r&redir_esc=y#v=onepage&q&f=false%0A%0A.

Petras, Claire. 2013. “British Tea 17th-19th Century.” Clairepetras.Com. 2013. http://clairepetras.com/history/ .
Roberts, Emma. 1837. Scenes and Characteristics Hindostan,with Sketches Of Anglo-Indian Society. Vol. 1 (2). London: Allen. https://archive.org/details/scenesandcharac04robegoog.

Sanyal, Amitava. 2012. “Mahatma Gandhi and His Anti-Tea Campaign.” BBC News Magazine, May 2012. https://www.bbc.com/news/magazine-17905975.
Shastri, Shibanath. 1909. রামতনু লাহিড়ি ও তৎকালীন বঙ্গসমাজ. The British Journal of Psychiatry. 2nd ed. Calcutta: SK Lahiri. https://doi.org/10.1192/bjp.111.479.1009-a.

Smith, Sidney. 1855. A Memoir of the Reverend Sydney Smith. By His Daughter, Lady Holland. With a Selection from His Letters. NY: Harper. https://archive.org/details/memoirofreverend02smituoft/page/n6.

Waldrop, Darlene Michelle. 2007. “A Curried Gaze: The British Ownership Of Curry.” Univ. Georgia.

Williamson, Thomas. 1810. East India Vade Mecum; or, Complete Guide to Gentlemen Intended for the Civil, Military,or Naval Service of the Hon. East India Company; Vol. 2 (2). London: Black, Parry. https://www.scribd.com/document/305022589/The-East-India-Vade-Mecum-Volume-2-of-2-by-Thomas-Williamson.

Williamson, Thomas. 1813. Costume and Customs of Modern India from Collection of Drawings by Charles Doyley… Ed. by Thomas Williamson. Oxford University. Vol. XXX. London: Edward Omre. https://books.google.com.au/books?id=VNFbAAAAQAAJ&pg=PP7&hl=en#v=onepage&q&f=false.

Continue reading “WAYS OF LIFE IN COLONIAL CALCUTTA: CHRONICLE OF ACCULTURATION”

DHURRUMTOLLAH STREET: WAY TO BENGAL RENAISSANCE

A triple portrait of the East India Company ship Royal Charlotte – Indiaman (1758-1770. Oil on canvas by Robert Dodd. Couresy: National Maritime Museum,

নবজাগরণের যাত্রাপথে ঐতিহাসিক ধর্মতলা স্ট্রিট

LEAD UP
As early as in May 1772 when Dean Mohamet (1784–1851) arrived, Calcutta was already a major center of commerce for the English East India Company, prosperous and entrepreneurial. [Dean Mahomet] Calcutta was then just a township desperately in need to grow into a city to fulfill the common ambition of the Company Bahadur and the British colonialism under the administration of Lord Clive and his immediate followers. It is interesting to note that the Industrial Revolution, the critical turning point in modern history, had its origin in village Sutanuti cotton market that allured the British traders to settle and exploit. The wave of Industrial Revolution, which had started a decade ago in Britain with manufacturing of textiles, reached the shore of river Hughly by then, and let its impact felt in the planning for Town Calcutta expansion beyond the up-coming Fort William at Govindpore. Its chronicle gradually discloses a co-relation between industrialization and urbanization.

It all started with the initiation of the new Fort that set off huge mobilization of the Europeans southward and of the natives of Govindpore to Kumartooly, Sobhabazar, and Burrabazar at north and to Taltola at east. Both the parties had to spend lengthy time experimenting with new realities before they settled themselves in changed environment. That was the time since when new occupations being introduced as the unheard-of opportunities coming up as a result of scientific inventions and industrial diversification. Calcutta in the process of urbanization started experiencing effect of industrialization. The external economic orientation of Calcutta to England emerged in18th and 19th centuries, provided the young city with an industrial prospect. It took however pretty long time to develop some minimum indigenous technological systems of production, transportation, construction, and the logistics required for large concentrations of people in urban areas. [Ghose] The progress slowed down because of the typical political apathy and cultural lethargy of colonial Calcutta.

THE CLIMATE

Until 1813 the commercial relations between India and England was free from industrial capitalist exploitation. Trade with India had been relatively small. Its huge potential, however, was foreseen by the industrial capitalist who wasted no time to frame policies for maximizing capital gain to feed British machine industry. They defined their policy with the objective, set out by the Manchester Chamber of Commerce, to make India an agricultural colony of British capitalism, supplying raw materials and buying manufactured goods. British rule brought the destruction of traditional handicrafts as well as their technical proficiency, carried off plunder, and revenue extraction. [Sarkar] By 1814 the Company servants themselves had begun to invest their capital in Agency Houses born out of an alliance between the private trading interests of the Company’s servants and the Free Merchants. This unseemly alliance had been continuing since early days of East India Company. We understand from a scholarly note on the Company’s ship Royal Charlotte – Indiaman (1758-1770) featured at the top, that the Company placed bulk orders for official goods with the ships’ captains and supercargoes encouraging the flourishing network of private trade that supported the regular inflow of luxury commodities into Europe. This form of ‘regulated corruption’ was sanctioned through indulgences in Company policy. [Davies]

Despite all the mighty negative forces driven by the political machinery, industrialization happened in Bengal as well as other provinces in India at uneven pace mostly on European initiatives, excepting few instances of Indian entrepreneurship. Calcutta and its neighborhood were on the threshold of a small scale industrial revolution. The local business community embarked upon a broad range of steam-powered industries. Calcutta became ‘a seat of numerous extensive manufactories, vying with many British cities.’ [Stocqueler] The scenario changed in the second half of the 19th century. Faster transportation, and a uniform legal framework, in particular, expanded possibilities of capital and labour movements. ‘The Empire encouraged factor-market integration, increased the scope of public-private partnership and the separation of banking from trading and of trading from manufacturing. This diversification of risk was a key impetus to the industrialization drive.’ [Ray] It was the English who exploited the opportunities most. The natives of Calcutta missed it almost because of their so called entrepreneurial backwardness – a deeply-seated socio-cultural attitude. ‘Power over land, not mercantile or industrial enterprise, was the economic hallmark of social statuses.’ Trade was associated with low ranking castes, Brahmins and Kayasthas considered only the intellectual and administrative professions as proper occupations. Thus the indigenous Bengali elite turned its back on business and left modern industry and international commerce in Calcutta to Europeans. [Sarkar] Neither the shrewdness of colonial policy nor the apathy of general Bengalese toward business could stop Industrialization Revolution that brought forth radical and innovative changes in manufacturing and transportation from manual to mechanical mode. We may note in this context that it all had started with the bonanza of British textile industry at the cost the death of Indian cotton hand mill tradition. The first textile industry in India, Bowreah Cotton Mills, was established in 1818 by British at Fort Gloster near Calcutta; the first jute mill at Rishra started spinning in 1855 when they brought its machinery from Dundee. Industrialization produced a new market economy, and most importantly, a new society desirous of using innovative products and transports to set the revolution go.

Dhurrumtollah Bazar – a section of the coloured lithograph depicting Catholic Church of the Sacred Heart created before 1838 (pub. 1848) by Sir Charles D’Oyly. Courtesy Heidelberg U Univ.

DHARRUMTOLLAH IN CONTEXT

Walking around the Dhurrumtollah Street we may still find few footprints of Industrial Revolution that modernized the ‘process of manufacturing consumer goods and capital goods and of building infrastructure in order to provide goods and services to both individuals and businesses.’ The industrial orientation was discernable more markedly in the new township around the Fort covering the entire southern expansion up to Surman’s Park including villages of Govindpore, Birji, Chowringhee and sections of Colinga – the area commonly understood today in terms of east and west Dhurrumtollah. That time Taltola, or Talpooker, with its segment Jaunbazar was an undeveloped swampy land of Colinga mouza nearest to ‘Bazar of Govindpore on the site of Fort’ (also referred to as ‘Dhurrumtollah Bazar). The only landmark it had was a shrine of Dharmathakur, or the Dharmatala. A road to Dharamtala that known to exist in 1762 as a causeway immediate north of Dingabhanga or Jala Colinga was reinforced with Birbhum gravel in 1796 just after the new Dhurrumtollah Bazar established. [Setton-Kerr]

As we have already noticed, during the time of expansion of the Town Calcutta and construction of the new Fort, there had been massive mobilization from all directions. The Europeans moved toward south, the Govindpore villagers toward north and east where the later had to take up new occupation for living. In addition, there had been a steady inflow of people from outside India of varied cultural background and expertise for doing business or working as professionals or employees in government and private institutions. The uprooted Govindpore folks gained prospect of living in civil areas and availing new job opportunities in exchange of homes they lost. The opportunities were not limited to serving the European and the Native aristocracy as domestics, but also in public places and at the Fort site as coolies, road-labourers, or palanquin-bearers who in those early days were customarily natives of Bengal. So far we understand, the Hindu settlers from Govindpore had no serious involvement in the process of developing Dhurrumtollah into a neighborhood of historical importance. In our collective mind, the area of ‘Dhurrumtollah’ today no more includes the eastern part of Jaunbazar, which found its own identity after Pritaram Das had built his palatial house in 1810s – the hallowed site where Rani Rashmoni, his daughter-in-law, lived her distinguished life of spiritual, social and political significance. As we conceive, Dhurrumtollah of recent time comprises the entire area between the Lindsay Street and the Dhurrumtollah Street. The road was widened up in 1836 allowing the adjacent land to develop fast into a modern colony next to Chowringhee, but unlike Chowringhee, it was for people of all shades, not white alone. So to speak, such liberal inclusion was a striking exception to the administrative directions pronounced for removing ‘native inhabitants from the black town and to build houses for themselves on another spot, at a greater distance from the fort’. We gather from the English traveler, Edward Ives that this was ‘owing to the governor and council’s resolution in consequence of Colonel Clive’s advice, to enlarge and well secure Fort William, which could not be done, whilst the Indian town was standing. [Ives]

The White Town concentrated around the Tank Square. The region centering on the Govindpore Fort, including Chowringhee, Park Street, Dharmatala, Esplanade, formed the European part of the town. [Wallace] Dharmatala, though commonly designated as a European district, can hardly justify so by its mixed populace and liberal lifestyle, which has been encouraged to diversify further culturally and economically, keeping pace with the changes taken place in global societies through ever increasing Calcutta connections.

GreatMarket_Solvyns,
Of the Nations Most Known in Hindoostan. Solvyns, Les Hindous, Vol. III. 1811

The crowd of Dhurrumtollah Street is always different from anywhere else in Calcutta – “full of the People of India, walking in family parties and groups and confidential couples. And the people of India are neither Hindu nor Mussulman — Jew, Ethiop, Gueber, or expatriated British” (like James Augustus Hickey, Justice Le Maitre, or a David Drummond). “They are the Eurasians, and there are hundreds and hundreds of them in Dhurrumtollah now.” [Kipling] Because of the presence of British insiders, Dhurrumtollah milieu is essentially more inclusive than the grey town Murgihatta, and may be justly called a global town. On this road, Rev. C Cesry found in 1881 many faiths, many occupations, and many institutions existing next to each other. [Cesry] The road becomes congested with swelling population and their multifarious activities – commercial, professional, humanitarian, devotional, and recreational.

Calcutta may aptly be called ‘a city of shop-keepers’ if ‘getting and spending’ proves to be the essence of its economic life. This was what Sambhoo Churn wrote in Mookherji’s Magazine in 1861. The most respectable of its inhabitants were merchants, and the next might be the judiciary and law practitioners in Calcutta. Those days their profession found highly profitable. So were the medical practitioners. Englishmen in those days carried on other professionals as well. They were jurymen. Besides, they were engaged in different trades as coach-making, watch-making, tavern-keeping, tailoring, wine-dealing, shoe-making, hair-dressing, tanning and the like. [Biswas]

NEW PHENOMENA
A glance through the street directories of late 18th century or early 19th century Calcutta should show the changing pattern of occupations in Dhurrumtollah Street with “addresses of Engineers, Under¬takers, Chemists, Doctors, Midwifes, Photographers, Professors of Music, Horse Doctors, Auctioneers, Jewelers, Book-sellers, Publicans, Barbarians, Scythians, Bond and Free. [Cesry] There were more, most importantly the teachers who contributed singularly to awakening of a new Bengal. The role of Dhurrumtollah Academy of David Drummond and certain other extraordinary institutions carried out gently their grand missions on this rowdy street of ‘shops and bazars’. To Rudyard Kipling the street was like Hammersmith High¬way – the main shopping street in Hammersmith, London.

As we have elsewhere discussed at length about the old bazars of Dhurrumtollah, including the Chandney Market that still exists. [puronokolkata] The old Chandney was altogether a different class of market. It was set to cater raw materials like cloth lengths, threads and needles, or tools like scissors, knives, hammers or a fishing rod, but barely any ready-made consumer goods like garment to wear or fishes to eat. It was also a good shopping centre for household wares. I believe it still continues with the tradition to a large extent.  This apart, I like to draw your attention to the variety of specialty shops in Dhurrumtollah locality that sale, repair and offering services and products of modern technology.

Madan Theatre by Night” by Gaganendranath Tagore. Held at National Gallery of Modern Art, New Delhi. Image Courtesy: NGMA

There was no dearth of photographic studios, camera shops, professional cameramen, gramophone players, and music records, projectors and films, and above all there was the pioneering Indian cinema production company, the Madan Theatres to show how very receptive the ambience of Dhurrumtollah has been to innovative merchandise. Even today one goes there for a treasure hunt for rare music records, and some finds the master mechanic for gramophones and cameras in its lanes and bi-lanes. Such experience veritably takes us back to the old days of Dhurrumtollah.

CamelCarriage_Atkinson_1860
Camel Carriage. Coloured lithograph by F. Jones after Captain G.F. Atkinson. 1860

The scenario Kipling described did not grow overnight but an outcome of a slowly built tradition since 1762 – the time when Dhurrumtollah Street was a muddy road frequented now and then by animal-drawn carts pulled by bullocks, horses, and possibly elephants and camels.
The road became wider in 1867; building plots were numbered in 1843 and revised in 1869. Along with the continuous improvement of the Street and its surroundings, changes take place not only in mode of transportation, or form of vehicle, but in people’s lifestyle and the design of the institutions within the orbit of Dhurrumtollah Street.

OBSERVATIONS
Dhurrumtollah Street is, as we see, one of the few roads of the 18th century Calcutta that may claim to be a distinctive reserve for augmenting the history of making Calcutta a modern City out of the colonial ‘Town Calcutta’. The Street carries the traces of the socio-cultural progress on the route to urbanization basking in the glow of Industrial Revolution. It turned up in Dhurrumtollah rather than in any other part, because of two reasons, I believe. First, it was a free society and a learning society, continuously adjusting itself with new ideas and technological inventions. Second, the resolute role of institutions and few little-known, liberal forward-looking people that made it all happened.

CHAPIN PUMPING ENGINE.Dwarkanath imported this technology from England for his business ventures

Contrary to this view, there is a general notion that ‘the early and prolonged exposure to British administration resulted in the expansion of Western education, culminating in development of science, institutional education, and social reforms in the region, including what became known as the Bengali renaissance.’ [Bengal Chamber] When there is no denying that India owes to the British for the revival of its heritage, the British had little to contribute to the formation of the liberal spirit of Bengal Renaissance simply because they never had such values in their national character founded on the rock of convention.

Neither the contemporary business world had much to effect a change in Bengali mind-set. We know many illustrious names of the 19th century business and industrial leaders, British and Indian, from Andrew Yule to Octavius, from Dwarkanath to P C Ray. Among the Indian entrepreneurs there were many great public figures but hardly any persuasive leader capable of being an agent of social change. When Dwarkanath launched his firm, Young Bengal found a hero, and expected the Bengalis to ‘compete with the nations of Europe and America, not only in English literature, but in fine arts, sciences and commerce’. [Sarkar]

There had been however many renowned adorable renaissance men, including foreigners like a David Hare, and many more unacknowledged people who readied the Calcutta society at large with their open and inquisitive mind imbibed with liberal values. The society was shaped by those extraordinary minds behind the scene that produced leaders to instill new values in public mind, and influence politics of the land. While the industry, the political power, the social elites all had their respective roles to back the new society to flourish, essentially it was the work of the unaccounted activists – the mind-makers.

ENDNOTE
To illustrate my views I shall present few cases, starting with Chandney Bazar, an obscured offshoot of the industrial age. It will be followed by profiles of some magnificent men who left their invisible signatures on some very important chapters of Calcutta history leading to Bengal Renaissance. They came from dissimilar walks of life at different points of time – two horsemen, one Caribbean the the other French by birth, a atheist teacher of Scottish birth, and one Brahmoite  American Unitarian activist. Hopefully, you would enjoy their stories so far unheeded, when come out on puronokolkata pages before long.

REFERENCE
[Anonymous]. 1816. Sketches of India; or, Observations Descriptive of the Scenary, Etc in Bengal. London: Black, Purbury and Allen. https://books.google.com.au/books?id=tEcVAAAAQAAJ&pg=PP1#v=onepage&q&f=false.
Bengal Chamber of Commerce. 2016. Discover Bengal: A Guidebook Of Business Prospects In West Bengal. Calcutta: Bengal Chamber. https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=2ahUKEwi77uKz1PnhAhUk63MBHQ8vDkYQFjAAegQIAxAC&url=https%3A%2F%2Fwww.bengalchamber.com%2Feconomics%2Fdiscover-bengal.pdf&usg=AOvVaw1V8wDJ0_pSUMaxTwj7VrZ9.
Bengal Hurkaru. 1838. Bengal Directory and Annual Register 1838. Calcutta: Samuel Smith. https://archive.org/details/dli.bengal.10689.14012/page/n5.
Biswas, Oneil. 1992. Calcutta and Calcuttans From Dihi to Megalopolis. Calcutta: Firma KL. https://archive.org/details/in.ernet.dli.2015.149376.
Cesry, Rev. C. 1881. Indian Gods Sages And Cities. Calcutta: Catholic Orphan Press. https://archive.org/details/in.ernet.dli.2015.128152.
Chunder, Bholanauth. 1869. Travels of a Hindoo; to Various Parts of Bengal and Upper India; Vol.1. London: Trubner. https://archive.org/stream/travelsahindoot00chungoog#page/n9/mode/2up.
Davies, Pauline. 2013. East India Company and the Indian Ocean Material World at Osterley, 1700-800, East India Company at Home (May 2013). https://blogs.ucl.ac.uk/eicah/osterley-park-middlesex/osterley-case-study-winds-of-trade/
Dean Mahomet. 1997 The Travels of Dean Mahomet: an eighteenth-century journey through India; ed. By Michael Fischer. California: UCPress,1997 https://www.ucpress.edu/book/9780520207172/the-travels-of-dean-mahomet
Forbes, James. 1834. Oriental Memoirs: A Narrative of Seventeen Years Residence in India; Vol.2. 2nd ed. London: Bentley, Richard. https://archive.org/details/orientalmemoirs00montgoog/page/n10.
Ghose, Benoy. 1960. “The Colonial Beginnings of Calcutta Urbanisation without Industrialisation.” The Economic Weekly, no. August 13: 1255–60. http://www.epw.in/system/files/pdf/1960_12/33/the_colonial_beginnings_of_calcuttaurbanisation_without_industrialisation.pdf?0=ip_login_no_cache%3Dfc8386086015fc6e2268f71b76bece16.
Kipling, Rudyard. 1899. City of Dreadful Night. New York: Alex. https://archive.org/details/citydreadfulnig02kiplgoog/page/n7
Puronokolkata. (2018). Durrumtollah And Its Old Bazars. Retrieved from https://puronokolkata.com/2018/05/08/dhurrumtollaha-bazars/
Roy, Tirthankar. 2014. “Trading Firms in Colonial India.” Business History Review 88 (1): 9–42. https://doi.org/10.1017/S0007680513001402.
Sarkar, Suvobrata. 2013. “Bengali Entrepreneurs and Western Technology in the Nineteenth Century: A Social Perspective.” Indian Journal of History of Science 48 (3): 447–75. http://www.insa.nic.in/writereaddata/UpLoadedFiles/IJHS/Vol48_3_4_SSarkar.pdf.
Sen, Amit pseud. [i.e. Susobhan Sarkar] ]. 1947. Notes on Bengal Renaissance. Bombay: People’s pub. https://archive.org/details/notesonthebengal035527mbp/page/n6.
Setton-Karr, W. S. 1865. Selections from Calcutta Gazettes; Vol.2. Calcutta: Military Orphan Press. https://archive.org/stream/in.ernet.dli.2015.44506/2015.44506.Selections-From-Calcutta-Gazettes–Vol-2#page/n3/mode/2up/search/beerbhoom.
Stocqueler, J.H. 1845. Handbook of India: A Guide to the Stranger and the Traveller, and a Companion to the Resident. 2nd ed. London: Allen. https://books.google.co.in/books?id=SelHAQAAMAAJ&pg=PA348&lpg=PA348&dq=a+seat+of+numerous+extensive+manufactories,+vying+with+many+British+cities.&source=bl&ots=O-V1sg-gc6&sig=ACfU3U1bRKpuM94feKVkwAc3A7wwaWsOPg&hl=en&sa=X&ved=2ahUKEwi8hbmhlO3hAhWKP48KHYEm.
Wallace, Robert Grenville. 1822. Fifteen Years in India; or, Sketches of a Soldier’s Life Being an Attempt to Describe Persons and Things … U.S. Commission of Fish and Fisheries. London: Longman. https://doi.org/10.1016/0003-6870(73)90259-7.

THE EDEN GARDENS – A PARADISE LOST

ঈডেন উদ্যান কলকাতা
In 1940, John Barry, the Calcutta Journalist, finds Calcutta “admirably served in the matter of ‘lungs’. There is no part which is not provided with a park or open space.” Besides the vast green of the Esplanade around the new Fort William, there have been as many as seven parks in the south of Tank Square, the Eden Gardens being the prettiest of them all. It served as the Promenade of Calcutta as Perrin’s Garden did long back in 1740s.

Garden City Calcutta
Calcutta has gardens of varying descriptions and many luxurious garden houses of upscale European and native families; a few of those turned later into institutional gardens like Horticultural Garden and Zoological Gardens.  Two of the oldest gardens, Perrin’s Garden and Surman’s Garden were the most inviting entertainment grounds for the early English genteel in Calcutta.

The Perrin’s Garden at the extreme north of the town, now Bag Bazar, was named after Captain Perrin, owner of several ships.  Perrin’s Garden was a pleasure resort, once the height of gentility for the Company’s covenanted servants to take their ladies for an evening stroll or moonlight fête. [Long.  It began to be less frequented when the English left Sutanuti. By 1752 it was alto­gether out of use and sold out for Rs. 25,000..  The other old garden, Surman’s Garden, lay at the extreme south of the town. Surman owned both Belvedere House and its garden which were sold on his behalf by public auction to Captain Tolly. It was afterwards purchased by Hastings for the Governor’s garden-house.  [Calcutta Census 1905]

Topography
Between Government House and Garden Reach there was a broad open plain, about 150 acres in extent, called the Esplanade or maidan in Hindustani. It was laid out with fine broad macadamized roads, bordered with trees. The space between the roads is plain turf. As seen in Thacker’s Guide of 1906, the Calcutta Gate of Fort William.

Strand Road west of Eden Gardens. Photographer: Samuel Bourne. c1868

leads out in a straight line to the Eden Gardens at the north-west extremity of the Maidan, bounded on the north by Auckland Road and on the west by Strand Road. [Thacker’s 1906] On Strand Road where the Bank of Bengal now stands, the native boatmen careened their craft at Cutcha- goody Ghaut before the English occupation. Later, when Supreme Court stationed in Calcutta, an avenue of trees marked this spot along the river-bank up to the Creek as King’s Bench Walk.  A more elegant avenue was planted by the Lottery Committee stretching from Chandpal Ghaut to the New Fort, known as Respondentia Walk. [Blechynden]  The Calcutta society  took their constitutional, evening after evening, while the more wealthy drove round in palanquins —facetiously called “coach and four ” —or chaises. Others still went up and down the river in budgerows, over exactly the same ground as their successors do in carriages or motors ; for the Hughli at that date flowed along what is now the Strand. [Minney]

Strand Road north of Eden Gardens. Photographer: Samuel Bourne. c1868

The Strand Road was laid on the land resulted from alluvial deposit. The Municipality contributed largely in the reclamation of this valuable land, or chur (চর) by depositing the sweeping of the town upon the alluvium so formed for many years.  In 1848, the sweeping, which were reported to cause a nuisance, were covered up and consolidated by the Municipality. The property became valuable and the income formed the Strand Bank Fund, which was utilized by Government not only for improving itself but for draining and painting trees on the Maidan, the Eden Gardens, and works on the Esplanade.  The Lottery Committee constructed Strand Road and Strand Bank , in 1820-21,that passed through two Zamindaries, Calc utta and Sootanaty. [Friends of India. 8 Sept.1853]

The Calcutta society  took their constitutional, evening after evening, while the more wealthy drove round in palanquins , facetiously called “coach and four “, or chaises. Others still went up and down the river in budgerows, over exactly the same ground as their successors do in carriages or motors; there were no Eden Gardens, which came nearly half a century occupying most of the old walks.  [Minney]

 

Genesis
There are different unverified stories about acquisition of the land. According to some, it was Babu Rajachandra Das (Marh)  who gifted it to Lord Auckland [Wiki]; some suggested Auckland himself purchased a plot for the garden in 1841 [Ency Date]. Whatever might be source of procurement, it is obvious that Auckland tended the garden when it formed part of the Governor’s Estate. [BL Annotation to Band Stand Photo by Malitte]
That the Eden Gardens is named after Emily and Fanny Eden is now a common knowledge, but a few know why it was not after their brother George Eden instead. Something similar happened with the Barrackpore Eden School which was established and grew under personal care of Lord Auckland, often erroneously credited to Emily Eden.  Around 1842 the Eden Gardens of Calcutta came into existence with the name Auckland Circus Gardens, or just ‘Auckland Garden’. We are yet to know when it adopted the new name ‘Eden Gardens’ and why the change needed at all. {Ency. Indian Dates} Some believed that the makers of the Gardens being ‘inspired by Garden of Eden in the Bible’, changed its name. What we gather from the words of Curzon and Cotton, that it were Misses Eden, the sisters of Lord Auckland, whose ‘liberality and taste’ contributed most in making the gardens to benefit  Calcutta society [Cotton] . Unfortunately, their claims appear somewhat inconsistent with the details Emily recorded in her Letters from India.

Emily and Her Sister

Miss Emily Eden. Portrait Artist: Simon Jacques Rochard. 1834

There is no denying that Edens had a genuine love for gardening.  Gardens were their means to secure Englishness in India. At each of their houses in Calcutta, Barrackpore, and Simla, George and Emily made sure they had a garden. But the letters Emily Eden left with us provide little or no indication to establish her involvement in making Eden Gardens.  Emily’s ‘new garden’, which comes up frequently in her correspondences, refers to the Park Gardens, or the Ladyship Garden at Barrackpore where she stayed mostly,  happily engaged in overseeing her ‘new garden  turning out very pretty,  observing that her plants doing a great deal in six weeks, enquiring  about the Gloriosasuperb growing almost wild there.  [August 2. (Finished August 9), 1836] – all these mentions were about their private garden in Barrackpore where she planted seven hundred flowering plants that Dr Wallich of the Botanical Garden gifted. This was the garden the two sisters and their brother George Eden had built for enjoying privately their Englishness in continuity of their Greenwich days.  Historically, Emily and Fanny Eden had no more than accidental relations with  Eden Gardens and, if any, that should be hardly enough to justify changing of the name of Auckland Circus Park into Eden Gardens, in other words, replacing Lord Auckland with the names of his two sisters in public mind for some external reasons .
We have also difficulty in accepting Eden sisters as liberal-minded as Curzon and Cotton suggest disregarding their highly opinionated conservative mind-set uncovered in great many private letters Emily.
“Eden’s place in English society developed out of a permanent class hierarchy, from birth. Being dropped into the contrasting classes of Anglo-Indian society made Eden psychologically uncomfortable”. In fact, hardly ever Emily minded her language in expressing her aversions, as we see in her letter of 24th March 1824, Emily describes their dinner with Anglo-Indian guests:  ”have great dinners of 50 people, ‘fathers and mothers unknown’, to say nothing of themselves”. March 24, 1836.  Eden sisters were upset seeing the loss of British identity in those white people of Calcutta. They abhorred ‘the black naked creatures’ – the native Indians. The status and prestige Emily enjoyed as George’s sister made her “royalty” among the inhabitants of Calcutta, yet unlike their brother George they detested Calcutta, and sometimes thought India a barbarous country.

George Eden, Earl of Auckland
George Eden, earl of Auckland was different being liberal and concerned for the welfare of the people many of the stiff neck Britons looked down, as did his two sisters. He was known as ‘Cold-mannered, reticent, shy, good-natured, robust of figure, disliking all pomp and parade, and delighting in regular official work’. He was said to be least fitted to organize wars and gain victories. He took charge as Governor- General of India in 1836. During his tenure, the first Anglo-Afghan war gave a severe blow to British Prestige in India. He was termed as most unsuccessful GovernorGeneral of India and is known for his follies in Afghan wars. Though Auckland was found “least fitted to organize wars”, he “eminently fitted by temperament and long experience to discharge the most exacting duties of quiet times,”[Trotter] The then British authority, as we see,  preferred a war-hero to a good statesman in India. Auckland was called back in 1842 as a failure notwithstanding the immense good he had done for India and its people.

Earl of Auckland, George Eden. Portrat Artist: Simon Jacques Rochard. c1843

During his six year administration Auckland amply proved his will and ability to improve the living conditions and opening opportunities for self development. Launching the Fever Committee programs, introducing the basics of municipal governance, abolishing Pilgrimage Tax, empowering religious endowments, improvement of the medical and general education, extending government scholarship to studying Sanskrit, Arabic, and Persian, designing Slavery Act of 1843, are some of his lasting contributions to the colonial India, Calcutta in particular.  Lord Auckland’s despatches and State papers impressed Fitzgerald, as President of the Board of Control. He perceived, Auckland “was, with the sole exception of Lord John Russell, by far the ablest member of his party; his views most statesmanlike, and his government of India particularly just.’ “If modern Calcutta has ever a thought to give to the citizens who have made her what she is, she will find many a name worthy of honour among those who recognized Moira and Bentinck and Auckland and Dalhousie as king in turn.”[Cotton]  The new Viceroy astonished the inhabitants by showing himself on foot at times and places where he would be least expected. ‘He walked,’ says his private secretary, “to the Eden Gardens in the gloom of these January evenings, and, like the Sultan in the Arabian Nights, heard with amusement or with interest remarks about him as he mingled with the crowd.  [Thaker’s Guide to Calcutta 1906]

As already said, Auckland loved gardens, and that wherever he lived maintained a garden there. Government House apart, Auckland had owned one of the most magnificent Garden houses, the Belgachia Villa, which later passed to the hands Dwarkanath Tagore. Auckland’s deep sense of living in harmony with nature prevented him to sanction a plot of ground “at the south-east corner of the enclo­sure of Tank Square ”for the purpose of erecting Imperial Library. He thought that those spaces of the town which are appropriated to light and ventilation ought not to be given up for purposes of building.” [Cotton]

So far what I have said is only to suggest that George Eden had by far the most appropriate candidature  for being the ‘Eden’ of the Eden Gardens, previously called Auckland Circus Garden, or simply ‘Auckland Garden’, though it is being said in chorus  that the garden was named after ‘Emily and Fanny Eden’.

A Garden of Eden
The garden was the best of its kind in English colonial states. The Eden Gardens along the river’s bank had been a place of “great show of fashionables out for the purpose of enjoying a drive— ‘eating the air’ (howa-khana) as the Indians express it.” [Carey] Entering the Strand Road we turn to the North, and on our right we pass the Eden Gardens. A large space has been turfed and is well patronized by hundreds of citizens who may be seen taking their evening exercise on the green sward. [Cotton]  Thirty years ago, the evening walk in the Eden Gardens was sacred to the Calcutta elite, and, if not in uniform, one had to assume a top hat and frock-coat in order to mingle there with the great ones of the land. Then a wave of liberal sentiment break the order, and the pleasure of listening to the military band discoursing sweet music ceased to be a monopoly for Europeans. The hierarchy since then has not patronized the Gardens as in the days of old.  [Thaker’s 1906] The Eden Gardens complex sprawls over a lush green land of 50 acres many gardens, lakes, a Pagoda and a Bandstand of special historical importance. The gardens themselves are laid out with winding paths and artificial water, interspersed with a profusion of flowering trees and shrubs. A pleasanter place for a morning or evening stroll cannot be found. The portion devoted to promenading is well illuminated with the electric light [Carey]

The prettily decorated Pagoda and its reflection on the adjacent lake water was a favourite spot of the visitors.   This Burmese Pagoda, a specimen of Tazoungs architecture, was built in 1852 in Prome by Ma Kin, wife of the then Governor. It was then removed from Prome after the Burmese War in 1854, and re-erected here in 1856. Within the Pagoda there was an image of Gautama Buddha with its forehead set with precious stones, used by Buddhist Priests for worship. [Thaker’s 1906] The lake alongside the Pagoda, where giant lilies bloom in plenty, is a pleasing sight. For the happy holiday-makers there were two rowing boats, very appropriately named Adam and Eve. These can be hired at the rate of four annas per head per hour. [Barry 1939/40] Round the whole is a broad grassy ride for equestrians, enclosed by shady walks and plantations. [Carey]

Town Band & Operatic Culture
Thanks to the fact that Calcutta was the seat of the Governor-General, brass bands had been of enormous import since the city’s earliest days. The town’s regimental bands, or the Governor-General’s own private band, had initially provided Calcutta with this public music.  Curzon reminded us that for the first time the Governor General’s Band was played at his Party in the new Government House to celebrate the King’s Birthday on 4th June, 1803. But it was much later in 1820s a separate Band for the Vice-Roy was formed on assured basis. Since then ‘visitors to Government House have always noticed and as a rule expressed much admiration for, the Viceroy’s Band.  Emily Eden, writes on 16 March 1836:

“To-night there was the concert, at which the natives came, besides all the same society that was at the ball. Fanny said there was nothing very splendid about the rajahs. I heard the music in my bedroom, and it did not sound ill. Our own band is a very good one, and plays every evening when we have company.” [Emily 16Mar1836]

In the late 1850s, after the Rebellion, promenade band concerts became a regular part of White Town life. By August 1861, the concerts had grown in popularity and the more musical residents of Calcutta established a Town Band that entertained the town each night. A large sheltered bandstand was erected in the Eden Gardens. By the winter of 1861-62, the Town Band had become a musical and social institution; evenings would find the bandstand occupied by the Town Band, an ensemble of twenty-five performers supported entirely through voluntary private donations, with crowds of townsfolk coming in carriages, on horseback or on foot to listen. The Band’s best contributions to operatic culture were the regularity of its offerings and its low-cost. [Calcutta Premiere]

The repertoire for each day’s concert was published in the morning edition of several Calcutta newspapers, including The Englishman. Although the individual pieces varied each day, the programmes followed a fairly standard formula: one or two opera overtures, a dance such as quadrille, waltz or march, an arrangement of an operatic set-piece, an arrangement of a British ballad or song, especially of a patriotic nature, and occasionally an arrangement of a parlour song or Hindoostannie (sic) air. We find Sisir Bhaduri, the maestro of Bengali theatre, staged DL Roy’s Sita at the Eden Gardens during Christmas in 1923. [Christiansen]  The recitals of the city’s professional musicians and the daily promenade concerts given by the Town Band were invaluable contributors to Calcutta’s operatic culture.

The Statue of Auckland
This noble statue of Lord Auckland was installed in the Eden Gardens, or the Auckland Circus Garden as it was called then. Facing the river, the statue remained prominently visible from strand. The height of the statue itself is about 8 feet 6 inches; and on the whole, including pedestal, 20 feet only. The casting, as well as the model, was sculptured by Henry Weekes, R.A. The monument was complete in 1848. A fee of £.2000 was paid to the sculptor from the fund collected by the people of Calcutta for making the statue of the Earl after his departure from India as a token of their love and gratitude.

Earl of Auckland. Marble Statue. Sculptor: Henry Weekes, R.A. 18481848

The statue of George Eden comes in view when one walks past the Burmese Pagoda and close to the northern gate. The inscription on the pedestal upon which it stands declares that the statue was erected by men, of whom some were the instruments of his government, of whom many knew that government only by its benign effects, all of whom agreed in the affectionate desire to perpetuate the memory of the six years during which be ruled the destinies of British India — for this just reason that, throughout the whole course of those years, he laboured earnestly and unremittingly to make security from rapine and oppression, freedom of internal trade, the medical science of Europe, the justice which is blind to distinctions of race, and the moral and intellectual affluence which it opens, a common and perpetual inheritance to all the nations who inhabit this Empire. 1848.” [Steggles]  It was ‘an almost fantastic panegyric’, Curzon commented, and regretted that the name of Auckland was forgotten in Calcutta by then, ‘except the Eden Gardens, which Calcutta owed to the liberality of his sisters, and for its own statue’. [Curzon, v2] Today, none of those two, the Eden Gardens and Auckland’s statue, survives to bear out the loving memory of the Earl in this city.  It seems Auckland was covertly stripped of everything he achieved while in India because of some untold sins he committed –failure in Afghan War, or for some good he did for Indian people that proved bad for the British interest. It might also be a streak of his character. As Charles Greville, who knew him well, found in him some very best qualities for a statesman but ‘a certain diffidence in his own judgment, a diffidence which was soon to lead him, his party, and his country, into disaster. [Trotter]
Firstly, Auckland Park lost its definite identity by changing its name into Eden Gardens in an attempt to cut off Auckland from Calcutta people very unkindly, indeed. The new name convenience spreading of the make-belief story, that it was a gift to the townsfolk due to liberality of the Eden sisters, who had been in real life conservative British aristocrats utterly disrespectful to the native Indians and Anglo-Indians on different counts.
View of Eden Gardens and its Burmese Pagoda. Photographer: Hoffman and Johnston. 1865Besides Auckland’s statue, there had been two other monuments located in Eden Gardens. On its north side, the grave of Charlotte, Lady Canning was buried and remained there until moved to Barrackpore Park. On its south side stood the statue of the Naval Commander William Peel until reinstalled at Temple of Fame, Barrackpore. No memorials of Emily and Fanny Edens ever installed to acknowledge their supposed involvement in making of the garden. The statue of Auckland that stood in Calcutta from 1848 was taken away to Auckland City in 1969, after a short stay in Victoria Memorial Hall being a part of its statuary collection.  The cost of transportation and its erection on site was arranged and financed by the New Zealand Insurance Co. Ltd. as a gift to its home city. Calcutta bade adieu to the last of Auckland.

A Paradise Lost

The garden that was steadily being developed since early 1840s under the care of Lord Auckland and his successors into an enchanting sphere of natural beauty and peace for the people of Calcutta, encountered a threat in 1864. The Calcutta Cricket Club, after many refusals of their prayer to the successive Governors-General obtained permission to move to the eastern end of the Eden Gardens. The garden authorizes did never mind accommodating such events as of  Bengal Lawn Tennis Championship, Kennel Club Dog Shows, Presidency Sports, Rowing Club boating, but not a game that may ruin the delicate natural atmosphere and its exquisite garden architecture with the tumult of the maddening crowd from the stadium. The stadium has since grown into a large walled realm larger than Roman coliseum ruled predominantly by the law of fashion, entertainment and commerce in the name of sports. It was an unholy marriage that ultimately reduced the  Eden Garden, once so much loved, next to nothing but its name, which now stands for:
”a cricket ground in Kolkata, India established in 1864. It is the oldest cricket stadium in India. It is the home venue of the Bengal cricket team and the IPL franchise cricket team Kolkata Knight Riders, and is also a venue for Test, ODI and T20I matches of the India national cricket team. The stadium currently has a capacity of 68,000.” [Wikipedia]

This shows how we like to redefine our past and ourselves giving a damn to our roots.

 

REFERENCE

Blechynden, Kathleen . 1905. Calcutta: Past and Present. London: Thacker. Retrieved (https://archive.org/details/calcuttapastand02blecgoog).

Carey, W. H. 1907. The Good Old Days of Honorable John Company, Being Curious Reminiscences … during the Rules of the East India Company, from 1800 to 1858; Vol.2. Calcutta: Cambray. Retrieved (https://archive.org/details/in.ernet.dli.2015.116087).

Carey, William. 1882. Good Old Days of Honorable John Company; Vol.1. Calcutta: Quins Book. Retrieved (https://archive.org/details/goodolddaysofhon00careuoft).

Christiansen, Amy Marie. 2012. Discomforts of Empire: Emily Eden’s Life in India, 1836=1842 -. Auburn: Auburn University. Retrieved (https://etd.auburn.edu/bitstream/handle/10415/3271/AChristiansen-Thesis.pdf?sequence=2&isAllowed=y).

Cotton, Evan. 1907. Calcutta, Old and New: A Historical and Descriptive Handbook to the City. Calcutta: Newman. Retrieved (https://archive.org/details/calcuttaoldandn00cottgoog).

Firminger, W. K. 1906. Thacker’s Guide to Calcutta. Calcutta: Thacker, Spink. Retrieved (https://archive.org/details/thackersguidetoc00firm).
Gupta, Hemendranath Das. 1944. The Indian Stage; v.4. Calcutta: M K Das Gupta. .(https://www.amazon.in/Indian-Stage-Vol-IV/dp/1178594637)

Marquis Curzon. n.d. British Government In India Curzon 2 : Free Download, Borrow, and Streaming : Internet Archive. Retrieved January 21, 2019 (https://archive.org/details/BritishGovernmentInIndiaCurzon2/page/n3).

Massey, Montague. 1918. Recollections of Calcutta for Over Half a Century. Calcutta: Thacker, Spink. Retrieved (https://www.google.co.in/url?sa=t&rct=j&q=&esrc=s&source=web&cd=3&cad=rja&uact=8&ved=0ahUKEwjRr_WylsPXAhUDV7wKHTWJAXcQFggxMAI&url=https%3A%2F%2Farchive.org%2Fdetails%2Frecollectionsofc00massiala&usg=AOvVaw3uvydXqyjqB3xbkOOZe4jp).

Minney, R. J. 1922. Round about Calcutta. London: Oxford U P. Retrieved (https://archive.org/stream/roundaboutcalcut00minnrich#page/n5/mode/2up).

Ray, A. K. 1902. Calcutta: Town and Suburbs; Pt.1 A Short History of Calcutta. Calcutta: Bengal Secretariat. Retrieved (https://books.google.co.in/books?id=-Lo5AQAAMAAJ&q=calcutta+town+and+suburbs+ak+Ray&dq=calcutta+town+and+suburbs+ak+Ray&hl=en&sa=X&ved=0ahUKEwjDnrz11MnXAhUCN48KHdgEDQUQ6AEIJzAA).

Rocha, Esmeralda Monique Antonia. 2012. “Imperial Opera : The Nexus between Opera and Imperialism in Victorian.” 1833–1901. Retrieved (https://api.research-repository.uwa.edu.au/portalfiles/portal/9844782/Rocha_Esmeralda_Monique_Antonia_2012.pdf).

Steggles, Mary Ann. 1993. Empire Aggrandized: A Study in Commemorative Portrait Statuary Exported from Britain to Her Colonies in South Asia, 1800 to 1839; Vol.1. Leicester: Leicester. Retrieved (https://www.researchgate.net/publication/44103641_The_Empire_Aggrandized_A_Study_in_Commemorative_Portrait_Statuary_Exported_From_Britain_to_Her_Colonies_in_South_Asia_1800_to_1939).

Trotter, L. J. 1893. Earl of Auckland. Oxford: Clarendon Press. Retrieved (https://books.google.co.in/books?id=1ypnW6TwjQAC&pg=PP2&lpg=PP2&dq=captain+trotter+auckland&source=bl&ots=vKMRrW9x7i&sig=rCHTnT2EZ0Z_FyF0dtIz_uFAREU&hl=en&sa=X&ved=2ahUKEwiBspPbhejfAhWIQI8KHbqfDLUQ6AEwAXoECAkQAQ#v=onepage&q=captain trotter auckland&f=fals).

Wikipedia . Eden Gardens. 12 Jan. 2018 ( https://en.wikipedia.org/wiki/Eden_Gardens)

FINDING DHURRUMTOLLAH

Calcutta. a steel engraving. 1839. Source: Meyer’s Universalism 1850.

ধর্মতলা সন্ধানে


DHURRUMTOLLAH STREET Away From Durrumtollah

Dhurrumtollah Street, nicknamed ‘Dhurrumtollah ka Rasta’, is an approach road to Dhurrumtollah – a vaguely indicated locality north of village Chowringhee that anonymously spreads over the marshy terrain known as Colinga at one time. None of the old maps of Calcutta specifies the place of Dhurrumtollah, though the Dhurrumtollah Street invariably shows up in its place since Mark Wood’s map of 1784-85.
The Dhurrumtollah Street came up in around 1762, so did Jaun Bazar Road (later ‘Street’), both running eastward leaving Dingabhanga in between [Mark Wood, 1784]. Originally it was a causeway raised by deepening the ditch on either side of a land then owned by Jafer, a zamadar in the employ of Warren Hastings.”[Cotton]

COLINGA

Topography
It was the time when the English territory south of Town Calcutta was partly jungle, an extension of Sunderban, where Hastings said to have had the pleasure of tiger hunting.
Before coming of the English, Calcutta topography had been much simpler as Barrel’s 16th Century Bengal map reveals. The vast surrounding area, where the English later founded their first zamindari, looked like populated by only three distant villages – Chitpore, Kolikata, and Kalighat, connected by an unnamed jungle path. The 1680 map ‘Calcutta before the English’ adds few more names pointing to Sutanuti, Govindpore, Chowringhee, and also the Creek, and Jannagar at the eastern end.

Bengal. 1550. River: From Hughli to Sea; according to Joao de Barrel and the Bengali poets. Source: Wilson.Annals.v.1

The landscape in the vicinity of the Creek was then viewed as an extension of village Chowringhee – unworthy of any distinction. It was for the first time, the map Mark Wood prepared in 1784-85 charted the chunk of land separated from Chowringhee as Colinga. Colinga includes two subareas: Talpooker and Jala Colinga within its boundary. The two villages, Colinga, and Jala Colinga, however, were already enlisted in 1717, as ‘Colimba’ and ‘Jola Colimba’, among the 38 villages the English Company was permitted by the Emperor to buy. [Ray]
Talpooker was not in the buying list of villages. In Upjohn’s Mark Wood’s maps, Talpooker was prominently placed and it still exists as Taltola, an old quarter of metropolis, bearing one of the most common rural-names in Bengal, featuring habitations centred on ponds bordered with palm trees.
Jala Colinga is better known by its sobriquet ‘Dinga-bhanga’, which originated after the great 1737 cyclone that wrecked a dinga, i.e. large boat, on the swampy shoreline of the Creek – the vanished man-made canal for carrying cargo boats from Chandpal Ghat toward Beliaghata at the east end. [Blochmann]

Calcutta before the English 1680

The Creek was also referred to in Company documents as Calcutta khal. The vast territory extending from Calcutta Khal to the Tolly’s Nullah, covering the whole of the maidan spread a jungle tract of heavy undergrowth and giant trees. “This jungle was intersected by numerous creeks and watercourses, where the muddy yellow waters of the Hughly swept in with the rising tide or ebbed with the drainage of the surrounding rain-drenched country”. The old bed of the Creek remained, long after the closing of its connection with the river had deprived it of its stream, and turned it into a ditch. [Blechynden]
We normally accept unquestioningly whatever presented in a historical map, while the opposite may not be true in all cases. Whatever not presented, cannot be read as non-existent for sure since the possibility of their being existed namelessly can never be overruled without verifying the circumstantial evidence. Colinga is one of such cases. With all its parts: Talpooker and Jala Colinga appear separately in the list of 19 mauzas, and Dhee Calcutta, composed during 1767-1857.

Colinga and the newly enlisted villages were not expected to come up suddenly out of nothing. Normally, it takes ages for a geographic entity to acquire a name of its own, unlike the modern way of deciding street names on board meetings, as did the English Company in 1792. For a prolong period, when it remained essentially a part of village Chowringhee, Colinga had been a thinly populated uncultivated landscape occupying north-east segments with Dingabhanga and Talpooker on the peripheries.

Etemology
The name Colinga, assigned in Upjohn’s and Mark Wood’s maps, is a derived form of a rare Bengali word কলিম্বা (Colimba), has multiple meanings. It poses a serious challenge for us to distinguish between the etymological and the popular sense of the word in the current context. Vernacular lexicon shows 25 different sets of meanings, of which the followings are found plausible attributes contributing to the naming of the village Colimba (কলিম্বা), or Colinga:
(1) Trees: পাকুড় (Ficus religiosa, sacred fig) / শিরিষ (Lebbek Tree)/ কামরাঙ্গা (carambola) / তরমূজ (watermelon) (2) Terrain: marshland (হাজা। “হাজালে কলিঙ্গ দেশ”) (3) People: Kol tribe, a worshiper of Bonga (বঙ্গা) [Jnanendramohan]
On the basis of such semantic interpretations we may imagine how Colinga might have been before the increasing homesteads changed its ecology. Colinga and its surrounds, by lexical interpretation, apparently looked like a jungle of Sirish শিরিষ and Pakurh পাকুড় trees and a marshland (at Jala Colinga) with an abundance of kamranga কামরাঙ্গা vegetation; lived by Kol কোল and such tribal folks.

The Banks of the Hooghly River, Calcutta, Source: The Graphic, v.24, no 646, Ap.15, 1882

Ecology
The soil of Calcutta, marshy and damp, has always been displeasing, particularly in the rainy season, and more so because of the proximity of the river and a widespread lake – about 3 to 4 miles long and in no part above 18 inches deep, frequented by innumerable flocks of wild geese, duck, teals, etc. The site of Colinga was the nearest to that lake [Chattopadhyaya]

Colinga happened to be the last of the “typical swamp-type of vegetation including mangroves throve in and around Calcutta” for about 3000 years, as experts find. Perhaps, with the rise of land as a result of continued river silting and increased population the forest has since migrated southwards giving rise to the swampy forest of the present day Sunderbans. [Biswas]

Biodiversity

Since prehistoric eras the birds and animals travel Gangetic Bengal, migrate and settle colonies enriching natural resources contributing to improving quality of the soil and its landscape. As we all know, birds transport seeds and twigs from far and near across lands and oceans to germinate new variety of plant life, and they do it selectively by the atmospheric condition of a terrain. The birds living in and around Calcutta, and those visiting seasonally during the last two centuries, have been systematically recorded by birdwatchers. Frank Finn is one of them. His Birds of Calcutta is more relevant to our theme than elaborated work, Pet Birds of Bengal [Law]. We find 24 species of birds, all familiar to us but some like Paddy-bird – once so prevalent in the City of Palace, gone out of sight for good. Those are:

House Crow পাতি কাক, Oriental Magpie Robin দোয়েল, Seven Sisters ছাতারে, Bulbul বুলবুল, King-Crow দাঁড় কাক, Common Tailorbird টুনটুনি, Oriole, বেনে বউ common? Mynah ভাত শালিক, Dhtalধুলাল, Sparrow চড়াই, Honey-Sucker মৌটুসি, Woodpecker কাঠঠোকরা, Coppersmith Barbet বসন্তবাউরি, Blue-Jay নীলকণ্ঠ, Kingfisher মাছরাঙ্গা, Swift বাতাসি, Koel কোয়েল, Parrot তোতা Owl প্যাঁচা, Vulture শকুন, Kite চিল, Dove ঘুঘু, Gull গাং চিল, Paddy-Bird ধান পাখি।

A cursory glance through the list may suggest that not all the species were fit for habitation in early Colinga environ. Flocks arrive at in stages with different compositions, adaptable for the ecological diversity, to contribute in transforming Colinga landscape from a marshland to cultivable woodland, orchard and paddy-field. There were no woodpeckers, honey-suckers at the beginning but gulls, kingfishers, snipes and the like. [Finn]

Route dans le Bangale. c1791-1823. Artist: François Balthasar Solvyns.

The landscape of Colinga before mid-18th century, so far we see, was much dissimilar to woody Govindpore, Birji and Chowinhee villages. Colinga remained a vast inhabitable wetland for centuries, infested with insects and aquatic creatures including water-birds. Initially, a number of coarse weeds began to invade the territory and a variety of thorny shrubs and other plants, not attractive to grazing animals advanced slowly, their seedlings sheltered by the weeds until large enough to escape the trampling. Eventually a thicket of small trees and shrubs appeared, of which, the commonest constituents should have been the thorny beri কুল, benchi বৈঁচি,and their near relative dumar ডুমুর,- a quick-growing, shrubby plant with coarsely hairy leaves, also arrived early on the scene.

Finally appear the large trees – the lofty palms তাল raise their crowns of fan-shaped leaves, mangoes আম, tamarind তেঁতুল and the lighter green of a neem নীম amidst them can probably be seen, and in the cold season – the naked branches of a simul শিমুল, or the spreading crown of a siris শিরিষ covered with yellowish pods stands out conspicuously from the green around them. There were some 69 trees only that Benthall considered naturalized in the neighbourhood of Calcutta, 41 were thought to be truly indigenous, 20 are natives of other parts of India, 6 originated in America, and 1 each in Africa and Malaya. On the other hand several plants, which seem to have been fairly common even in 19th century Calcutta have become scarce or lost forever, like Croton Tiglium Linn জায়ফল. [Benthall]

Benthall writes in early 20th century, “Not much more than a hundred years ago the wild rhinoceros roared near Alipore, and panthers were often hunted in what is now part of the city of Calcutta. In those days jungle must have stretched from the Sunderban to the edge of the city … Around Calcutta the country consists of treeless swamp and lake, and broad expanses of paddy-fields, interspersed with roads and paths and villages.” In such country, Benthall maintains, wasteland suitable for the growth of trees and shrubs is scarce, but here and there patches may be found which for some reason or other are neither cultivated nor planted with useful trees. [Benthall]

Banyan Tree. Artist: Unidentified. Source: Journal of Residence In India By Maria Graham. 1813

Colinga was certainly one such place of marshy land that remained till recent time uncultivated, in an atmosphere totally different from the then Kalighat, Govindpore, Calcutta areas. It was then wild marshy woodland lived by tribal in hutments making minimal anthropogenic hazards barring the manmade canal created for navigation by the early village dwellers. The scenario discourages us to believe of a presence of grand shrine revered by people of all faiths as a holly place. If at all any such generally acceptable shrine erected as a place of dharma (ধর্ম), it must have been created long after, but not later than, 1764 when ‘Dhurrumtollah ka Rasta’ was rolled over a muddy beaten track that supposed to lead to the holy place.

Modern Scenario
The reconstructed view of the expansive area of Colinga, earlier a part of the forested Chowringhee for about three centuries, may prove to be a rude contrast of what we see in the colonial paintings and photographs documented by the contemporary artists and lens men. Upjohn’s 1793 map gives an idea of the expansion by marking the site of Colinga Bazar Street, and of the Colinga Tank. Colinga Bazar Street stood at the south of Jaunbazar Street, and Colinga Tank, later Monohur Doss Tank, was shown on Maidan opposite the house of Messers Stone and Hoffmann. In Bailie’s map of 1792 Chowringhee contains 45 houses and plenty of paddy-fields. Europeans have moved eastwards and southwards to Bow Bazar Street and Circular Road, while Taltola, Colinga, and Fenwick Bazar are inhabited by native Indians. [Ray] During the end of the 18th century, Europeans came to stay here. The Bengal Gazette editor, James Augustus Hickey, Justice Le Maitre resided in this neighborhood. Since mid-19th century the Colinga Street became an infamous locality of European and Eurasian harlots.
In a Calcutta Municipal Corporation meeting of 17 July 1912, the previous name ‘Collingabazar Street’ was changed into ‘Collin Street’. By dropping the last two letters from its name,‘Collinga’, a variant of ‘Colinga’, turned into ‘Collin’, which the commissioners found necessary to make the Street sound more respectable and attractive to the prospective buyers of lands and houses. Following the decision, not the street alone but everything else known by its name got changed. Colinga was erased from Calcutta map and collective mind of the people, leaving Dhurrumtollah homeless, faceless unidentified geographic entity.

View of Circular Road, Calcutta. Artist: Edward Augustus Prinsep. 1848

There is perhaps another way of finding Dhurrumtollah by applying our mind more toward human elements than to the physical elements of issues. So far we attempted to understand the natural condition of the venue, now let us question how the human folks lived there when Colinga became habitable. We knew that on the plains of Bengal, two trees, peepul(অশ্বথ) and banyan(বট) tend to dominate all others, and Colinga might not be an exception. We may question now why the two are called sacred fig-trees, and try to examine how far Bentham was correct when he said, “Both these trees are venerated by the Hindus and are often planted for religious reasons near houses and temples and in villages. Beneath their branches may be seen little shrines marked by the presence of rounded stones, and sometimes small temples are erected in their shade” (my emphasis). [Benthal]

Endnote
The scenario reminds us of the beaten jungle path of pre-colonial days leading to a widely acknowledged dhurrumtollah, or ‘divine place’, where worshipers arrive from distant villages taking the eastward route that the present Dhurrumtollah Street follows. This street may not lead to a locality ‘Dhurrumtollah’ as the Chowringhee Road and Jaunbazar Street did – one to locality Chowringhee, the other to Jannagar. Instead, it can be in all probability a sacred location and not a locality. Before exploring new directions, it is important to settle a few questions bothering our focus. Should this dhurrumtollah necessarily be an outstanding devotional edifice like temple, mosque or a church? If yes, its location must have been somewhere off the street and not on the street or its sides. Secondly, how far realistically we can think of such an architecture erected before 1764 – the year Dhurrumtollah Street constructed?
I would like to take up these questions in my next post: THE HOLLY STREET DHURRUMTOLLAH

REFERENCE

Books

  1. Bagchi, P.C. 1938. The Second City of the Empire. Calcutta: Indian Science Congress Assoc.
  2. Benthall, A. P. 1933. Tree’s of Calcutta and Its Neighbourhood. Calcutta: Thacker, Spink. Retrieved (https://archive.org/details/TheTreesOfCalcutta).
  3. Biswas, Oneil. 1992. Calmtta and Calcuttans From Dihi to Megalopolis. Calcutta: Firma KL. Retrieved (https://archive.org/details/in.ernet.dli.2015.149376).
  4. Blochmann,H. 1978 ‘Calcutta during the Last Century’ in Alok Ray edt. ‘Calcutta Keepsake’, Calcutta: Rddhi-lndia. (https://www.amazon.com/marsh-township-east-Calcutta-Department/dp/8170740738)
  5. Cotton, Evan. 1907. Calcutta, Old and New: A Historical and Descriptive Handbook to the City. Calcutta: Newman. Retrieved (https://archive.org/details/calcuttaoldandn00cottgoog).
  6. Chattopadhyaya, Haraprasad. 1990. From marsh to township east of Calcutta: A tale of Salt Water Lake and Salt Lake Township. (Department of History, University of Calcutta, monograph) (https://www.amazon.com/marsh-township-east-Calcutta-Department/dp/8170740738)
  7. Frank Finn. 1904. Birds of Calcutta. 2nd ed. Calcutta: Thacker, Spink. Retrieved (https://archive.org/details/birdsofcalcutta00finnrich).
  8. Kathleen Blechynden. 1905. Calcutta: Past and Present. London: Thacker. Retrieved (https://archive.org/details/calcuttapastand02blecgoog).
  9. Law, Satya Churn. 1923. Pet Birds of Bengal; v.1. Calcutta: Thacker, Spink. Retrieved (https://archive.org/details/petbirdsofbengal00laws).
  10. Ray, A. K. 1902. Calcutta: Town and Suburbs; Pt.1 A Short History of Calcutta. Calcutta: Bengal Secretariat. Retrieved (https://books.google.co.in/books?id=-Lo5AQAAMAAJ&q=calcutta+town+and+suburbs+ak+Ray&dq=calcutta+town+and+suburbs+ak+Ray&hl=en&sa=X&ved=0ahUKEwjDnrz11MnXAhUCN48KHdgEDQUQ6AEIJzAA).
  11. Wilson, Charles R. 1895. The Early Annals of the English in Bengal; Summarised, Extracted, and Edited with Introductions and Illustrative Addenda; Vol.1. London, Calcutta: Thacker. Retrieved (https://archive.org/details/earlyannalsofeng01wilsuoft).
  12. জ্ঞানেন্দ্রমোহন দাস. n.d. বাংলাভাষার অভিধান. Retrieved (https://archive.org/details/bub_man_c3ef006702a4d6c876970cc35b669346).

Maps and Plans

  1. Bengal. 1550. River: From Hughli to Sea in the 16th century;  according to Joao de Barrel and the Bengali poets. [Reprinted See:  Wilson.  page 129]
  2. Calcutta. 1680.  Calcutta before the English [map] [Reprinted See:  Wilson. page 126]
  3. Calcutta. 1792 & 1793.  Map of  Calcutta and its environs;  by A Upjohn (http://www.museumsofindia.gov.in/repository/record/vmh_kol-R565-C1737-2914)
  4. Calcutta. 1792-93 Map of  Calcutta and its environs From the accurate survey taken in the year 1792 & 1793 by A Upjohnhttp://www.museumsofindia.gov.in/repository/record/vmh_kol-R565-C1737-2914
    Calcutta. 1793. Plan of Calcutta; reduced by permission of the Commissioners of Police from the original one executed for them by Lietn Colonel Mark Wood of 1784-1785. Published in October 1792 by William Baillie. https://upload.wikimedia.org/wikipedia/commons/8/82/Kolkata_Old_Map.jpg
  5. Calcutta. 1847-49. Map of Calcutta from actual survey. Contributors: Simms, Thillier, and Smyth. London: Chapman, 1858 (https://www.loc.gov/resource/g7654c.ct001429/?r=0.604,0.19,0.07,0.03,0)

CALCUTTA MAIDAN in 18th and 19th Centuries

Pavilion at edge of Monohur Doss’s Tank, Maidan. Photographer: Unknown. Dated c1900-1914. Courtesey: RCAHMS

 

কলকাতা ময়দানঃ অষ্টাদশ/ ঊনবিংশ শতাব্দী

 

The Beginning

After winning back Calcutta, finally defeating Siraj at Plassey, the English East India Company decided upon two things: (1) Replacement of the their old fort with a new one – mightier and better-planned, and (2) Expansion of Calcutta southward.

The onslaught of Nabob’s army wrecked the already overcrowded settlement. The situation called for immediate renovation and expansion of the town toward pastoral Govindpore where the new Fort William was to be erected. ‘Govindpore village, surrounded as it was by waste lands formed a natural esplanade.’ [4] The old Fort had no esplanade for guns, which happened to be one of the reasons for its fall. [10] About a mile away from the old Fort the construction of the second Fort William set off in 1758. The new Fort, essentially a military establishment, and not a fortified factory of English traders as the old Fort was styled, costed the EEIC some two million sterling [5]. The chosen site of the Fort was on the river-bank of village Govindpore, considerably south of the old Mint.

 

Calcutta from the Old Course. Artist : Chartles D’Oyly. c1838

Formerly, the village was the primary seat of the Sheths and the Bysaks. In early 16th century, four families of Bysaks and one of Sheths founded the village of Govindpore, after the name of their tutelary deity, Govindaji. They built a shrine of the Vaisnav deity on the site where the New Fort William now stands, not far from the old Kalighat temple. [17].   Govindpore had only 57 bighas of inhabited land out of 1,178 bighas. The entire population of the flourishing village was removed to make room for the new Fort with its unobstructed field of gun fire that completed in 1773. The inhabitants were  compensated by providing lands elsewhere, expending restitution-money – the fund Siraj-ud-Dowlah recompensed for the damage he did. The Sheths moved to Cotton Bale Market, (Bengali: সুতানটি হাট ), in Burrabazar. The jungle that cut off the village of Chowringhee from the river was cleared giving way to the wide grassy stretch of ‘Maidan of which Calcutta is so proud’.

Expansion of Town Calcutta

The denizens of town Calcutta never before felt like going further than  Respondentia Walk, lying beyond Chandpal Ghat, or the fish-pond near Lal Dighi as ‘there was too wholesome a dread of thieves and tigers, to induce them to wander into the grounds of the neighboring zemindars who were the Robin Hoods of those days.’[13] In 1756, when Seraj-o-dowlah took the place, only seventy houses were inhabited by Englishmen.  The sudden development activities at Govindpore encouraged them to look forward for a change in lifestyle. The prospect of living lavishly in countryside bungalows in the neighborhood of the New Fort site attracted the white population. Gradually they moved out to settle in village Chowringhee adjacent to Govindpore separated only by the ancient pathway from Chitreswari temple at extreme North to Kalighat at South. As already we noticed, Esplanade and Maidan both are being used indiscriminately for the sprawling green square around the New Fort William.

Maidan looking beyond Esplanade Row. Dhurrumtollah Tank at right corner, criss-cross pathways, and tents are visible. No details available. Courtesy: Alamy

Maria Graham in her, Journal of a residence in India, penned a picturesque description of Maidan as she found in 1810.  The road which leads past Fort William, con­necting Garden Reach with Calcutta, is called the Esplanade. It is shaded, by umbrageous trees, and forms a very pleasant drive in the evening. The light air coming off the water is cool and grateful to the multitudes in search of air, change, or exercise. This esplanade is terminated by a very handsome colonnade ghat, which forms a most classical and pleasing object to the eye, as well as a most con­venient and useful accommodation to the natives for the performance of ablutions in the river, to which the bathers descend by a flight of steps. It was built solely for this object by a pious and opulent Hindoo. [9]

The snow-white paddy bird, with elegant and outstretched neck and stork-like dignity, walks care­lessly, unheeded, undisturbed, unscared he pursues his watchful employment of fishing in the shallows, with an almost domestic familiarity and fearlessness of the presence of man. [12]

Topography

Maidan, the chief open space in Calcutta between Government House and Garden Reach, is also called the Esplanade (Bengali: গড়ের মাঠ), that is, plain ground in front of a fort, in which attackers are exposed to the defenders’ fire. Calcutta Maidan, or the Esplanade of the New Fort, never had an occasion to partake defense task but acts as a fulfilling centre of entertainment and refreshment ever since its formation.

Maidan virtually covers, besides small portions of Birjee and of Chowringhee, the entire area of Govindpore, which began at the Northern boundary of Dhee Calcutta and ended at Baboo Ghat, and then went up to the Govindpore Creek, or Tolly’s Nullah at the extreme end of the English zamindari. It was ‘immediately to the South of Surman’s Gardens, next to the General Hospital building.  At West, Maidan includes King’s Bench Walk with a row of trees separating it from the riverbank between Chandpaul Ghaut  and  Colvin’s Ghaut, or Cucha-goody Ghaut, as it was called then.  At North, Esplanade Row, from Chandpaul Ghaut, runs into Dhurumtollah in a straight line past the Council House and the old Government House standing side by side.

The borings made in the Fort, in 1836-40, under the superintendence of Dr. Strong and James Prinsep, have shown that the ocean rolled its waves 500 feet beneath the surface of the present fort, and in 1682 an ancient forest existed in that locality. [1] Early 1789, Government resolved on filling up the excavations and leveling its ground. The plan was prepared for the benefit of Calcutta in general, and of the houses fronting the Esplanade in particular. The plan extended to drain the marsh land, in expectation that the digging a few tanks will furnish sufficient earth and thus save the project cost and time. A new tank was made in 1791 at the corner of Chowringhee and Esplanade, which existed till the dawn of the twentieth century.

Calcutta: David Rumsey Historical Map (cropped). London: Chapman & Hall. 1842 Courtesy: Society for the Diffusion of Useful Knowledge (GB)

 

Talaos or Tanks

The City of Calcutta is supplied with good drinking water, from a considerable number of large ponds mostly situated towards the Chowringhee quarter. Those facing Chowringhee Road were construct­ed by Monohur Dass, the chief member of the Shah Nowputee Muhajun of Benares in Lord Cornwallis’s time. [2]

A series of artificial lakes (tanks) stretched down the length of Chowringhee Road: the Dhurrumtolah Tank at the northern limit; the Manohardoss or Colinga Tank with its corner pavilions opposite Lindsay Street; the General’s tank opposite Park Street; Elliott’s Tank facing Harington Street previously ‘Graham Street’; and at south-end the Birjee Tank.

Dhurrumtollah Tank

 

Photograph of Dhurrumtollah Tank on Maidan from Chowringhee Road. Creator: Samuel Bourne. 1865. Courtesy: British Library

This is a view from the north end of Chowringhee Road, beside the carriage stand, looking north-west across the Dhurrumtollah Tank, towards the façades of the houses along Esplanade Row, with Government House at the extreme left. The flat-fronted, verandahed building behind the premises of William Coish & Co is the Adjutant-General’s offices. Among the commercial premises on Esplanade Row are Mountain’s Hotel, Madame Nielly (French milliner), Payne & Co’s Belatee Bungalow and Thomson & Company.

The view looks south along Chowringhee Road with impressive array of private and public buildings on the far side of Maidan.

Monohurdass’ Tank

Monohur Dass Tank. Creator: Samuel Bourne. 1868 Courtesy: British LibraryThe view looks south along Chowringhee Road, with the Monohurdass Tank in the foreground and General’s Tank beyond. The spire of St Paul’s Cathedral can by seen on the skyline at the extreme right.

 

General’s Tank on Maidan. Creator William Wood. 1833. Courtesy: British Library

 

The General’s Tank

 The General’s Tank was one of the three large artificial reservoirs in the Chowringhee district of Calcutta. It was just south of the junction with Park Street. This print also shows the house of Thomas Babington Macauley, who was a Law Member of the Supreme Council of India, and worked on the reorganisation of the Indian legal system necessitated by the New India Act of 1834. He lived at number 33, Chowringhee Road, from 1834 to 1838. Thereafter the building became the headquarters of the Bengal Club.This lithograph is taken from plate 21 from ‘Views of Calcutta’ an album of paintings by William Wood.

Elliott’s Tank

 

Elliott’s Tank. Creator: William Wood. 1833. Courtesy: British Library

 Elliott’s Tank facing Harington Street, previously ‘Graham Street’, situated between the General Tank and Birjee Talao. The tank was named after Sir Charles Elliott, Lieutenant-Governor, 1890-1893.

 

FORT-GATES and ROADS

The Fort occupied a large chunk of Maidan around the centre with as many as seven gates, each having its own approach road across Maidan, namely, the Calcutta Gate leading out to the Eden Gardens, the Plassey Gate facing south of Government House; the Chowringhee Entrance Gate leading out of the road entering Park Street; the Chowringhee Exit Gate leading out of the road entering Park Street; The Hospital Gate leading out of the Race Course; the St. George’s Gate facing north of Hastings; and the Water Gate facing the river near the Gwalior Monument. It is only in recent years we have had any road outside the fort. Pathways thread their way across the Maidan which has been cleared of the jungle. The oldest among them is the ‘Course’ made to take the air in’. The road was, however, full of dust, yet considered one of the airiest and pleasantest drives in Calcutta, extending from the Cocked Hat on the north to the Kidderpore Bridge. The Course, so called as being a coss or two miles in length, is described in 1768, as being ‘out of town’ in a sort of angle. [13]

 

The broad gravelled walk on the west side of that portion, known as the Red Road, then called Secretary’s Walk, constructed in 1820. To the south of the Fort ran the Ellenborough Course. The Vice-Roy Lord Northbrook led the grand procession this way taking the Prince of Wales from the Prinsep’s Ghaut to the Government House. It was a fine raised and turfed ride for horse exercise; and towards the cast, the Race Course, commenced in 1819.[6]

Strand Road with Indians with bullock carts and horse-drawn carriages and sailing ships and other boats on river in Calcutta. Creator: Samuel Bourne. c1860s Photograph by Bourne and Shephard

 

RIVER GHAUTS

Another avenue of trees was planted, about the time of the Lottery Committee, on the river-bank from Chandpal Ghaut to the New Fort. Its position was indicated by the row of fine trees which stood south of Baboo Ghat.  This was known as Respondentia Walk – the resort of those fond of moonlight rambles, and of children, with their train of servants. ‘Calcutta society, alighting from carriages and palanquins, promenaded in the cool of the evening’. Dogs and horses were not allowed to disturb the harmony of polite conversation, by an order of the Governor-General in Council forbidding persons accompanied by dogs to enter Respondentia Walk.  [4] The Esplanade on the banks of the Hooghly, thus provided the fashionable promenade of Calcutta a Hygeian Walk, as William Jones called. [1] Where the Bank of Bengal stands on the bank of the old Creek, at Cutcha- goody Ghaut, an avenue of trees ran along the river-bank to the Supreme Court, as King’s Bench Walk. The Walk was exclusively reserved for the English inhabitants from 5 to 8 o’clock every evening, sentries being posted **near the sluice-bridge” to prevent the entrance of natives.

 

 

[6] In 1823 the Strand road was formed, which led to a great sanitary improvement. This road has been widened at the expense of the river, so that where the western railing of the Metcalfe Hall stands, there were, in 1820s, nine fathoms of water. [13]

 

EDEN GARDENS

 

View of Eden Gardens Calcutta. Creator: Samuel Bourne. 1865. Courtesy: British Library

 

The site was initially named Auckland Circus Gardens, which stands at the northern-end of Maidan toward Calcutta Gate. The Gardens came into being when the Governor General, Lord Auckland, desired to create a circus and a garden. A pleasure ground with an oblong tank in center was laid out on this site generally resorted to for riding and recreation. The in­habitants are indebted to the liberality and taste of the Misses Eden, sisters of Lord Auckland. There was a Band-stand, where the Town Band or the Band of the European Regiment stationed in the Port, discourses sweet music every evening. Of late years the Gardens have been greatly enlarged, and laid out with winding paths and artificial water, interspersed with a profusion of beautiful flowering trees, and shrubs —a pleasant place for a morning or evening stroll. In the Gardens is a Burmese Pagoda, removed after the last war in 1851. and re-erected there in 1856.

 

STATUES OF RAJ PERSONAGES

In the green of Maidan there had been several installations of statues of Governor-Generals, and Heroes of the British Raj. While each statue was a perfect specimen of Western art, not all the personalities were found equally adorable; few were hated by the native subjects. The statues remained scattered all over Maidan till the end of colonial era, and thereafter replaced by figures of Indian national leaders. The old ones are now archived at the Flagstaff House in Barrackpore. Some nice photographs of the statues curated by DBH Ker in recent time can be seen in Flickr.[12] The details of the statues are available in Raj Bhavan(WB) Occasional Paper-4.[15]

Unveiling of Statue of Outram on Horseback, modelled by John Foley. Bourne and Shephard. 1874

 

The statue of Outram on horseback set in Calcutta Maidan was one the finest sculptural specimens modeled by John Foley in 1874. The statue inspired Barbara Groseclose, the art historian, to remark that ‘doubts and anxieties, as well as assumptions about their own place in Indian life, bear strongly on the roles and achievements for which the British sought or received commemoration ..’ See Outram Institute Puronokolkata

 

EDIFICES IN MAIDAN

The Maidan has come into existence when the Company built the second Fort William in Govindpore in 1773. The General Hospital was already constructed at the outskirt in 1770 near the old Jail, which was demolished to make room for construction of the Cathedral in 1839. The Race Corse Stadium and Ochterlony Monument followed in 1809 and 1863 respectively. Victoria Memorial and the Curzon Park – the two integral constituents of Maidan created in 20th century – are outside the scope of the present discussion.

 

FORT WILLIAM, GOVINDPORE

The works of the Fort were planned by an engineer named Boyer. Undoubtedly it is the 2nd Fort William, the regular architecture and commanding position of which are equally conspicuous.  This fortress completely commands the town. Evidently, it was designed to hold the inhabitants of Calcutta, in case of another siege, as permission was originally given to every inhabitant of the settlement to build a house within the fort. But entertaining views of the comfort of living in garden houses discouraged the people to accept this privilege. They preferred living in developing Chowringhee neighbourhood. In 1756 the plain were occupied by native huts, and by salt marshes, which afforded fine sport to buffalo hunters. [1]

 

Fort William, Govindpore. Chowringhee Gate. Creator: Unidentified. 1880’s Source: eBay,

HOSPITAL

The first hospital was erected in 1707 for soldiers and sailors, was located in the present Gerstein’s Place, near St. John’s Church, and lasted for nearly half a
century until the sack of Calcutta in 1756. The Company’s second hospital was a make-shift structure in the Old Fort, and was used for about thirteen or fourteen years till 1770. The project was mooted at a Consultation of the Board over which he presided on the 29th September, 1766. The hospital that stood in 1707 beside the old graveyard in a most insanitary site at Gerstein Place was removed ‘into the country’ at the far end of Maidan. The house was initially purchased in 1768 from a native gentleman for the purpose.

 

 

The East India Company (Calcutta Council) purchased the plot of land with a garden house from Rev. John Zacharias Kiernander at a cost of Rs. 98900.00 along with an adjoining plot belonging to a Bengali Gentleman. Gourchurn Tarsor (Tagore?) was the only Bengali among those who offered their property on sale, the others being James Dollas and Domingo de Rosario. After various alterations and additions including two other buildings erected in 1770 on the-then Lower Circular Road. The hospital renamed as the Presidency General Hospital was open for admission of general public. In 1795 two new wings and some other additions and alterations were made to equip the hospital with latest medical technology. [14]

 

ST PAUL’S CATHEDRAL

 

View of Eden Gardens Calcutta. Creator: Samuel Bourne. Sig.date:1902.

 

The St Paul’s Cathedral was designed in the Indo-Gothic style by William F Forbes. Forbes, a military engineer who was later promoted to Major General, was also responsible for the design of the old Calcutta Mint where he held the post of Mint Master for a time. It was through a long course of discussions the site for its construction was decided. In favor of the site finally selected, a plebiscite of the most representative bodies and organizations in Calcutta voted overwhelmingly. The Cathedral has been erected on the site of the hideous and obsolete structure of the old Jail that was demolished by the Government at its own cost. [7] Construction of the cathedral began in 1839, when the foundation stone was laid by Daniel Wilson, Bishop of Calcutta, and completed in 1847. The tall central spire and square tower beneath were inspired by a similar feature at the twelfth century cathedral in Canterbury, England. The upper portion of the tower, which originally reached a height of sixty-one meters, was destroyed in an earthquake in 1934.
Source: ‘Photographs of India and Overland Route’ by Oscar Mallitte in 1865.

 

RACE COURSE

The Race Course, which originated as the Course or promenade of Calcutta is one of the finest in the country. Racing was started at the Akra farm at the foot of Garden Reach from 1780, if not earlier. There at that time, the Nabob of Oudh, deposed by the British, and his descendents lived in their palatial garden houses. In 1812, the new course was laid out in Calcutta roughly where it is located today.

 

Racecourse Calcutta. Viceroy’s Cup Day. Creator: Johnston & Hoffmann in 1845

Lord Wellesley, during his administration, set his face decidedly against horse-racing and every other species of gambling. His influence threw a damp on it for many years, though last century a high value was attached to English jockeys, and the races were favorite subjects of expectation with the ladies. With the amusement of the turf came the spirit of betting. [13] One of the most significant events in the history of Calcutta racing took place in 1847 when the Calcutta Turf Club was officially born. [See: Royal Calcutta Turf Club  https://puronokolkata.com/2014/01/06/royal-calcutta-turf-club-calcutta-1845/%5D

 

OCHTERLONY MONUMENT

 

The Ochterlony Monument is an iconic landmark of Calcutta. It was designed by J. P. Parker and erected by Burn & Company in 1828, on the north-eastern side of Calcutta Maidan. The Monument was dedicated to the memory of Major-general Sir David Ochterlony, a commander of the British East India Company. He was commemorated for his successful defense of Delhi against the attack of the Maratha Yaswantrao Holkar in 1804, and also for the victory of the East India Company in the Anglo- Nepalese War of 1814 to 1816. The expenditure regarding the construction and the foundation of the monument was paid from the public fund. The ‘Cloud kissing Monument’ as Mark Twain called it, is 48 metres (157 ft) high.

It has a foundation based on the Egyptian style.  The column is a combination of styles with a classical fluted column, a Syrian upper portion, and a Turkish dome. It has two balconies at the top. The top floor is accessible by a serpentine staircase of 223 steps.

 

 

LIFE IN MAIDAN

Maidan is so many things to so many people. Apart from army parades, and drills of mounting police, there are washermen who wash clothes and themselves in its ponds (see Dhopa Pukur in Mark Wood’s map), shepherds who tend their flocks, citizens taking their morning walks, and the last vestiges of the horse-drawn hackney carriages plying its fringes entertaining merrymakers and businessmen to make money. When Jamshedji Framji Madan entered the ‘bioscope’ scene in 1902, he began to screen films in tents, one of which was set up on the Maidan.

 Chowringhee, the new township next to Maidan, is a place of modern creation. In 1768 there were a few European families enjoyed ‘out of town’ living. They always looked for opportunities of entertainment and recreation – including the out-door varieties held at Maidan, like Ballooning, Circus, Bicycle Race, Horse Race, Polo, Cricket and such exciting sports of the day. A large stretch of the Maidan is dotted with small greenish tents belonging to sports clubs.

 

Charak Puja procession in Maidan – coloured lithograph. Creator: Charles D’Oyly. 1848.

 

BALLOONING

Balloon ascent was indeed a novelty in India. On 30th July, 1785, a balloon, measuring six feet in diameter, and filled with rarefied air was let off from the Maidan. Mr. M’intle. the young gentleman who constructed the balloon, favoured the settlement with another exhibition next evening. The first ascent of a large balloon from the plains of Bengal took place on the 21st March, 1836.

CIRCUS

“Every now and then some adventurous ‘entertainer’ makes a tour of the country; but seldom, I fancy, with satisfactory results; and travelling circuses appear to meet with no better success”. An Opera Company which has been lately enlivening Calcutta, seems to be an exception to the general rule, being the best thing of the kind that has ever been seen in India. [3]. Chiarini’s Italian Circus performed in Calcutta in August 1880.

Around 1880, the cited playbill advertised Wilson’s Circus in Calcutta, featuring Edwin Moxon, who appeared with his Magic Tom-Tom act, and with the Moxon Brothers in their ‘wonderful balancing act’ with a pyramid of chairs. Around that time Royal Italian Circus where Chiarini, an Italian director performed in Calcutta. Professor Bose’s great Bengal Circus exhibited its shows at the Maidan in January 1900 in which Bir Badal Chand wrestled with a Royal Bengal Tiger.

POLO & GOLF

Polo has been played in the Maidan since 1861. The modern game of polo, though formalised and popularised by the British, is derived from Manipur where the game is known as  ‘Pulu’. In 1862 the Calcutta Polo Club was established by two British soldiers, Captain Robert Stewart and (later Major General) Joe Sherer. They were inspired by the game in Manipur and later they spread the game to their peers in England. The club runs the oldest and first ever Polo Trophy, the Ezra Cup (1880).

 

Cricket & Football

 

 

Ground of the Calcutta Cricket Club, 15th July 1861. Creator: Percy Carpentier. 1861. Courtesy: MCC Museum at Lords

 

Calcutta Cricket & Football Club, founded in 1792, is one of the oldest sports clubs in the world. The first formal cricket match played between the Etonians and the rest of the Civil Servants of the Company was played for two consecutive days on the green before the Government House in January 1804.

In the absence of a permanent venue, the Calcutta Cricket Club played its games on the esplanade between Fort William and Government House. By the 1820s, the members felt the need for a permanent ground. In 1825, the Calcutta Cricket Club managed to obtain the use of a plot of land on the Maidan. In 1841 the Club was relocated to the eastern boundary of the Auckland Circus Gardens. [See: Calcutta Cricket https://puronokolkata.com/2014/06/18/calcutta-cricket-maidan-calcutta-1792/%5D

 

Endnotes

 

The Maidan is deeply embedded in the Bengali psyche as well. It was fashionable for the Babus of old Calcutta to go for fresh air in the esplanade, or গড়ের মাঠ. Carey described the great show of fashionables in evenings at the Eaden Gardens out for the purpose of enjoying a drive—“eating the air (howa-khana) as the Indians express it.” [5] Rabindranath , in his reminiscences  mentioned about the sports-loving public rushing to playground in Maidan riding on crowded tramcar footboards; how his elder brother, Jyotirindranath took his wife, Kadambari, on horse-back to Maidan for a promenade defying social taboos. Maidan has stood a mute witness to the unfolding history of the city until the beginning of the 20th century, when the Maidan spread out its huge stage to voice against British rule, supporting national agenda for freedom movements. In connection with the founding of Victoria Memorial Hall upon the Maidan, some anxiously felt that “…it needs but the smallest acquaintance with that great city to know that its inhabitants regard the Maidan as a virtuous woman regards her honour, any assault upon which must be repelled as the deadliest form of insult.” [7]

 

REFERENCES

    1. Anonymous. 1816. “Sketches of India ; Or,observations Descriptive of the Scenery, &c. in Bengal; Chapter 13.” London: Black, Purbury and Allen. Retrieved (https://books.google.co.in/books?id=tEcVAAAAQAAJ&pg=PA197&lpg=PA197&dq=“+Setting+aside+the+pleasure+one+natu-+“+rally+feels+at+the+termination+of+a+long+“+voyage,+and&source=bl&ots=RMNhJRJxhm&sig=woJs5KFQwm85BUFHXzP199w35-k&hl=en&sa=X&ved=0ahUKEwi3gfnAqtv).
    2. The Bengal and Agra annual guide and gazetteer. 1841. Calcutta: Rushton. (https://archive.org/stream/bengalandagraan00unkngoog#page/n10/mode/2up)
    3. Blanchard, Sidney Laman. 1867. Yesterday and Today in India. London: Allen. Retrieved (https://archive.org/stream/yesterdaytodayin00blan#page/n3/mode/2up).
    4. Blechynden, Kathleen. 1905. Calcutta Past and Present. London: Thacker. Retrieved (https://archive.org/details/calcuttapastand02blecgoog).
    5. Carey, William H. 1907. The Good Old Days of Honorable John Company, Being Curious Reminiscences … during the Rules of the East India Company, from 1800 to 1858; vol.2. Calcutta: Cambray. Retrieved (https://archive.org/details/in.ernet.dli.2015.116087).
    6. Cotton, Evan. 1907. Calcutta Old and New: A Historical and Descriptive Handbook of the City. Calcutta: Newman. Retrieved (https://archive.org/details/calcuttaoldandn00cottgoog).
    7. Curzon, Murquis of Keddleston. 1905. British Government in India: The Story of the Viceroys and Government Houses; Vol. 1. Retrieved (https://dl.wdl.org/16800/service/16800_1.pdf).
    8. Kerr, D B. n.d. Forgotten Statuary of the British Raj; A gallery curated by DBHKer (https://www.flickr.com/photos/23268776@N03/galleries/72157631880613097/?rb=1#photo_169640291
    9. Firminger, W. K. 1906. Thacker’s Guide to Calcutta. Calcutta: Thacker, Spink. Retrieved (https://archive.org/stream/thackersguidetoc00firm#page/n7/mode/2up/search/’socially+but+not+geographically).
    10. Graham, Maria. 1813. Journal of a Resdence in India. 2nd ed. Edinburgh: Costable. Retrieved (https://archive.org/stream/journalaresiden00callgoog#page/n6/mode/2up).
    11. Hill, S.Charles. 1902. List of Europeans and Others in the English Factories in Bengal at the Time of the Siege of Calcutta in the Year 1756 .pdf. Calcutta: GOI, Printing Press. Retrieved (https://www.google.co.in/url?sa=t&rct=j&q=&esrc=s&source=web&cd=13&cad=rja&uact=8&ved=0ahUKEwiuieCx3qbXAhVCLI8KHUvTBGcQFghbMAw&url=http%3A%2F%2Fasi.nic.in%2Fasi_books%2F9381.pdf&usg=AOvVaw2tZ5JJ8tHBx8o1QTmBzYWI%0A%0A).
    12. Hutchison, W. H. Florio. 1883. Pen and pencil sketches: reminiscences during 18 years’ residence in Bengal, ed. by J. Wilson. London: Marston. (https://archive.org/stream/penandpencilske00hutcgoog#page/n4/mode/2up)
    13. Long, Rev.James. n.d. “Calcutta in the Olden Time – Its Localities. Art.2 – Map of Calcutta.” (https://archive.org/stream/in.ernet.dli.2015.98350/2015.98350.Calcutta-And-Its-Neighbourhood_djvu.txt)
    14. Moir, D M. 1903. “Notes on the origin of the Presidency General Hospital, Calcutta” In: The Indian Medical Gazette; Feb, 1903)
    15. Raj Bhavan. Kolkata. 2007 [Barrackpore Flagstaff House] (Occasional Paper – 4)(https://www.google.co.in/search?q=Occasional+Paper+%E2%80%93+4%3A+Barrackpore&ie=utf-8&oe=utf-8&client=firefox-b&gfe_rd=cr&dcr=0&ei=hluIWpXuDrCcX-T_lsAD)
    16. Society for the Diffusion of Useful Knowledge (Great Britain). 1842. Calcutta: David Rumsey Historical Map Collection. London: Chapman & Hall. (https://www.davidrumsey.com/luna/servlet/detail/RUMSEY~8~1~21006~530098:Calcutta-)
    17. Wilson, Charles R. 1895. The Early Annals of the English in Bangal, Being the Bengal Public Consultations for the First Half of the Eighteenth Century … Vol. 1. London: Thacker. Retrieved (https://archive.org/details/in.ernet.dli.2015.63176).

 

 

Chowringhee: Against the Backdrop of Fort William II

Chowringhee Road. 1787. Artist and engraver: Daniell, Thomas

চৌরঙ্গীঃ কোলকাতার দক্ষিন দ্বার

Genesis of Chowringhee

After Plassey, the necessity of keeping the English factory at Calcutta within the Fort was at end.[6] There was no felt need any more for reviving the ravaged Fort that proved its inadequacy in defending the old town and its own bulwark. The Fort was encumbered with houses close by, and had no proper esplanade for guns. Their triumph might not have been spirited enough to free the minds of English commanders from the dread of another war. That was why the East India Company favoured Clive’s decision of erecting a second Fort William expending two millions sterling.[8] The new Fort essentially differs from the old one being exclusively a military establishment and not a fortified factory of English traders as the old Fort was styled. Its construction set off in 1758 on the riverside ground of Govindpur village about a mile away from the old Fort. Before the Battle of Laldighi, the English were cooped up in the neighbourhood of the old Fort.[17] The prospect of an aerial, liveable habitation in the neighbourhood of the New Fort, attracted the European population to gradually move from the already crowded old township around the Tank Square and the old Minta, to settle in commodious Chowringhee.[6]

New Fort in Backdrop

Equipped with huge defense machinery and a formidable military architecture, the new Fort William was ready by 1773, but had no occasion ever since to exchange fires with enemies. Instead its resounding  tope of canon ball routinely announced mid-day hours to regulate working life of the Calcuttans. The presence of the imposing Fort on Maidan silently reminds us of the significant role it had played in transforming the town Calcutta into a city – famously called ‘City of Palace’, the centre of British India. Following inauguration of the Fort, the Supreme Court of Judicature at Fort William was founded. The Governors of Bengal became the Governor Generals of India. Calcutta was reborn ushering a modern society to stay connected with rest of the world.

Fort William, Govindpore. Chowringhee Gate. Photographer: unidentified. 1880’s Source: eBay,

Beyond the European buildings lying around the Old Fort were four villages of mud and bamboo, all of which were included in the zamindary limits of the first settlement. These villages were the original three with the addition of Chowringhee. Chowringhee in 1717 was a hamlet of isolated hovels, surrounded by water-logged paddy-fields and bamboo-groves, interspersed with a few huts and small plots of grazing and arable lands. The chosen site of the Fort was on the river-bank of village Govindpore, considerably south of the old Mint. As Colonel Mark Wood’s Map of 1784 inscribes.[19] Govindpore began where the Northern boundary of Dhee Calcutta ended at Baboo Ghat, and then went up to the Govindpore Creek, or Tolly’s Nullah and that was the extreme end of the English zamindary. As Rev. Long indicated, it was ‘immediately to the South of Surman’s gardens, marked by a pyramid in Upjohn’s map.’ [17] At West, the area includes King’s Bench Walk  with a row of trees separating it from the riverbank between  Chandpaul Ghaut  and  Colvin’s Ghaut , then called  Cucha-goody Ghaut  At North, Esplanade Row, from Chandpaul Ghaut, hard by the New Court House on the riverside, runs into Dhurumtollah in a straight line past the Council House and the old Government House standing side by side.

Govindpore was a populous flourishing village when its entire population was removed to make room for the new Fort and its infrastructure. The inhabitants were compensated by providing lands in places like Toltollah, Kumartooly, Sobhabazar expending restitution-money. In Govindpore itself great improvements took place. The jungle that cut off the village of Chowringhee from the river, was cleared and. gave way to the wide grassy stretch of ‘Maidan of which Calcutta is so proud’.

Pallanquin on jungle road. Illustration in book ’India’ by Richard Mayde 1876

The jungle, presumably, had been once a part of the Great Soonderband (সুন্দর বন).  Many traces of trees were found at a considerable depth below the surface of the ground. These remains are thought to be those of the soondrie forest that covered the site of Calcutta when newly emerged from the waters of the Gangetic Delta. [6] Early 1789, Government resolved on filling up the excavations in the Esplanade and levelling its ground. The plan was prepared for the benefit of Calcutta in general, and of the houses fronting the Esplanade in particular. The plan extended to drain the marsh land, in expectation that the digging a few tanks will furnish sufficient earth and thus save the project cost and time. A new tank was made at the corner of Chowringhee and Esplanade, which existed till the dawn of the twentieth century. [20]

Road to Chowringhee

The road dividing the Maidan and Chowringhee was named, Road to Chowringhy [sic] by Colonel Mark Wood in his 1784 Plan of Calcutta, which in fact was a midsection of the oldest and longest thoroughfare of Calcutta, known as Pilgrim Way  starting from Chitpore, Chitreswari temple at extreme North and ending at Kalighat temple in South. As late as in 1843, the proclamation included in the  Special Reports of the Indian Law Commissioners has no mention of ‘Chowringhee locality’, but of a ‘Chowringhi[sic] High Road’.

The Road to Chowringhy[sic] was initially a short stretch between Dhurumtollah and Park Street that subsequently developed into an 80 feet broad and nearly two miles long roadway commencing from the  Creek  where it crossed Cossitollah (later Bentinck Street) between Waterloo Street and British India Street, and ended at Theatre Road where from Rossapagla Road took the queue. Before the modern Chowringhee came into being, Cossitollah, was thronged with a large proportion of European shops and often called ‘the Indian Elysium of plebeians’. [6]. The eastern side of the Chowringhee Road is lined by handsome houses, facing the fine grassy Maidan which lies between them and the river. Houses are generally ornamented with spacious verandahs to the south, that being the quarter from which the cool evening breeze blows in the hot weather. [12] The Bishp’s Palace was the most imposing among those.

Changing Landscape

When Josua Conder visited Chowringhee, this city was ‘the quick growth of a century’, and ‘still half jungle’. He wrote, “at Chowringhee, where you now stand in a spacious verandah supported by Grecian pillars, only sixty short years ago, the defenseless villagers could scarcely bar out the prowling tiger.” His presumptions about the future of Chowringhee however were all wrong. Contrary to his beliefs, in sixty more years the city never depopulated but its strength intensified; and all these perishable palaces of timber, brick, and chunam did not disappear but multiplied more time than it should have. [7]

Calcutta. A French map. 1839. credited to Dufour and Benard. [Read ‘Rue’ for ‘Road’]
So far back as 1714 ‘Cherangy’[sic] is named among the township neighbourhood within the Pergunnah of Calcutta either possessed or desired by the Company.[23] Originally, Chowringhee was an ancient village named after one  Jungal Giri Cherangi, a pious worshipper of Kali. Between 1726 and 1737, Cherangi (sic) came to be treated as a part of the English settlement. It was still separated on the West from Govindapur by jungle, where now the grassy level of the Maidan extends. The creek wandering inland past the southern wall of the burying ground divided Chowringhee-Govindapur from the Old Town – the township around the Old Fort. Until then Chowringhee had been a native portion of Dhee Calcutta and Bazar Calcutta.[23] There were “only a few miserable huts thatched with straw : a jungle, abandoned to water-fowl and alligators, covered the site of the present citadel and the course, which is now daily crowded at sunset with the gayest equipages of Calcutta”. [8]

The above 9 lithographs of William Wood’s paintings included in his album, Views of Calcutta.published in 1833. The elegant forms of the buildings of European Calcutta heralded an important stage in the history of architecture of the subcontinent: the evolution of Western styles into forms which would become commonplace in the Indian context. This building depicted shows what became the conventional pattern, a two or three storeyed block, well-proportioned and set in a garden, and with columned verandahs protecting its rooms from the heat. Courtesy British Library

Colonel Mark Wood in 1784 marked Chowringhee on the South of Park Street away from the original locale of the village Cherangi. A decade later, Upjohn put back the district of Chowringhee as Dhee Birje, on the North of Park Street. The boundaries were shown with Circular Road on the East, Park Street on the South, Colingah on the North and a part of Chowringhee Road on the West. [17] After half a century, Dufour and Benard in 1839 put Chowringhee on both the sides of Park Street spreading over Dhurumtollah to Theatre Road. [3] Bit by bit its boundaries extended from the village at North of Park Street, then called the Burying Ground Road, to cover the whole South-East part of Calcutta. In 1802 Lord Valentia writes : “Chowringhee, an entire village, runs for a considerable length at right angles with it (the Esplanade) and altogether forms the finest view I ever beheld in any city.” In 1810, Miss Graham found Calcutta ‘like London a small town of itself ‘, but its suburbs swell it to a prodigious city. [14] Chowringhee in 1824, is no more a mere scattered suburb, but almost as closely built as, and a very little less extensive than Calcutta. [23] , “separated from Calcutta by an ancient John bazaar [Jaun Bazaar]”.[16] Chowringhee, to Rev W K Firminger, was the  West End  of Calcutta, socially but not geographically,  a district bounded by Park Street on the North, Lower Circular Road on the East and South, and the Maidan on the West. [13]

The modern view ignores the historicity of Chowringhee. The row of buildings on Esplanade Row at the edge of Maidan becomes its Northern skirt. Its territory is nowadays more or less compatible with old Govindpore – a place no more exists.

Chowringhee Road View from No 11 Esplanade Row , across Dhurrumtollah Tank. Col. Lithograph. Artist: Sir Charles D’Oyly

Growing Chowringhee

A year before the construction of Govindpore Fort stared, there had been only a couple of European houses in Chowringhee. One at the corner of Dhurumtollah with entrance from that street, the other was at a little distance from it, with an entrance facing the Maidan. Most likely the first house was the General Stibbert’s House in the west end of the Dhurumtollah and in the vicinity of the Esplanade, where Mr. Farrell’ New Calcutta Academy moved in from Cossitolla Street as gazetted on 31st May 1804, much before the foundation of St Paul’s School, which was sometimes referred to as one of the two first houses in Chowringhee. The second one was indisputably the manor of Lord Vansittart at number 7 Middleton Row. It was better known as Sir Elijah Impey’s house where Impey happily stayed surrounded by an expansive deer park. In those days Maidan was ‘strangely treeless’, and Impey’s manor happened to be the foremost erection stood across it’s stretch. The site is now occupied by the Loreto Convent.

The number of houses continued to grow in isolation till 1770s. Between Jaun Bazar Road (or Corporation Street as called later), and Park Street, forty European residences, mostly with large compounds, are depicted in Upjohn’s Map. An equal number may be counted in Dhee Birjee – the quarter immediately south of Park Street. Even so late as 1824, Chowringhee was regarded as a suburb. Miss Eden calls it the Regent’s Park of Calcutta. Miss Emma Roberts spoke about suburb Chowringhee of 1831-33 – the favourite residence of the European community. From the roofs of their houses, they viewed “a strange, rich, and varied scene discloses itself: the river covered with innumerable vessels,— Fort William, and Government House, standing majestically at opposite angles of the plain,— the city of Calcutta, with its innumerable towers, spires, and pinnacles in the distance,— and nearer at hand, swamps and patches of unreclaimed jungle, showing how very lately the ground in the immediate neighbourhood of the capital of Bengal was an uncultivated waste, left to the wild beasts of the forest.” [25]

“In this part of the town,” notes Mr. Beverley in his census report for 1876, “ the streets are laid out with perfect regularity, very different from the rest of the town” – the town rising about the old Fort. [9] The report was contrary to what Miss Emma viewed over half a century ago and said, “No particular plan appears to have been followed in their erection, and the whole, excepting the range facing the great plain, Park-street, Free-School street, and one or two others, present a sort of confused labyrinth,”. and then she added ,”however, it is very far from displeasing to the eye; the number of trees, grass- plants, and flowering shrubs, occasioning a most agreeable diversity of objects.” [25] The difference between the observations of Miss Emma of Beverley evidenced the good works done in between by the Lottery Committee. “To them Calcutta is indebted for a long catalogue of improvements: and they may justly claim to be held in grateful remembrance as her second founders. Roads and paths were run across the Maidan and the familiar balustrades set up. Numerous tanks were excavated The New Market, which was built between 1871 and 1874, is another monument to the energy of the Justices which the ordinary citizen of Calcutta probably feels better able to appreciate. The grand success of the Lottery Committee encouraged the government to undertake further developmental programs under the management of the Fever Committee [9]

Chowringhee Redefined

An illustration is from a picture drawn by Captain F. J. Bellew, illustrating his book entitled, A Griffen, on Landing at Calcutta, 1818

Chauringi [sic]) is a place of quite modern erection, originated from the rage for country houses.”, At the beginning of 19th century the people of Calcutta, as of Bombay and Madras, loved to live in garden-houses midst trees and flowers. They preferred living away from the hot, unhealthy and already crowded Town of Calcutta, to a place ‘where they could enjoy some privacy’.[17] They admired the landscape of Chowringhee. Chowringhee premises themselves were often very extensive, the principal apartments looking out upon pretty gardens, decorated with that profusion of flowers which renders every part of Calcutta so blooming. [25] The surroundings were mostly open fields among which were scattered villages, with here and there a garden house, standing in wide grounds where roamed plenty of deer, water birds, particularly the adjutant birds, or the Indian stork with a pinkish-brown neck and bill, and a military gait seen walking around. Camels and mules were not uncommon sight on Chowringhee Road. Jackals roamed at night mischievously to undermine foundations of old houses, as they did so to the Free School’s old house that fell in 1854. In spite of such small inconveniences the ‘lordly Chowringhee stood ‘equal to the finest thoroughfare anywhere; and the blessed Maidan – that enormous lung responsible for all the health and happiness of the people of Calcutta’. [20]

The name ‘Chowringhee’ denotes a new found ‘comfort zone’ in the South of Town Calcutta for the Europeans who loved a trendy hassle-free life to lead in airy environs. Whenever their comfort-zone shifted its focus the habitat moved along revising its boundaries but keeping the name unchanged. The historical maps may well justify redefining ‘Chowringhee’ in terms of habitation socially and not geographically in terms of territorial location. Chowringhee like two other old localities, John Bazaar and Taltallah, ‘came adrift from their moorings and carried away by the surging tide of population beyond Dhurumtollah toward Bhowanipore.[18] Somewhat like a Gypsy camp, the community moved on southward leaving some cohabitants behind in lesser locations.

Chowringhee Stratified

Plan of Calcutta. 1784 & 1785. Credited to Colonel Mark Wood

Chowringhee, we may notice, is a cluster of residential blocks of distinctive characters, categorized by racial, religious, economic differences. Blanchard in his memoir mentions: “A house in the “City of Palaces” is very apt to look like a palace. But the comparison applies only to that portion of the town where dwell the Europeans of the higher ranks, the Civil and Military officers, and principal merchants of the place. These congregate for the most part in the Chowringhee road and the streets running there from, which make up the only neighbourhood where it is conventionally possible for a gentleman to reside.” [5] This description of Blanchart found inapplicable to the whole of Chowringhee, but to some exclusive neighbourhood like. Hastings Place, at the southern end of Chowringhee. The group of streets which commemorate the various titles of Lord Hastings and his wife, who was Countess of Loudoun in her own right, are also the work of the Lottery Committee, and were designed to afford access to the Panchkotee (92 Elliot Rd ?), or five mansions, which will be found surrounding Rawdon Street, Moira Street, Hungerford Street and Loudoun Street (as it should be properly spelt). [9] We are informed by different authors that while barristers had their houses in the neighbourhood of Supreme Court, the officials, medical men, and merchants, have their residences in Garden Reach, and the numerous streets contained in the district rejoicing in the general name of Chowringee [sic]. [16] All these points out to the practice of social ranking among the European residents in Chowringhee. Chowringhee was built by Europeans for residing there in European way life, surpassing the standard of living prevailed in their homeland. Montgomery Massey penned an intimate and lively picture of Chowringhee of relatively recent time covering half a century from 1870s. [20]

Social & Religious Reservations

Procession of the Churruckpooja in Chowringee. Coloured lithograph by Charles D’Oyly. 1848

For a long time Indians had no place in Chowringhee, excepting very few. We find in a late 18th century map three Rustomjees on Chowringhee Lane, Jamsedjee Ruttunjee on Lindsay Street. Chowringhee allowed these rich business men of Parsee community to stay with the sahibs rightfully. It took a hundred year for the native gentlemen to share the privilege liberally with the Europeans to settle in Chowringhee. Some of those privileged ones were: Kumar Arun Chundra Singha at house 1(?) Harrington Street, Sir Rajendranath Mookherji’s house on 7 Harrington Street, Sir B. C. Mitter’s 19 Camac Street, Raja Promotho Roy Chowdhury’s 9 Hungerford Street. The presence of native houses in Chowringhee before coming of Europeans may not be improbable. Rev. Long spoke of a ‘large house’ identical to Sir Elijah Impey’s, stood on the very spot, nearly half a century before Impey. That house as referred to in the ‘Plan of Calcutta’ of 1742 ‘cannot have been an English residence’ he continued, ‘and was possibly the property of a native official’. [17]

Chowringhee in its first two centuries had been exclusively a Christian colony. The two early Bengali converts, Rev. K. M. Banerjee, and Gunendra Mohun Tagore had houses in European quarter on Bullygunge Circular Road at premises numbers 1 and 2. We are never sure if Chowringhee would have welcomed these two native Christians as residents, if so they desired. It is interesting to note, however, that there was a Hindu, of European origin, living in posh Wood Street area. Hindu Stuart was more a conservative Hindu than many native Hindus were. The European residents had tolerated Stuart’s conformity to idolatrous customs. It shows that the Europeans had no problems with native faith as such, but to them the native way of living was utterly disgraceful and unhygienic. Besides their own experience, the reactions of the overseas visitors gathered from their memoirs and letters, reinforced European antipathy toward the way of living of the Calcutta people in general, and of the lower-class in particular. One of the serious objections they had against native citizens was ‘lack of sensitivity’ and indifference toward their own surroundings. They called the native town, a black town, as it was a ‘wretched-looking place – dirty, crowded, ill-built, and abounding with beggars and bad smells’ [30]. Beyond Black Towns, even the best neighbourhoods were not completely free of such menace. “The whole appearance of Chowringhee is spoiled by the filthy huts that exist everywhere, almost touching the ‘palaces’.” These eyesores are to be seen even in the ultra-fashionable Park Street and Middleton Street, and on the Maidan in front of Chowringhee. [12] It is a repulsive scene for civilized members of any society. The problems are often thought of economy oriented and related to lower-class of the society, overlooking their cultural significance.

Living Conditions and Style

The Black Towns also includes the upper-class genteel who lived in ‘handsome houses enclosed in court-yards between the mud huts, the small dingy brick tenements, and the mean dilapidated bazaars of the middling and lower classes of natives. These Armenian merchants, Parsees, and Bengallee gentlemen of great wealth and respectability’ did never mind their environment. [25] Interestingly, the lowly tribal folks of Bengal, like the santals, keep their homes and villages clean and beautiful. The underlined social malady is an issue of critical importance for investigating the root cause of stagnation of the vernacular society. The matter is beyond the scope of present discussion. Elsewhere we discussed related issues in historical context. See: Rajendra Dutta 1818-1889

 

Chowringhee Today & Tomorrow

Since 1754 Chowringhee revealed itself variantly in maps, paintings, and texts. It is almost impossible to separate Chowringhee from boundary areas, or to imagine a Chowringhee excluding North of Park Street, a Chowringhee without the old Hogg Market, the Museum, Bible House, The Grand, and Firpo’s, and the like – attractions of old and recent past. For Chowringhee goers, riding an Esplanade-bound tram across the green of Maidan was a special pleasure. Alighted at Esplanade they felt already in Chowringhee, and perceived the two as inseparable. To them and some modern scholars, Chowringhee and Esplanade denote the same place and are generally called by any of the two names irrespectively. The comprehensive view of modern Calcutta embraces the grand view of Maidan and on its opposite, shiny lines of shops, hotels, restaurants, cinema halls and range of magnificent edifices built mostly by the Armenian architects who were responsible more than others for upgrading Calcutta to the City of Palace. Minney in his time wondered “if all these mighty edifices will be abandoned some day by those for whom they were built. Will the Britons say to the Indians, “We built all this for ourselves, and for you; but we can no longer live together?” [20] And so it happened. Calcutta has been losing her Oriental identity for good. The little collective will the society had earned to resist the lure of westernization is being siphoned off in the process of misconceived globalization.

 

NOTES
The name of the rural Cherangi (চেরাঙ্গী) changed during its transformation into urbane Chowringhee (চৌরঙ্গী). The original vernacular name [26] acquired variant renditions with some twists to suit English tongues, and spelt out fancifully by writers of last three centuries. Among the good alternatives, ‘Chowringhee’ is found most popular in the works consulted. That is the only reason why I used ‘Chowringhee’ and some other place names in certain anglicized forms as standard.

REFERENCES
1. Anonymous. 1859. The East India Sketch-Book; Comprising an Account of the Present State of Society in Calcutta, Bombay, Etc. London: Bentley.
2. Bellew. 1880. Memoirs of a Griffin; Or, a Cadet’s First Year in India, by Captain Bellew. London: Allen. Retrieved (https://books.googleusercontent.com/books/content?req=AKW5QaeFDZ31SuKS9kDHiV6UQ99iWso9Gpe7upyHKD7uJymaDFKZOeWiERI3n2I2aX4TozdjSzDJP8KSMGKwxIp2QyYMijIkC9LDrZ5rrD8ee7utuIuTAt4mkqAM9uu-jq3vjAx2M3xYMFMxXW8OHNamEuOXWPDkU0yA-yq9EUwZPN8_ifFCoA2tHKD61OGFj9SPebPjy).
3. Benard, Dufour and. 1839. “Calcutta 1839: A French Map 1839_DufordandBernard.” Retrieved (http://www.columbia.edu/itc/mealac/pritchett/00maplinks/colonial/calcuttamaps/rouard1839/rouard1839.html).
4. Bengal Almanac. 1851. BENGAL ALMANAC , With A Companion a N D Appendix. 1851st ed. Calcutta: Samuel Smith. Retrieved (https://books.google.co.in/books/about/The_Bengal_Almanac_for_1851.html?id=4UNBAAAAYAAJ&redir_esc=y).
5. Blanchard, Sidney Laman. 1867. Yesterday and Today in India. London: Allen. Retrieved (https://archive.org/stream/yesterdaytodayin00blan#page/n3/mode/2up).
6. Blechynden, Kathleen. 1905. Calcutta Past and Present. London: Thacker. Retrieved (https://archive.org/details/calcuttapastand02blecgoog).
7. Candor, Josua. 1828. Modern Traveller: Popular Description, Geographical, Historical, and Topographical ; Vol.3 India. London: Duncan. Retrieved (https://archive.org/details/moderntraveller05condgoog).
8. Carey, William. n.d. Good Old Days of Honorable John Company; vol.1.
9. Cotton, Evan. 1907. Calcutta Old and New: A Historical and Descriptive Handbook of the City. Calcutta: Newman. Retrieved (https://archive.org/details/calcuttaoldandn00cottgoog).
10. Curzon,George Nathaniel, Marquis of Kedlesta. 1925. “British Government in India; vol.1.” Retrieved (https://books.google.co.in/books?id=t_qdnQAACAAJ&dq=british+government+of+India+curzon&hl=en&sa=X&ved=0ahUKEwjtgteC2MnXAhVEqI8KHe-DBeoQ6wEILTAB).
11. Deb, Binaya Krishna. 1905. The Early History and Growth of Calcutta. Calcutta: RC Ghose. Retrieved (https://archive.org/details/earlyhistoryand00debgoog).
12. Dewar, Douglas. 1922. Bygone Days in India; with 18 Illustrations. London: John Lane. Retrieved (https://archive.org/stream/bygonedaysinindi00dewauoft#page/n15/mode/2up).
13. Firminger, W. K. 1906. Thacker’s Guide to Calcutta. Calcutta: Thacker, Spink. Retrieved (https://archive.org/stream/thackersguidetoc00firm#page/n7/mode/2up/search/’socially+but+not+geographically).
14. Graham, Maria. 1813. Journal of a Resdence in India. 2nd ed. Edinburgh: Costable. Retrieved (https://archive.org/stream/journalaresiden00callgoog#p age/n6/mode/2up).
15. Hamilton, Alexander. 1727. A New Account of the East Indies; Being the Observations and Remarks of Capt. Alexander Hamilton from 1688-1723. Vol.1. Edinburgh: John Mosman [print]. Retrieved (https://books.googleusercontent.com/books/content?req=AKW5QacjxhiAm8rzif8UIk9TDXspCahRSpGTJAm4B4cNBUSur1ofIcI-zAg5Za6SGU0KEoBJJ0rawcvPDm3vIiVfY_AZMXqlsbCB7DFd_Q2mmMeTe-lppWWArhBGhJyND193wpzwke4Pr80-cyeInTGT6QK0EtQ5684QSuXLM8N5EGEHC5kHd6fucZw-MT5827LyRLvNA).
16. James, Edward. 1830. Brief Memoirs of John Thomas James, D.D: Lord Bishop of Calcutta. London: Hatchhard. Retrieved (https://archive.org/stream/briefmemoirsofla00jamerich#page/n5/mode/2up/search/ancient).
17. Johnson, George W. 1843. The Stranger in India; Or, Three Years in Calcutta. Vol. 1(2). London: Henry Colburn. Retrieved (https://archive.org/stream/strangerinindia00johngoog#page/n46/mode/2up).
18. Long, Rev.James. 1852. Calcutta in the Olden Time – Its Localities. Art.2 – Map of Calcutta. Retrieved (https://books.google.co.in/books?id=cQc2AAAAMAAJ&pg=PA275&redir_esc=y#v=onepage&q&f=false).
19. Mark Wood. 1792. “Plan of Calcutta: 1874-1875.” Retrieved (https://upload.wikimedia.org/wikipedia/commons/8/82/Kolkata_Old_Map.jpg).
20. Massey, Montague. 1918. Recollections of Calcutta for Over Halh a Century. Calcutta: Thacker, Spink. Retrieved (https://www.google.co.in/url?sa=t&rct=j&q=&esrc=s&source=web&cd=3&cad=rja&uact=8&ved=0ahUKEwjRr_WylsPXAhUDV7wKHTWJAXcQFggxMAI&url=https%3A%2F%2Farchive.org%2Fdetails%2Frecollectionsofc00massiala&usg=AOvVaw3uvydXqyjqB3xbkOOZe4jp).
21. Minney, R. J. 1922. Round about Calcutta. London: Oxford U P. Retrieved (https://archive.org/stream/roundaboutcalcut00minnrich#page/n5/mode/2up).
22. Monkland. 1828. Life in India, or the English at Calcutta; vol.2.
23. Montefiore, Arthur. 1894. Reginald Heber: Bishop of Calcutta, Scholar and Evangelist. New York: Revell. Retrieved (https://archive.org/details/reginaldheberbis00bric).
24. Ray, A. K. 1902. Calcutta: Town and Suburbs; Pt.1 A Short History of Calcutta. Calcutta: Bengal Secretariat. Retrieved (https://books.google.co.in/books?id=-Lo5AQAAMAAJ&q=calcutta+town+and+suburbs+ak+Ray&dq=calcutta+town+and+suburbs+ak+Ray&hl=en&sa=X&ved=0ahUKEwjDnrz11MnXAhUCN48KHdgEDQUQ6AEIJzAA).
25. Roberts, Emma. 1843. “Memoirs of Emma Roberts. In Memoirs of Literary Ladies of England; Ed. by Mrs Elwood; vol.2.” in Oxford University, vol. 2. London: Colburn. Retrieved (https://books.google.co.in/books?id=ROsQAAAAYAAJ&pg=PA333&lpg=PA333&dq=memoirs+of+emma+robert&source=bl&ots=c_ubDSyGKS&sig=PW6CgPPZ3uZuZq0Ev71kl_Ll7vU&hl=en&sa=X&ved=0ahUKEwiI5PPQ0cjXAhXHto8KHTQ7DFQ4ChDoAQgmMAA#v=onepage&q=memoirs of emma robert&f=false).
26. Thacker, Spink. 1776. “Alphabetical List of the Streets in Calcutta, Howrah, and the Suburbs.” Calcutta: Thacker, Spink.
27. Wilson, Charles R. 1895. The Early Annals of the English in Bengal; Summarised, Extracted, and Edited with Introductions and Illustrative Addenda; Vol.1. London, Calcutta: Thacker. Retrieved (https://archive.org/details/earlyannalsofeng01wilsuoft).

Barrackpore House & Its English Park: 1803-1912

government-house-barrackpore-from-the-south_bourne-1865
Barrackpore House, South view. Photo Samuel Bourne. 1865. Courtesy: BL

রাজভবন লাটবাগান

In sequence of the previously posted essay, ‘Barrackpore, a little Calcutta’, I am tempted to bring about the subject once again to share with you the fascinating details of the making of Barrackpore House and the Park as revealed in ‘The Story Of The Viceroys And Government Houses’ of Marquis Curzon of Kendleston. Curzon started his research during his Viceroyalty (1899-1905), continued with it, and finally readied his work for Cassell to publish in 1925 before he took rest in peace. A condensed and revised version was published in 1935 entitled, Story of Government houses by N V. H. Symons.

Although Curzon had a fond association with Government House at Calcutta as it was modelled after his ancestral manor Kendleston Hall, he took every care to follow faithfully the crazy path of history of the Barrackpore estate since Lord Wellesley started it all by himself.

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A Bunglow in the Park. Artist: James, Marianne Jane. 1828. Courtesy: BL

Barrackpore is complementary to Government House in the same way that Viceroy Lodge, Simla, is complementary to Viceroy’s House, New Delhi. The Governor General used to spend the whole of the year in Bengal, apart from tours, Barrackpore being his habitual summer residence. [Symons] As Stravornius had mentioned in 1768, Belvedere might have served as Barrackpore did after Wellesley [Cal. Rev, Dec.1852]. Even after 1864 the Viceroys and the Governors of Bengal used Barrackpore House as a country house for week-ends.

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A carriage approaching Barrackpore House. Artist: Daniell, William. c1810. Courtesy: BL

The English lady traveler, Monkland, to my mind, described best what Barrackpore was in early 19th century. [Monkland]. Barrackpore was then having ‘a quiet and retirement like air’ of countryside that combined with its military neatness and propriety making it ‘one of the sweetest places in India. ‘The bungalows in four lines stand each separated from the others, every one surrounded by its own corn-ground, flower-garden, and neat trimmed hedge; while the whole cantonment is at right angles intersected by well kept roads, smooth as bowling-greens, and has the river in front and the parade ground in the rear. Government-house, and its beautiful grounds, are merely separated from the cantonments by a piece of water from the river, over which there is a bridge; and the park, as a drive, is at all times open to the European inhabitants.’ [Symons]  Seemingly, nowhere else the Britons raised an exclusive white town as satisfyingly as they did it in Barrackpore. To the natives of the town, লাটবাগান (the Park) remained a prohibited place.

aviary-in-barrackpore-park_fiebie1851s
Lord Richard Colley Wellesley, 1st Marquess Wellesley, Governor-General of India 1798-1805. Artist: Thomas Lawrence. c1813-30. Courtesy: Carey Univ. Serampore

Lord Wellesley was the first to find Barrackpore a great place for peaceful living; and it was he who desired to build government palace amidst an English park. On 31st December, 1800, Wellesley advised Sir Alured Clark, the Commander-in-Chief, that his official residence was intended to resume for the use of the Governor General, and the day after Wellesley appeared on the scene. He started to occupy the house almost at once. He was content with it for the next three years, though he immediately set about enlarging and improving the Parks. It was not till the beginning of 1804, he bethought of building a new palace at Barrackpore, as the present house was considered unsafe. On the site he erected a large bungalow for a provisional residence, and nearby he laid the foundation of a palace that involved an estimated cost of four lakhs of rupees. In July 1805, when its structure had come up to the ground storey level, Wellesley resigned and returned to England. The relationship between the Court of Directors and Lord Wellesley had never been too cordial. When Wellesley left the country, the Court peremptorily prohibited ‘the outlay of so large a sum on such an object’. There were, in fact, many ‘such’ projects Wellesley initiated that the Court of Directors found unjustifiable. Mysore and other campaigns apart, Wellesley’s enterprises in India were characterized both by wisdom and imagination. They were as a rule too expensive, particularly in a country like India prior to coming under the Crown administration. He was time and again cautioned for his extravagant monetary commitments for setting up Fort William College project, schemes for the encouragement of agriculture and horticulture and the study of the flora and fauna that led to the institution of the Gardens and Menagerie at Barrackpore. Being a conscientious and upright administrator, Wellesley remained untouched by any of such public scandals about his wasteful expenditure on pricey projects as reflected in Sir Charles D’Oyly’s anonymously published book of burlesque poem :

BARRACKPORE
…….

Wellesley first stampt it his. He was the boy
For mating ducks and drakes with public cash,
Planned a great house that time might not destroy:
Built the first floor, prepared bricks, beam and sash
And then retired, and left it in this dismal hash.

[*Tom Raw, the Griffin. 1824]

[*Tom Raw, the Griffin: a burlesque poem; descriptive of the adventures of a cadet in the East India Company’s service, from the period of his quitting England to his obtaining a staff situation]

By the order of the Court of Directors the construction work of Barrackpore House was suspended. The beams, doors, and windows, etc. were sold by auction. The shell of the house stood for some more years until Lord Hastings finally cleared the ground and put up a Green House there.

While constructing his dream palace, Wellesley stayed in a temporary accommodation he had made with three large bedrooms opening on to a wide verandah to the North-West. This bungalow happened to be the nucleus of the future Barrackpore House. The three rooms made up the central block of the new building. Sir George Barlow (1805-1807) erected small rooms at every corner of the southern verandah. Lord Hastings (1813-1823) added side wings, a Portico, and the upper Entrance Hall that was used later as a billiard room. These structural changes, however, ruined the prospect of its being a good summer residence. What needed was “a series of rooms which will catch the South breeze at night” – this condition was fulfilled by the original three-roomed house.

Government House Walk. Photographer: Bourne, Samuel. c1865
Government House Walk. Photographer: Bourne, Samuel. c1865

It was Hastings who shaped the house into its final form, and took interest in glorifying the building with appropriate decorations. The lovely lotus basin and the marble fountain installed in front of the South entrance, were two such decorative pieces he brought from Agra. By doubling the building area he also ensured a comfortable accommodation for the Governor and their family members and some guests as well. No other structural changes were attempted ever since, except for some minor modifications and additions of certain features. Lord Auckland (1835 – 1842) added the balcony on the Western side; Lord Lytton (1876-1880) replaced the unseemly iron staircase on the South front. Lord Ripon (1886-1884) installed a wooden porch In front. Lord Minto (1905-1910) equipped the building with electric light, laid the floor in the drawing room and redecorated the entire house.

The house has always been used as a place of relaxation and recreation. Within the house there have been balls and entertainments, and also services were being held at the large central drawing room before Barrackpore Church was established in 1847. Here, Bishop Heber preached in 1823. Carey, Marshman and Ward, often visited Barrackpore House as guests of the Governor General.

Barrackpore House was occupied by as many as twenty-four Governors-General of India Until its final abandonment as the residence of the Viceroy in 1912. Despite so much efforts made over a century for its betterment, the Barrackpore House emerged as ‘a shadow of the house there would have been had Wellesley started this project earlier and been able to see it through before he left India’.[Curzon] William Carey, who was a regular visitor to Barrackpore House, considered Barrackpore House had scarcely any claims to excellence, as a specimen of architecture. [Carey]
Stoqueller tipped off his readers of 1844 Guidebook that there was nothing remarkable about the Government House, but a plain one storied edifice with lofty rooms and very ordinary furniture. [Hand-book of India, a Guide / Stocqueller. 1844]

II

Barrackpore Park – Lake scene. Photographer: Samuel Bourne. Bar… Creator: Bourne, Samuel. 1860

‘Barrackpore Park was created by the taste and public spirit of Lord Wellesley’. [Carey] It was believed that he had a desire ‘to have brought all the public offices up from Calcutta and established them in the vicinity of the park’. From his day-one in Barrackpore, Wellesley started acquiring land for developing the Park. The whole park-area was nearly 350 acres, and the cost of the land acquisition amounted to £9,577. It was originally a flat land covered with swamps and jungle.

barrackpore-riverside-lipoo-tree_williamprinsep_1827
Lipoo Tree at Riverside, the natural landscape outside Park. Artist: William Prinsep. 1827

Wellesley converted this landscape into an English Park by engaging convict labour to do the task of draining, clearing and shaping the land into hillocks and dunes, and installing pieces of ornamental water. In the beginning there had been little or no distinction between the Park and the Garden. It was through a gradual process the Park turned out to be a public-access property. The Gardens grown within the Park remained private. There was, however, no borderline between the two, and the public roads ran through the Park and the Garden areas as well.barrackpore-park_plan-symons

A detailed plan of Barrackpore Park, reproduced here from Lord Curzon’s book, The story of the viceroys and government houses, helps us to understand the distribution of items described by him and other narrators. The Park looked best at the river-side. Barrackpore House stands nearest to the Nishan Ghaut – the platform for landing ships. Lady Canning (1856-1861) made a raised pathway leading from the house to the upper landing stage, and much later Lord Ronaldshay (1917-1922) made a bridge from there to the landing stage.

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Honeymoon Bunglow. Photographer: Not known. c1878. Courtesy: BL
Some other old bungalows are found close by. Bungalows#1 and #2 were designated for the guests while the one at the Eastern side, the Military Secretary’s quarter, was better known as ‘Honeymoon Bungalow’ because of its being available on rent to newly married couples. On the North-West Beach stands the Flagstaff – a broken up mast enshrined in memory of the flagship HMS Kent, smashed in 1757. The bungalow next to it is called ‘Flagstaff Bungalow’.

Lord Wellesley had a good amount of time to devote for developing the Barrackpore Park before he finally resigned, leaving his other project, Barrackpore House, abandoned.

Rhinozeror [rhinoceros] tank Photographer: Fiebig, Frederick . 1851
Rhinozeror tank Photographer: Fiebig, Frederick . 1851 Courtesy: BL
He had completed many other constructions inside the Park, including a stable for 36 horses and standing for four carriages together with a coachman’s bungalow; he erected the balustrade bridge over the ‘Moti Jheel’ lake to the North of the House, an aviary for large birds, and also a menagerie in the North-East corner of the Park. The Menagerie existed there till the Zoological Gardens at Calcutta were opened by Edward VII as Prince of Wales in 1876, where most of its collections were transferred. Wellesley had constructed the high way from Calcutta as the first section of the Grand Trunk Road, and planted trees on either side before he handed over its charge to his successor, Lord Cornwallis. Wellesley might have also planted the mahogany trees on both side of the shady road known as ‘Mahogany Avenue’ as the cross-dating of tree-rings suggested.

Bear Garden. Photographer: Fiebig, Frederick. 1851
Bear Garden. Photographer: Fiebig, Frederick. 1851. Courtesy: BL

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Llama and its young at Barrackpore Park Chiriakhana. Details not known. Courtesy: Alamy

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Elephant Stable. Barrackpore Details not known. Courtesy: Alamy

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Giraffe at Barrackpore Park. Photographer: Frederick Fiebie. 1851. Courtesy: BL

On the other side of the Avenue, Lord Curzon grew a fine rosary with a large circular lawn surrounded by pergolas. Lord Minto construct¬ed a large stone basin and fountain, 40 feet in diameter and holding 23,000 gallons of water. Though intended for the rosary, the basin and the fountain were placed in front of the Seed House and often used as a bathing pool. There have been many more formal gardens in the Park designed and developed by the successors of Wellesley. Lord Auckland (1835-1842) had started an aviary near the Lily Tank, which is also called ‘Aviary Tank’ in reference to his lost aviary. The ‘Deer Tank’ ,situated in between the House and the ‘Temple of Fame’, was made by Lord Lytton (1922-1927) for the half-a-dozen deer he had brought from Barisal in an attempt to revive the charm of the old time Park. The name ‘Rhinoceros Tank’ brings back the memories of Lord Wellesley’s menagerie. Likewise, the word ‘bustee’ reminds us of his aviary once existed opposite Chiriakhana.

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Menagerie at Barrackpore. Artsit: Charles D’Oyly. 1848. Courtesy: BL

Moti Jheel, the long tank, near the ‘Temple of Fame’ stretched up to the Cantonment church, had been a prolific breeding ground for mosquitoes.

Lord Curzon arranged to drain and turf Moti Jheel, and Lord Minto filled it further along with other restoration works he undertook. Minto built the magnificent ‘Temple of Fame’ following Greek style – a tribute to the 24 officers who fell in the conquest of Java and Mauritius in 1810 and 1811.

Lady Canning (1856-1861) made some memorable contributions toward improvement of the Park facilities. She had built a road from the House to the new landing stage, which was converted into a leafy tunnel of bamboos by Lady Ripon in 1880. On the South of the house, she put the pillared balustrade round the semi-circular terrace and planted blue Morning Glory to grow over it and spread out over the giant Banyan tree. The tree was 85 feet high; and with nearly 400 aerial roots it covered an area of 60,000 square feet; It was smaller in circumspect but older than the Shipbur Ba-nyan tree. Lady Canning realized the possibilities of the great tree as an outdoor pavilion. banian-tree-in-barrackpore-park-_bourne1865ed1Under the shade the members of the House and their ho-nourable guests liked to spend whole day, enjoying the meals and refreshments served there, and perhaps watching games on the Tennis Court from distance. Beneath the shade of Banyan Tree many a viceregal *tiffin-party had assembled. There was also an excellent Golf Links much resorted to by Calcutta folk.

[ *The British in India referred to ‘tiffin’ as a light lunch and the Sunday tiffin was ‘an occasion for over-indulgence, with mulligatawny soup (always), curry and rice, roast beef and Yorkshire pudding washed down with a bottle of iced beer, and tapioca pudding’. – Food Culture in Colonial Asia: A taste of empire, by Cecilia Leong-Salobir. Routledge, 2011]

One of the most beautiful sites in the Park was the grave of Lady Canning, 500 yards down the river bank from the House. She died in Calcutta and, as her husband wished, buried in Barrackpore Park where she, a proficient painter, used to sit in the quiet. gothic-ruin-with-creepers-in-barrackpore-par_bourne1865edBishop Cotton consecrated the ground. Her sister, Lady Waterford, designed a monument for her grave – a large mar-ble platform ornamented with inlaid mosaic. The monument, for its proper up-keeping, was required to be shifted in 1873 to Calcutta Cathedral and from there to other places until the relic found its place at the North portico of St John’s Church.

To the North of the House, near Flagstaff there was a tall masonry tower, and some more were found along the road. According to Lord Curzon, those were semaphore stations for the Governor General’s use but abandoned after installation of the Telegraphic system in India. There are, however, some official records suggesting that the towers were built by Colonel Everest in 1830 for his Trigonometric Survey.

(c) British Library; Supplied by The Public Catalogue Foundation
(c) British Library; Supplied by The Public Catalogue Foundation

Apart from the things we discussed here, my previous post on Barrackpore dealt with some issues of relevance highlighting the Englishness in the government estate of Barrackpore. “There is said to be nothing else in India or indeed in Asia to compare with the Park and its broad stretches of undulating grassland . . . much though his successors have owed to Wellesley for providing the, magnificent Government House in Calcutta, their debt for the peaceful English charm of Barrackpore is almost greater.” [Curzon]

To the West on the river-side there was a masonry chabutra on which the band used to play English tune flowing over the hillocks and dunes of the Park. To complete, the illusion of English scenery, Lord Wellesley, wished for a constant view of a Church spire. To fulfill that wish, Wellesley spent unhesitatingly a sum of Rs. 10,000 towards the building of the Danish Church at Serampore – a church adhering to non-Anglican creed.

A view of Serampore Artist: Fraser, James Baillie 1826
A view of Serampore Artist: Fraser, James Baillie 1826. Courtesy: BL
The chronicle of the Government estate at Barrackpore may serve as a unique case of colonial architectural experience of a century long endeavour by different masters with variant ability and outlook – the Governors General, Viceroys and Bengal Governors, whoever considered the place their temporary home, had attempted to make things changed their ways for improving conditions of living in Barrackpore House.

The Park is almost like a huge collage of English landscape composed collectively by talented men and women, in succession, adding patches of vibrant colours and forms of their choice, and most significantly, adhering to a thorough English style.

REFERENCE

Tom Raw, the Griffin; a Burlesque Poem, in Twelve Cantos: Illustrated by Twenty-Five Engravings, Descriptive of the Adventures of a Cadet In / Charles D’Oyly. 1828

The Hand-book of India: A Guide to the stranger and the traveller… / Joachim Hayward Stocqueler. 1845.

“Calcutta in the olden time – its localities” In: Calcutta Review; v. 18. Dec. 1852

The Good Old Days of Honorable John Company …v. 1/ William Carey. 1882

Life in India; or, the English at Calcutta / Anne Catharine Monkland; v.2. 1882.

British Government in India: The story of the viceroys and government houses /
George Nathaniel Curzon of Kedleston (Marques). 1925

Story of government houses/ N. V. H. Symons. 1935

Barrackpore : Story of a Little Calcutta

Governor General’s House & Park at Barrackpore. Water colour by Edward Hawk Locker. 1808. Courtesy: British Library

ব্যারাকপুর – কলকাতার অদূরে ‘ছোট কলকাতা’

Barrackpore, some 16 miles away from Calcutta, turned into a little Calcutta or Chhota Calcutta. This happened because of the mastermind of Marquis Wellesley, who moved to Barrackpore in 1801 and occupied the Commander-in-Chief’s residence – one of the two bungalows bought by the Government with 70 acres of land when the cantonment was founded in 1775. This is where Wellesley lived for about 3 years devoting his mind in enlarging and improving the surrounding park area. He landscaped the gardens in the ‘English Style’, added an aviary, a menagerie and a theatre. The rustic hamlet emerged as a fashionable abode of the Britishers for sojourning.

by Ozias Humphry, pencil, chalk and watercolour, 1783
Marquis Wellesley (1760-1842) by Ozias Humphry, 1783

Barrackpore had a long history that began much before the coming of Job Charnock, who had been in Barrackpore for a while, raised a bungalow, and gathered a little bazaar closed by. Here his beloved wife of native origin had died. The area was previously ruled over by a line of Zamindars based in Nona Chandanpukur, Barrackpore. In ‘Ain-e-Akbari’, Abul Fazal (1596–97)  referred to this place as Barbuckpur, and it was Chanak in `Manasa Vijay` written by Bipradas Pipilai (1495). Chanak and the other nearby towns were developed into chief marketing, trading and populous towns along the side of river Hooghly. The local name Achanak seems to be a localized version of Chanak.

Barrackpore, however, went into the British colonial history more significantly because of the two revolts. The first one was the 1824 insurgency led by Sepoy Binda Tiwary, and the second was the Sepoy Mutiny of 1857 led by Mangal Pandey. With the exception of these two horrifying experiences of tumult and fury, Barrackpore have always been a calmly country seat for the white’s leisurely pursuits contrary to the demanding living condition of the up-and-coming city of Calcutta.
In pre-Plassey Calcutta, the servants of East India Company used to live in dark and damp lodgings in the Fort, and warehouses where the gates shut upon them at night. After Plassey, the growth of the garrison and the influx of European officers and troops from Madras worsened the lodging condition. New quarters came up along the Avenue, Pilgrim road, and Bow Bazar and, bypassing the native quarters of Dinga,  and Colinga, spread over the open ground of Chowringhee and Dharmatallah. [See The Social Condition of the British Community in Bengal: 1757-1800 By Suresh Chandra Ghosh. 1970] No wonder that the Europeans, gradually migrated from Tank Square – ‘the Belgravia of that day’ — and took up their abodes in Chowringhee ‘out of town’. [See ‘Calcutta in the olden time — its localities In Calcutta review. Sept.1852.]. Earlier James Atkinson in a verse, published in 1824, described the condition of Calcutta more pungently as ‘an anxious, forced existence’.   [ See City of Palaces, a poem by James Atkinson. 1824]

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Barrackpore Bridge, hand-coloured photograph by Frederick Fiebig. 1851. Courtesy British Library

The road from Calcutta to Barrackpore was opened to the public on the 26th July, 1805, perhaps the best road constructed so far. Miss Emma Robert,the English lady traveller, wrote after two decades, that the ‘drives and rides about the city are not very numerous, nor very extensive, excepting towards Barrackpore.’ [See Scenes and characteristics of Hindostan; with sketches of Anglo-Indian society; v.1 by Emma Roberts. 1835]

 

In 1830 the Barrackpore Bridge, commonly called, ‘Shyambazar Bridge’, was constructed connecting Barrackpore Road to Calcutta at its northern end. The 100 ft long and 30ft wide Bridge was built by the Canal Superintendent, James Prinsep at the cost of Rs 20,529. It was a beautiful bridge, as revealed in the hand-coloured photograph of the bridge and the road with running horses and carriages, taken by Frederick Fiebig in 1851.
J H Stocqueler while journeying through Brarackpur road looked out from his palanquin [ see Hand-book of India, guide to the stranger and the traveler, ..ed. by Joachim Hayward Stocqueler. 1844], to the pleasing view of an extensive avenue of trees skirted by villages, gardens, and rice-fields. Cox’s Bunglow, the site of a building then used as a stables for relays of horses, was on the right-hand side of the road, and there the first change of relay proceeds onward through Barrackpore Cantonment.

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Entrance to Barrackpore. Lithograph ( coloured ).Charles D’Oyly. 1848. Courtesy: British Library

Though a large station, Barrackpore presents an air of quiet and retirement like a country village; which joined to its military neatness and propriety, make it one of the sweetest places in India. The bungalows in four lines stand each separated firom the others, every one surrounded by its own corn-ground, flower-garden, and neat trimmed hedge; while the whole cantonment is at right angles intersected by well kept roads, smooth as bowling-greens, and has the river in front and the parade ground in the rear. Government-house, and it’s beautiful grounds, are merely separated from the cantonments by a piece of water from the river, over which there is a bridge; and the park, as a drive, is at all times open to the European inhabitants. [See Life in India: Or, The English at Calcutta; v.2 by Monkland. 1828]

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Maria Graham (b1785-d1842) (in later life, Maria, Lady Callcott) An Englsh travel writer. Portrait by Thamas Lawrence. 1819

How Barrackpore was in the first half of 19th century can be figured out more from the true-to-life excellent paintings and photographs than the textual documents handed down to us – mostly official transactions and records, and also letters and diaries of the travellers and residents, which provide human-side view, factual information apart. Unfortunately, not many travel-writers visited Barrackpore. The English lady, Maria Graham(later Lady Callcott) was an exception. In her book, Journal of a Residence in India, she left her lively and credible impressions of everything she saw there. Her account of Barrackpore commenced from Nov 20, 1810.

RIVER-SIDE

It was a delightful day she arrived by boat. The weather was so cool that ‘one really enjoys a river view walk’. Close to Calcutta, it is the busiest scene one can imagine; crowded with ships and boats of every form,—here a fine English East lndiaman, there a grab or a dow from Arabia, or a proa from the eastern islands. On one side the picturesque boats of the natives, with their floating huts; on the other the bolios and pleasure boats of the English, with their sides of green and gold, and silken streamers. Up the river, the scene became more quiet, but not less beautiful.

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Barrackpore Ghaut, A hand-coloured photograph by Frederick Fiebig. 1851. Courtesy British Library

The trees grow into the water, and half hide the pagodas and villages with which the banks of the river are covered on both sides. It was late when we arrived here, and some of the pagodas were already illuminated for a festival; fireworks, of which the natives are very fond, were playing on the shore, and here and there the red flame of the funeral fires under the dark trees threw a melancholy glare on the water. From the opposite river bank, The missionaries Serampore had enjoyed the same view of Barrackpore riverside. Carey’s biographer, George Smith reproduced William Carey’s memory of ‘The garden slopes down to the noble river, and commands the beautiful country seat of Barrackpore, which Lord Wellesley had just built’. [See Life of William Carey,  by Gerge Smith. 1909]

THE PARK

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Barrackpore Ghaut, A hand-coloured photograph by Frederick Fiebig. 1851. Courtesy British Library

Many of the Barrackpore goers maintained that it was not the Barrackpore House itself ‘but its accessories were the best features it can boast of’ – an aviary and a menagerie, a garden and a pleasant promenade, where the society of the station assemble, while one of the regimental bands plays upon the green sward, constitute the chief agremens of the place’. [See Hand-book of India, a Guide, ed by Stocqueller. 1844]

When Mrs Graham came to the Park of Barrackpore, the tamarind, acacia, and peepil trees, through whose branches the moon threw her flickering beams on the river, seemed to hang over our heads, and formed a strong contrast to the white buildings of Serampore, which shone on the opposite shore. We landed at the palace begun by the Marquis Wellesley, but discontinued by the frugality of the Indian Company; its unfinished arches shewed by the moon-light like an ancient ruin, and completed the beauty of the scenery. The area of the whole Park is nearly 350 acres and the cost was £9,577. Lord Wellesley started acquiring the land and making the Park.  In the North-East corner he established the menagerie that continued to exist till the Zoological Gardens at Calcutta opened in 1876.

 

MENAGERIE

Menagerie at Barrackpore
Menagerie at Barrackpore, Lithograph ( coloured ). Charles D’Oyly. 1848. Courtesy: British Library

“A little nulla, or rivulet supplies several fine tanks in the park, which embellish the scenery, and furnish food for a number of curious aquatic birds kept in the menagerie. The pelican, whose large pouch contains such an abundant supply of food, the produce of her fishing, for her young; the syrus, or sarasa, a species
of stork, whose body is of a delicate grey colour, and whose head, which he carries above five feet from the ground, is of a brilliant scarlet, shading off to the pure white of his long taper neck; and the flamingo, whose bill and wings are of the brightest rose-colour, while the rest of his plumage is white as snow,—are the most beautiful of those who seek their food in the water. Among their fellow-prisoners are the ostrich, whose black and white plumes attract the avarice of the hunter; the cassowary, whose stiff hard feathers appear like black hair; and the Java pigeon, of the size of a young turkey, shaped and coloured like a pigeon, with a fan-like crest, which glitters in the sun like the rainbow. [Graham]

the North-East corner of the Park known as Chiriakhana. The Governor General’s elephants used to be kept at Barrackpore. The place across the Grand Trunk Road to the North North-East of the Park was known for a long while as Hatikhana, although the last of the elephants was sold in Lord Elgin’s time. It was here in the Park that the poet-bishop first mounted an elephant — “the motion of which,” he confesses, “I thought far from disagreeable, though very different from that of a horse.” [See Thacker’s Guide to Calcutta ed. by Walter Kelly Firminger. 1906]

On Nov. 25, she wrote ‘The north winds are now so cold, that I find it necessary to wrap up in a shawl and fur tippet when 1 take my morning’s ride upon one of the governor-general’s elephants, from whose back I yesterday saw the Barrackpore hounds throw off in chase of a jackal’. “The quadrupeds in the menagerie are only two royal tigers, and two bears, one a very large animal, precisely like the bears of Europe; the other was brought here from Chittagong, where it is called the wild dog. His head is shaped like that of a dog, but bare and red about the muzzle; his paws are like those of the common bear, but his coat is short and smooth; he refuses to eat any kind of vegetable food, which the large bear prefers to flesh, and is altogether the most ferocious creature I ever saw. ”

GAITIES

On December 5, 1810, Graham was in great expectation of the festivity in Barrackpore. In three weeks, she mused, all the gay world will be asembled at Barrackpore, on account of the races, which are run close to the park-gate. This year there will be little sport, as the horses are indifferent, but I am told the scene will be very gay, “ with store of ladies, whose bright eyes rain influence”. Barrackpore had a tradition of public merriments to celebrate important events. Three years ago. On the 12th September 1807, Barrackpore celebrated  the anniversary of the battle of Delhi. A splendid entertainment was given in ‘the new Theatre at Barrackpore’ at which were present the Right Hon’ble Lord Minto, the Governor General, General St. Leger and Staff, the whole of the officers and ladies at the station, and a numerous party of visitors from Calcutta.  [See Life of William Carey, by Gerge Smith. 1909]

Lord Wellesley was not in favour of horse race. He stopped horse racing and all sorts of gambling as soon he arrived India; yet at the end of November 1809, there were three days’ races at a small distance from Calcutta. After a lull the Calcutta Races again commenced under the patronage of Lord Moira. Stocqueler tells us “there at Barrackpore a race-ground existed, but races have not taken place any more. The sports of the place are confined to an occasional steeple-chase, a run with the Calcutta hounds, and a few balls and public dinners.” [See Hand-book of India, a Guide, by Joachim Hayward Stocqueler. 1844]

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A Cheeta Hun in Wellesley’s Park. Lithograph ( coloured ). Charles D’Oyly.1802. Courtesy: British Library

In the Park there was also an excellent golf links much resorted to by Calcutta folk. Closer to the house there was a vast banyan tree beneath whose shade many a viceregal tiffin-party had assembled.   Mrs Graham had some fascination for Indian custom s and traditions. On the first day she mentioned in her journal whatever she had seen on the river bank – the illuminated Hindu pagoda, festivity, fireworks, and the melancholy glare of the flame of funeral – all important elements of Hindu life in a flash.

The cultural difference between the European and Asiatic societies did not deject her spirit of inquiry and appreciation of the estranged tradition of India. She writes:   “The other day, in going through a small bazar near one of the park gates, 1 saw five ruinous temples to Maha Deo, and one in rather a better state to Kali. As 1 had never been in a pagoda dedicated to her by that name, I procured admittance for a rupee. Her figure is of brass, riding on a strange form that passes here for a lion, with a lotus in the place of a saddle. Her countenance is terrific; her four hands are armed with destructive weapons, and before her is a round stone sprinkled with red dust. The sacrificial utensils are mostly of brass; but I observed a ladle, two lamps, and a bell of silver; the handle of the bell was a figure of the goddess herself. The open temple in the square area of the pagoda has been very pleasant, but is now falling into ruin, as are the priests houses and every thing around.”

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Hindoo Pagodas below Barrackpore on the Ganges. Geoge Hunt. 1824. Courtesy: British Library

As it shows, Graham was not unfamiliar with the Hindu themes of deities, and also her feelings on seeing the ruinous state of the temple. In a later note, however, she showed her deep concern, silently, about the desperate order of the native society, while recounting the horrid scene of dead bodies uncaringly floating in the river, vividly and dispassionately.

Bodies of the Dead

“The other night, in coming up the river, the first object I saw was a dead body, which had lain long enough in the water to be swollen, and to become buoyant. It floated past our boat, almost white, from being so long in the river, and surrounded by fish; and as we got to the landing-place, I saw two wild dogs tearing another body, from which one of them had just succeeded in separating a thigh-bone, with which he ran growling away. Now, though I am not very anxious as to the manner of disposing of my body, and have very little choice as to whether it is to be eaten by worms or by fishes, I cannot see, without disgust and horror, the dead indecently exposed, and torn and dragged about through streets and villages, by dogs and jackals. Yet such are the daily sights on the banks of the Hoogly. I wish I could say they were the worst; but when a man becomes infirm, or has any dangerous illness, if his relations have the slightest interest in his death, they take him to the banks of the river, set his feet in the water, and, stuffing his ears and mouth with mud, leave him to perish, which he seldom does without a hard struggle; and should the strength of his constitution enable him to survive, he becomes a pariah; he is no longer considered as belonging to his family or children, and can have no interest in his own fortune or goods. About thirty miles from Calcutta, there is a village under the protection of government, entirely peopled by these poor outcasts, the numbers of whom is incredible.

Earlier, Graham expressed her mind loudly and clearly– reacting to the unconditional submission of the Hindoos to the evils of caste system. She felt degraded seeing the half-clothed, half-fed people, covered with loathsome disease, without attempting ever to overstep the boundaries which confine them to it indelibly. “Perhaps there is something of pride in the pity”, she says, “I cannot help feeling for the Lower Hindoos, who seem so resigned to all that I call evils in life”. The story of this hapless lot stands in glaring contrast to the vibrant city life of Barrackpore.

The park-city of Barrackpore was designed and developed by the British and for the British. It was an English garden Lord Wellesley planned and laid there. An English theatre, ballroom,  race-ground, golf-link, a Hotel Charnock  came in place for their entertainment. There was something in the scenery of this place that reminds Maria Graham of the beauty of the banks of the Thames; ‘the same verdure, the same rich foliage, the same majestic body of water’.

The local inhabitants were, however, never allowed to enter park-area except for work. Graham met few of them while moving around, and had glimpses of their repulsive way of life. Graham never tried to pass a judgement, nor any advice either. She questioned about the root of their malady – ‘how they came into the state, and what could amend it’. The spontaneous reply she received was: “It is the custom —   it belongs to their caste to bear this”. At the end of the century, Swamy Vivekanada found the key to her final question what unfortunately remains ignored ever since.

 

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