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

Ardhendu Mustafi 1850-1908 || Amritalal Basu 1853-1929 || Dharmadas Sur 1852-1910 || Radhagobinda Kar 1852-1918

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.

July 10, 2021 4

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 another – a 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]

Elias Moses Duek-Cohen, 1852-1927

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.

Percy Wyndham
Deb Carson
Ardhendushekhar Mustafi

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

Bandyopadhyay, Brajendranath. 2002. “বাংলা পেশাদারী রঙ্গালয়i.Pdf.” In বাংলা পেশাদারী থিয়েটারঃ একটি ইতিহাস. Calcutta: Natyachinta Foundation.https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=&cad=rja&uact=8&ved=2ahUKEwiErKSe8vzvAhUE4jgGHR2wDbAQFjAAegQIAxAF&url=https%3A%2F%2Fia801603.us.archive.org%2F25%2Fitems%2Fin.ernet.dli.2015.265707%2F2015.265707.Bangla-Peshadari.pdf&usg=AOvVaw2_FBQzhFO9b8w3XEMVrEQf

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.

Carey, William Henry. 1907. The Good Old Days of Honorable John Company from 1800 to 1858; Compiled from Newspapers and Other Publications; Vol.2. Calcutta: Cambray. https://archive.org/details/in.ernet.dli.2015.39169/page/n421.

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.

High Court, Calcutta. 1920. EH Ducasse Versus EMD Cohen: The Judgement of the Calcutta High Court. https://www.casemine.com/judgement/in/56e13a0b607dba3896625d5a#

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.

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April 15, 2021 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 Gloriosa–superb 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 24^th 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 Governor–General 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]

eden gardens calcutta ( kolkata ) frith 5

eden gardens, calcutta by francis frith 2

eden_gardens,_calcutta_by_francis_frith_(1)

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:

Bengal Levee- a tradition. Lord Cornwallis shown in a crowd of sycophans. Artist: Gillray James. 1782

“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)

January 22, 2019 3

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 16^th 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

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

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 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]

Maidan and River Ganges at a Distance. Creator: Samuel Bourne? c1870’s. Courtesy:Old Indian Photos

Maidan view from High Court. Samuel Bourne c1870’s. Courtesy: Old Indian Photos

Far side view of Maidan and Dhurrumtala Tank. Creator: Francis Frith. c1850

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.

Chandpal Ghaut. Creator: James Baillie Fraser. c1814

Prinsep Ghaut – engraving from a sketch appeared in the Illustrated London News,1876 by one of their special Artists

Baboo Ghaut. Creator unknown. c1010s. Courtesy: RCAHMS

[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

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 20^th 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 2^nd 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]

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.

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).

This vintage photograph of two veteran British golfers, F G Tait and Professor Tait , watching. Calcutta Cup, 1898 (1st recorded final). Courtesy: Vintage Golf Photographs.

Vintage photograph of Royal Calcutta Course. Playing on paddy field. Details not avaiableRare photograph.

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 20^th 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).

February 25, 2018 2

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’.

Chowringhee area aerial view. Photographer: Samuel Bourne. c1870

A wide-angled view of Chowringhee area, Wood engravings by unidentified artist. Source: The Graphic, 1875.

Chowringhee Road near Park Street crossing. Details not known. Source: Wikiwand

Strollers along the Esplanade, a wood engraving. Artist:Louis Rousselet. 1877

Panoramic View of Chowringhee Road. Photographer: Samuel Bourne. 1865

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.

Chowringhee View from the Verandah of the Bishop’s Palace in Calcutta. Watercolour with pen and ink. Artist: James, Marianne Jane. 1828

Bishops House. Photographed by Francis Frith. 1850s.

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]

Chowringhee Road. Theatre Road Theatre

Chowringhee Road. Jaun Bazaar

Chowringhee Road. Speke Street

Chowringhee Road. Harrington Street. Elliot’s Tank

Chowringhee Road. General Post Office, Lindsay Street, Manohur Doss Tank Tank

Chowringhee Road. Middleton Street

Chowringhee Road. General’s Tank

Chowringhee Road. The Bishop’s Palace

Chowringhee Road. Park Street

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).

November 22, 2017 6

Outram Institute, Dum Dum, Calcutta, c1860

উট্রাম ইন্সটিট্যুট, দম দম, কলকাতা, c১৮৬০

Sir James Outram (1803-1863) at 17 started his long career as a soldier and political officer in India, and in the 1st Afghan War (1839–1842) and Sind (1842–1843) as well. In 1854 he was appointed Resident at Lucknow, and carried out the annexation of Oudh on behalf of the East India Company, and against the wishes of its inhabitants. He is best known for his role during the relief and capture of Lucknow.
Outram was a brilliant soldier and a shrewd diplomat. He brought about many triumphs in military operations serving the undeviating interests of the British.

JamesOutram4x4 — Lt. General James Outram

In recognition of his extraordinary services, ‘Her Majesty had been pleased to confer the dignity of baronetcy on Sir James Outram.’ He was also presented with the freedom of the City of London, and a sword of the value of a 100 guineas. On the eve of Outram’s last journey home, the Friend of India fervently broadcasted, “To-morrow the Indian army will loss its brightest ornament, and every soldier in India his best friend.” See Bayard of India/ Trotter, The overzealous pronouncement by the English press, however, was found true only for the Britons in Indian army, and not for the soldiers of Indian origin who were most unlikely to share any soft sentiments toward General Outram because of historical reasons.

Outram was known to be a kind-hearted, generous man of ability and power. There is, however, little evidence of any gracious act he ever did that benefitted the people of India during four decades of his stay. Perhaps it was his other traits of character that had made him ignore the interests of the natives of India. Outram, as we understand from his biographers, was a sort of fixed-minded man. ‘An idea too often got complete command of him, and it was then difficult for him to see the other side of a question.’ This could be the reason why Outram had failed to see the other side of Sepoy Mutiny with due compassion and respect.

Outram_statue_unveiling — Unveiling of Statue of Outram on Horseback. 1874

The East India Company and the British Government were not too comfortable during the aftermath of Annexation of Oudh, and made every attempt to enthuse awe in minds of the locals by glorifying the heroic deeds of General Outram. In India and other colonial cities, they erected monuments and statues, dedicated streets and localities in memory of Outram. 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 ..’

Duties apart, there is one thing Outram did for his own contentment. It was a kind of library facility that he designed to serve the needs of the British troops. He expended about £1,000 to provide readable books, newspapers, and games for the use of those who had shared his Oudh campaigns. The 5th, 64th, 75th, 78th, 84th, 90th, and 1st Madras Fusiliers received regularly, some of them for two years, a dozen or more of daily and weekly journals. And when he left Calcutta he made over the suitable books of his own library, about 500, to the Soldiers’ Library at Fort William. As we understand from Evan Cotton, this soldiers’ institute and garrison school continued to function in his time at the ‘Governor House’ once built for the Governor General in 1802, adjacent to St Peter Church within Fort compound. A more permanent record of Outram’s personal interest was the Soldiers’ Institute at Dum Dum, which he established and equipped with the greater part of the amount of Re 10000/ he received as a parting gift from the British community in Calcutta. This happened to be one of the earliest institution of its kind, with the objectives to counteract the temptations to which he was distressed to find the men at that station particularly exposed. The Institute was enthusiastically opened soon after his departure on July 16, 1860, and named Outram Institute after him. The Institute ultimately reunited with the Fort William soldiers’ library where Outram had initialed his project.
.
Besides the Outram Institute at Dum Dum, and the statue of Outram in Maidan, the British Government took initiative to commemorate him by founding Outram Ghat – an important port on Hooghly in the 19th century, that became later a popular joint for playing billiard or enjoying tea at tables on its deck. There also exists in Calcutta a street named after Outram.

The memory of Outram has been virtually lost with the removal of his statue from Maidan, and there has been no Outram Institute at Dum Dum any more to mark his singular humanitarian effort. A faceless street and an idle ferry ghat can do little for reviving the image of the British hero. His image may be dead or alive in public memory, the relevance of Outram, however, remains undeniably historic. It was none but General Outram who dictated the way Nawab of Oudh was deported to Calcutta accompanied by his fleets of attendants, companions, and entertainers. They all settled with their master in Metiaburz and spread their arts and crafts all around. Calcutta must not forget that if there were no Outram, Calcutta would have been deprived of the cultural enrichment gained through her chance interactions with the Awadhi Society.

The image featured at the top: Outram Institute, Calcutta. Albumen silver print of photograph taken by Captain R B Hill. Note: The date of the photograph should be sometime after 1860, and not 1850 as generally presumed. Because the photographer Captain R B Hill did join Bengal Army cadet only in 1855, and the Institute came into being after departure of Sir Outram in 1860. Courtesy: Metropolitan Museum, Gilman collection.

The Portrait of Sir James Outram, oil on canvas by Unknown Painter.
Coutesy: National Army Museum, UK

Revised: 13 May 2015

May 11, 2015 0

Kidderpore Bridge, Calcutta, 1826

খিদিরপুর ব্রিজ, কলকাতা, ১৮২৬
The Kidderpore Bridge,the earliest stone-and-iron suspension bridge in India, lay at the end of the Course – the road that crossed the Maidan. It was the oldest road on the Maidan and was described in 1768 as being made to take the air. But, as an old song goes, ‘those who frequented it swallowed ten mouthfuls of dust for one of fresh air’. The road, however, is still one of the airiest and pleasantest drives in Calcutta, extended from the Cocked Hat, or কুঁকরো হাটা, to the Kidderpore Bridge, on the north, built up to the canal excavated by Colonel Tolly at his own expense, He reimbursed himself for this toil by a bazar or ganj at the place which still bears his name, Tolly ganj, and by tolls on crafts making use of his canal. in 1775. The canal, formerly known as the Govindpore Creek, was, in fact, part of the old bed of the Ganges. It now runs into the Circular Canal, which again communicates with the Hooghly, forming the great inlet for country boats bringing produce from the Sunderbunds and the eastern districts of Bengal. The Nullah is here joined by a bridge once known by the name of Edward Surman, the head of the Embassy to Delhi in 1717, but now called Kidderpore Bridge. The bridge was built in 1826 and was the earliest stone-and-iron suspension bridge in India.
Kidderpore, Alipore and Bhowanipore were three suburbs of Calcutta, south of the Maidan. They were set apart from it by the canal known as Tolly’s Nullah (a canal), which necessitated the building of such bridges. It is traversed by the Calcutta ways, which run from here direct to the Esplanade on at the corner of Dhurrumtollah.

The view of the Kidderpore Bridge above is from a hand-coloured photograph print belonging to the Frederick Fiebig Collection: Views of Calcutta and Surrounding Districts, published in 1851. The inset photographic view of the ‘Tolly Nullah’ is also by Frederich Fiebig

January 22, 2015 0

Refreshments Room, Eaden Gardens, Calcutta, c1870

ইডেন গার্ডেনে চা ঘর, কলকাতা, c১৮৭০
Calcutta is admirably served in the matter of “lungs”, There is no part which is not provided with a park or open space. The pride of Calcutta is its Maidan, an. extensive plain in the heart of the city covering about 1200 acres. The Eden Gardens are situated at the north-west extremity of the Maidan, bounded on the north by Auckland Road and on the west by Strand Road. They were laid out in about 1840, around an avenue of trees known as “Respondentia Walk”, then the fashionable promenade of Calcutta society, and named after Lord Auckland’s sisters, the Misses Eden, who designed and directed their general lay-out.
There are several gates to the Gardens, but by whichever one the visitor enters, he is led to sylvan surroundings far removed from the noise and bustle of the city. Pathways wind past multi-coloured flower-beds, tropical palms and murmuring fountains, adorned with dolphins and cherubs that add to the beauty of the scene; while rustic benches in shady arbours by the water-side, welcome those who seek rest in this haven of loveliness. See more What is more, there was a cute garden’s Refreshment Rooms with hatched roof and bamboo wall, as depicted by the artist Alfred Brooks in his painting above. Eden Gardens were formally opened to the public and for many years they were a fashionable evening meeting-place in Calcutta. The gardens are also home to the Calcutta Cricket Club.
Lithograph of the Refreshment rooms at Eden Gardens in Calcutta by Vincent Robert Alfred Brooks (1814-85) one of ‘Eight views of Calcutta’ published in London c.1870. Courtesy: British Library

July 16, 2014 2

Calcutta Cricket, Maidan, Calcutta, 1792

কলকাতার ক্রিকেট, ময়দান.১৭৯২
The cricketing historian Cecil Headlam, travelling in India during the 1903 Delhi Durbar, reflected on its place in the imperial scheme: cricket was part of their colonizing mission. ‘First the hunter, the missionary, and the merchant, next the soldier and the politician, and then the cricketer – that is the history of British colonization. And of these civilizing influences the last may, perhaps, be said to do least harm’. NationalArmyMuseum, UK

The oldest references to the sport in India can be dated as early as the year 1725 when some sailors played a friendly match at a seaport in Kutch. By the year 1792, the Calcutta Cricket and Football Club had been formed, and a yet another Cricket club had been formed at Seringapatam by the year 1799.
Calcutta Cricket & Football Club, founded in 1792, is one of the oldest sports clubs in the world. The photograph on the left shows some members of the Calcutta Cricket Club watching play from under a banyan Tree in 1859. In the absence of a permanent venue, the Calcutta Cricket Club played its games on the esplanade, parallel with the river Hooghly, 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.
The Club made several representations asking for permission to ‘erect a suitable pavilion and finally on 19 April 1864 the long awaited approval arrived. A handsome and well built pavilion measuring 125 ft by 25 ft was promptly constructed out of the finest teak brought from Burma. The pavilion no longer exists. It was pulled in the mid 1970s for the construction of the Cricket Association of Bengal’s modern B.C. Roy Clubhouse.

The most famous of all sports clubs – the Marylebone Cricket Club – was founded in 1787, a fact gathered from a poster for a cricket match in 1837 announcing the Club’s golden jubilee. If there was any written evidence of its official launch in 1787, it was destroyed by a fire at Lord’s in 1825. The present day Calcutta Cricket & Football has absorbed several sporting clubs over the centuries. Calcutta Cricket Club of 1792 vintage, Ballygunge Cricket Club (1864-1950), Calcutta Football Club (1872-1877) and the revived Calcutta Football Club set up in 1884. It is important to remember that these were not separate clubs but very much a part and parcel of the great and historic institution known today as Calcutta Cricket & Football Club.
Cricket Match, 68th Light Infantry. This coloured print by P Carpentier shows a 68th Light Infantry team playing a cricket match in Calcutta on 15 January 1861 against the Calcutta Cricket Club

June 18, 2014 0

Fort William’s Chowringhee Gate, Gobindapur, Calcutta, c1880

ফোর্ট উইলিয়াম কেল্লার চৌরঙ্গি ফটক, গোবিন্দপুর, কলকাতা, c১৮৮০
The Fort William’s Chowringhee Gate faces Chowringhee. Earlier the gate was exclusively used for the elite and so was also called the Royal Gate. The old quarters on the top of the Chowringhee was renovated later. The General Officer Commanding (GOC), Headquarters, Bengal Area, stays here. The Flag Staff House was built in 1937-38 to replace the original structure. It affords a splendid panoramic view of Chowringhee and Maidan.
Albumen photo by unknown photographer. c1880

February 12, 2014 0

Backdrop

Lewises in Calcutta

Lyceum Royal Theatre

Winding-up of Lyceum

II A STEP TOWARD BENGALI PUBLIC THEATRE

Theatre In Schools

Bengali Private Theatres Before Lyceum

LYCEUM: A BOON TO YOUNG BENGALI THEATRE

CAMARADERIE BETWEEN GIRISH AND MRS LEWIS

BAGHBAZAR AMATURE THEATRE

Hunt For A Model Theatre

End Notes

REFERENCE

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

PRELUDE

The Town Hall

The Grand Opera House 1867-1917

Italian Operas on Stage

The Audience

The Repertoire

Hindu National Theatre at Grand Opera House

OPERA HOUSE

5 April 1873

12 April 1873

19 April 1873

Mustafa Saheb Ka Pucca Tamassa

ENDNOTES

REFERENCE

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Dhurrumtollah Tank

Monohurdass’ Tank

The General’s Tank

Elliott’s Tank

EDIFICES IN MAIDAN

FORT WILLIAM, GOVINDPORE

HOSPITAL

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