Beneath
the modern metropolitan Delhi that stands today, lie the remains of a royal Dehli
which survived centuries. Rana Safvi, in her book, City of my Heart, digs
up and translates some fragments of an era which could be attributed as
magnanimous, more so, a golden period in the history of the city and its surroundings. This book is an
account of love, loss, and betrayal in the nineteenth-century Delhi. Safvi
takes up four Urdu narratives to compile an English version which could have a broader
audience at its disposal. The four pieces of work differ from each other in their
tonality, yet a common royalty resonates among them, making this compilation a
complete work in itself. The chronicles are placed perfectly in order, starting
with descriptions of the Mughal lifestyle, proceeding with some first-hand
experiences, only to end in a royal downfall. The work of Safvi has a grand
narrative, retaining the essence of that period which speak throughout the
pages. It is a magnificent depiction of events which would almost deceive you
to believe it as fiction, yet it is reality- of the soul of a city that died in
the mutiny of 1857. The lineage of Mughals might still go on, but surely not
with the exact grandeur that it once exhibited.
The
dilapidated sites of historic fascination that we witness today, bloomed with
life and vigour at one point, illustrating the Ganga-Jamuni tehzeeb. Safvi has
trapped this very spirit in her work, this originality and genuineness of
people and culture that prevailed. It is hard to believe the contrast that
Delhi has undergone in such a brief amount of time. The transition from Delhi
to Dehli is what Safvi throws light upon. The first part of this
book is a translation of ‘Dilli ka Aakhri Deedar’ (The Last Glimpse of
Dilli) by Syed Wazir Hasan Dehlvi. This portion is a description of the
simplicity and ease of life which existed during the nineteenth-century Dilli.
There was a freshness in the aura which dispersed from the Qila to the
common folks. Work was divided well and people were content with their lives.
There was a respect for the leader rather than fear. Hasan Dehlvi also includes
an account of life during the Mughal era as narrated by Nani Hajjan, a
mughlani who lived in the Qila. She represents the few witnesses to have
survived the mutiny and recounts tales of yore. Her words have an undertone of
misogyny which could have been prevalent during those times. Thus, this part is
layered and twice distanced in narration, which travelled from Nani Hajjan’s
stories to Hasan Dehlvi’s writings, to be finally translated by Safvi.
‘Bazm-e-Aakhir’ (The Last Assembly), by Munshi
Faizuddin is the second narrative to be included by Rana Safvi. Faizuddin
spent a lot of time in the Qila as an attendant and was aware of the inner
workings of the court, hence he was in a unique position to write a tribute to
the Mughal court as it was. This is a chronological account of all the
festivals that were celebrated during the era. The timeline of all the
celebrations that were held is cited in detail. There are also depictions of
the routine that was followed by the Badshah and others. Portrayals of a royal
morning, afternoon, and night, with all the activities that revolved around
them finds its mention here. The delicacies that were served in the royal court
is also described greatly. The book places the Badshah as a religious man who
is a great follower of traditions. These rituals and customs which descended
down from the royal court can be traced in various Muslim households even today.
Mirza
Ahmad Salim ‘Arsh’ Taimuri’s ‘Qila-e-Mu’alla ki Jhalkiya’n’ (Glimpses of the Exalted Fort)
lines up next to find its place in this translation. Taimuri was himself a
descendent of the last Mughal Badshah, Bahadur Shah Zafar- born in the fifth
generation of his lineage. He was neither born nor brought up in Delhi and most
of the historical accounts he presents are based on hearsay. Taimuri is
grateful to his father Hazrat Labeeb who has recounted some unique events for
him to pen down. This part unfolds itself in the definitions and brief
descriptions of the royal court. Taimuri defines various customs that prevailed
then, right from the food eaten to the punishment served. This part is further
divided into eight sub-units, each dealing with a different aspect of life, to
document the twilight years of the Mughal era. Taimuri includes small qissas
(stories) of notable people which he felt were worth mentioning. The account
also lists the names of sons and daughters of the Badshah and the fate they
served. Thus, he establishes a lineage which was soon to be forgotten. It is in
this part of City of my Heart where the Britishers intervene. In a very
brief course of events, Taimuri describes the mutiny of 1857, the exile of
Bahadur Shah Zafar, and the extinguishment of the Mughal dynasty.
City of my Heart’s final narrative is ‘Begamat
ke Aansu’ (Tears of the Begums) by Khwaja Hasan Nizami. There could
not be a more perfect ending to this compilation than this heart-wrenching
account by the princess called Sultan Bano. This chronicle plucks the chords of
our emotions to reveal the tragic story of a royalty in decline. It depicts the
Mughals after the mutiny of 1857. The Mughal rulers who in a twist of fate were
forced to turn into royal beggars- royal, since the aristocratic air of theirs
would not perish even in such times of despair. This portion of the book
depicts a strange irony that is life. It places you high on top only to make
your downfall greater. The book has accounts of various descendants of the
emperor, who would not even think in their wildest of dreams of such a decline.
From velvet cushions to thatched beds, the lineage of the Badshah witnessed a
full swing of highs and lows. It vividly documents stories of various princes
and princesses after the fall of the empire. Their fate toppled over and what
was left behind were just nostalgic reminiscences of a glory.
In four
volumes of narratives, City of my Heart
captures nineteenth-century Delhi in its fullest. Rana Safvi has very
particularly selected, placed, and translated these works to present a correct
picture of that time. It depicts the rich cultural, social, and political milieu
which is often defamed by historians. On a metaphorical level, the book is a
reminder of the transient nature of life which spares none.
~ Nawa
Fatima
Author: Rana Safvi (Translator)
Publisher: Hatchette India
Year : October 2018
I want to read this book....where can I find that?
ReplyDelete