Basavaraj Naikar
Quest for Power in Begum Sumroo
Partap Sharma happens to be an important Indian English playwright and novelist apart from being a television artist and theatre person. He is known for his well-known plays like The Professor’s War Cry, A Touch of Brightness and a novel, The Days of Turban. Although not a prolific writer, whatever little he has written, has a solid quality about it. Being a theatre man, he has a sense of the stagecraft, which enables him to dramatize any chosen material successfully. Hence his plays are basically meant for performance though they are also enjoyable as readable plays. The themes of his plays vary from academic to social to historical. Whereas The Professor’s War Cry deals with the dilemma of a University Professor, A Touch of Brightness delineates the problems of the prostitutes of Bombay.
Now his latest play Begum Sumroo differs from his earlier two plays. In this he has chosen a historical theme of 18th century India and depicted the extraordinary life of a very bold dancing girl. Although India happens to be the land of very rich and varied history, it is a big irony that Indian and Indian English writers have not produced historical literature proportionate to their history. The field of historical drama unfortunately happens to be the poorest. The few historical plays of any worth that can be remembered are Sri. Aurobindo’s Baji Prabho, Asif Currimbhoy’s Goa, Manohar Malgonkar’s The Line of Mars. Girish Karnad’s Tughlaq, The Dreams of Tipu Sultan, Kalburgi’s Fall of Kalyana and Basavaraj Naikar’s A Dreamer of Freedom. Even within the field of historical drama, the plays dealing with the colonial period of Indian history are very few.
Begum Sumroo happens to be Partap Sharma’s latest play, which deals with the political conflicts among the British, Swiss-German and French colonizers and the native kings of India. Taking a chunk of colonial Indian history, which is almost forgotten now, Partap Sharma puts flesh and blood into the theme thereby making the history come alive. Writing a historical play is not a joke and is certainly not as easy as that of a contemporary play. Obviously it involves a good deal of research into the area concerned and the reading of relevant and interrelated material. Partap Sharma seems to have studied the colonial history of India thoroughly and assimilated it into his creative imagination.
The play takes up a chunk of Indian history of the eighteenth century for its treatment. During that period the British East India Company, the French East India Company and the other European groups were vying with one another for chances to carry out trade in India with the help of the native kings. When the trading profession slowly paved the way for military strength and consolidation, commerce was soon transformed into political greed for power in terms of acquisition of land, wealth and property of native kings. These foreign groups began to side with one king against another and earn some profit thereby strengthening their position in India. Thus there were conflicts of interests among the European traders as well as between the Europeans and the native rulers. Everybody was bothered about his own survival and retention of power. As Nirad Chaudhuri explains the situation, the basic rivalry between the French and the English coloured all other aspects of their commercial and military competitions in India, “The presence of Europeans and of Clive in this political world has now to be considered. The conditions just described did indeed lead to the rise of the British Empire in India, but the first impetus that pushed Europeans into Indian politics did not come from these, nor from commercial competition, but from a phenomenon of European history, namely the Anglo-French rivalry, which had been breaking out in the form of intermittent wars since 1688, and the global results of those wars.”1
It is this colonial period of history, which provides the setting of the present play. The characters are all historical and not imaginary. The playwright offers a realistic treatment of the theme by reconstructing the historical reality in dramatic terms. One difference between history and historical literature is that whereas history is a macroscopic picture of the general trends, movements and events on a large scale, historical literature is a microscopic picture of things, beings and events and their relationships presented in a life-like manner by accentuating the psychological or emotional and ideological conflicts in a coherent i.e. artistic form. Commenting on the pattern and purpose of history, Nirad Chaudhuri says, “There is indeed teleology in history, but it is only perceptible in retrospect, and is never controlled by free will.”2 Whereas history is permanent and cannot be changed by any one, historical imagination has the freedom to choose the historical theme and reconstruct it by minimizing certain events and maximizing certain others in accordance with artistic requirements like fiction and drama. Between fiction and drama, the process of selection and inclusion and marginalization and focalization happens to be more restricted due to the requirements of theatrical presentation of the theme on the stage. Hence the playwright has to be very alert and talented to offer a coherent picture of history. Partap Sharma has succeeded in this challenging task without any doubt.
The major characters in the play hail from a number of countries. For example there are English, French, German, Italian, Irish and, of course, Indian characters, who form a cultural mosaic.
Partap Sharma has borrowed the character of Walter Reinhardt Sombre from the history of 18th century colonial India. According to historical information available so far, “Walter Reinhardt (born c. 1725 in Strasbourg or Treves, died 1778) was an adventurer and mercenary in India from the 1760s. His nationality is uncertain, being given in various sources as Austrian, French, German, Luxenburger, or Swiss. His nickname Sombre was a nom de guerre, and is more commonly used for him, in Indian sources. He was a turncoat, changing sides for advantage. When he was employed by Mir Qasim, Nawab of Bengal, he was blamed for a massacre at Patna. He attained a position from Shah Alam II, briefly held before his death, ruling Sardhana; through his marriage to Begum Samru, she followed in his place there”3 Partap has been successful in bringing out the major traits of Walter Reinhardt Sombre’s personality like his military ability, money mindedness, opportunism and loyalty to the person, who pays him.
Begum Samroo, on whom Partap Sharma has based his play, was a historical figure in Indian history. Although there are variant details about her life in historical records the general traits of her personality are very clear. According to these records, “Her birth-year is approximated to be 1753. She was, perhaps, the daughter, by a concubine, of Asad Khan, A Muslim of Arab descent settled in the town of Kutana or Kotana in the Meerut district. On the death of her father, she and her mother became subject to ill-treatment from her half-brother, the legitimate heir of Asad Khan. Therefore, they moved to Delhi around 1760. The official sources of Begum Samru are conflicting. Some say that Begum’s father was ‘Lutf Ali Khan’, a decayed nobleman of Arabian descent living at Kotana. By some, she is supposed to have been from a good Mughal family, by others she is regarded as a native of Kashmir and to have been sold to Sombre as a slave. Her original name was Zebunnisa. Some say that Begum Sumroo, who is also known as Farzana, was the daughter of a dancing girl, who had been taken away from Chawri Bazar to Delhi to the Doab region by Asad Khan, a nobleman of Arabian origin (some say he was a Persian, Nawab Latif Ali Khan), who made her his second wife. After the death of her husband, the young widow was driven out of the house by her stepson and returned to Delhi, living for some days near the Kashmere Gate and then moving on to Jama Masjid area, where she died, leaving her daughter in the care of Khanum Jan, a tawaif of Chawri Bazar. That was in 1760.” 4
According to historical sources, Begam Samru/Sumroo was of slight stature, of fair complexion, distinguished by exceptional leadership abilities of uncommon order. She possessed a daring, seldom possessed by her sex – having more than once headed her own troops in action. When she was in her early teens, she married (or started living with) a mercenary soldier, Walter Reinhardt Sombre of Luxembourg, who was operating in India. Walter Reinhardt Sombre, a European mercenary, then 45 year-old, came to the red light area and fell for the charms of Farzana, then a girl of 14. A soldier of fortune, Sumroo moved from Lucknow to Rohilkhand (near Bareilly), then to Agra, Deeg and Bharatpur and back to the Doab. Farzana helped him in those times of intrigue and counter-intrigue. Begum was baptized, at the age of about forty, by a Roman Catholic priest, under the name of Joanna, on the 7th of May, 1781.
Farzana was courted by some of the European officers, who were associated with her husband. Among them were Le Vassoult, a Frenchman, and George Thomas, an Irishman. The Begum favoured the Frenchman and when, in 1793, the rumour spread that she had married him, her troops mutinied. The couple sought to escape secretly by night – Le Vassoult on horseback and the Begum in a palanquin. Misinformed that Le Vassoult had been shot, she stabbed herself but survived. Her lover, however, died of self-inflicted wound to the head. The Begum, though only 4-1/2 feet tall, wore a turban and rode on horseback as she had led her troops to battle. So invincible did she seem that the superstitious spread the word that she was a witch, who could destroy her enemies by throwing her cloak towards them.
On the death of her husband Walter Reinhardt, she succeeded to his Principality yielding about 90,000 Pounds per annum, and on the introduction of British Rule in 1803 in North India, she managed to retain her possessions as an Independent Ruler. Her conduct in the internal management of her estate was highly admirable. Over a period of time she became a powerful lady of North India, ruling a large area from Sardhana, Uttar Pradesh. Her support was even acknowledged by the Mughal Emperor Shah Alam II. The British East India Company considered her as a threat to its territorial ambitions in undivided India. She died at Sardhana, the capital of her Principality, in January 1837 at the age of 85, bequeathing the greater part of her property to Dyce, who descended from Walter Reinhardt Sombre, from his first wife.5
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The play begins with Swiss-German Colonel Walter Reinhardt Sombre in Moghul attire, congratulating his brigade for firing eighteen cannons with precision. He is conscious and proud of his European identity and expresses his rivalry with and hatred for the British East India Company. He is eager to please Mir Kasim, the Nawab Governor of Bengal, Bihar and Orissa. So the colonial situation of the 18th century India is revealed through his words:
Gentlemen, congratulations! I asked for all eighteen cannon of our brigade to be fired as one and you have done it with a precision that must have been noted all through the city of Patna and especially by our Commander-in-Chief – His Highness Mir Kasim, Nawab of Bengal, Bihar and Orissa. It makes my heart proud. (Thumps his chest with his gloved fist) It is a Swiss-German heart, though the clothes in which you see me are Indian. Make no mistakes about that. I love being here in Hindustan but the demands I make of you, as military men are European. To be exact, Swiss German. I expect nothing less than the efficiency of the finest clock. Cold, clear, unflinching, disciplined action. The recent victory of the Imperial Bengal army over the rebel forces of the British East India Company -- in which we took fifty-two British prisoners – was largely due to our brigade. 6
But his soldiers do not relish his congratulations, as they are worried about their salary, which is due for the last three months. (It may be noted incidentally that many native kings like Shah Alam, Ghulam Kadir and others in Indian history were all worried about the salary to be paid to their soldiers. Their quest for political power depended upon the maintenance of an army and had to arrange for the timely disbursal of salary to the soldiers. Their inability to pay their soldiers involved them into further troubles.) This general pattern may be seen in the present play also. Major Benedict explains it to him convincingly, “Colonel, they need more than compliments. They haven’t been paid for three months. They are upset” (4). But Reinhardt explains the difficulty with regard to the arrears of pay caused by the British East India Company – especially by Clive:
As you can see from my formal attire, I have just been to see our Commander-in-Chief, Mir Kasim, about… various matters including your arrears of pay. But it was not a good moment to speak to him. The treasury has been emptied three times to meet the demands of that scoundrel Clive. And now, led by him, the English refuse to pay taxes or customs duties. They are trying to provoke an all-out war in the hope of defeating Mir Kasim. If they succeed, they will install some puppet in his place. Then they can pass what laws they like, favouring their own greed. They may even get the Emperor of Delhi to recognize an Englishman as Nawab Governor of Bengal! (4)
But the soldiers are not satisfied with Reinhardt’s answer. Captain Saleur speaks for his colleagues, “Colonel! Our wages are not a trifling matter. We must be paid! … I speak for all the men, 2700 Indians and 273 Europeans. We are soldiers. We cannot fight on empty stomachs” (5). Reinhardt considers it almost as a ‘mutiny of my troops.’ He expresses his dilemma of dealing with Mir Kasim, who is the enemy of the British East India Company, “But in order to obtain our wages – and double – we have to fulfill an order given by Mir Kasim that is rather difficult to carry out. I have been thinking about it. He wants us to take an action… that I am not sure is necessary” (5). But Saleur, on behalf of his soldiers, wants to offer a ‘burning reminder’ to Reinhardt. Benedict tells him:
BENEDICT: The men want you tied astride the hot cannon without your trousers.
REINHARDT: Oh me. They want to burn my balls!
BENEDICT: Oh yes. I’m afraid you have no choice, Sir. (6)
Then they rush at him, pick him up and set him down astride the cannon. He grimaces, opens his mouth, and screams silently. They quickly tie him up in position and accuse him of complicity with Mir Kasim. They release him only after he promises to give them double wages the next morning. Reinhardt’s thighs are burned and his legs are roasted. He gets into his trousers painfully. But Benedict tells Reinhardt that there is a doctor namely Dr. Fullerton among the English prisoners and that his services may be sought. Reinhardt asks Benedict to have Dr. Fullerton brought to his house so that he might treat him properly.
Reinhardt comments contemptuously on the Indian army, “An army in India is like a moving bazaar, full of gossip. And slander” (10). Then Benedict tells him how Major Jadhav and Captain Ramzan Ali refuse to kill the fifty-one English prisoners unless the latter are armed first. But Reinhardt expresses his anger about corruption in India and the native kings’ distrust of Europeans’ mutual rivalry:
The trouble is, this country is rotten with corruption. And the stink of decay draws maggots from all over the world. A white man, who comes East has to prove he’s not just another greedy hypocrite mouthing pieties while using his military ability to rob even the poorest simply because they are not white. So Mir Kasim admires our brigade but doesn’t trust it. We have the largest contingent of Europeans in this army. He calls them ‘riff-raff from the four quarters.’ He fears that confronting the English, they may desert rather than fight fellow-Westerners (11).
Reinhardt tells Benedict that Mir Kasim has held up their salary until they have killed the fifty-one English prisoners “To demonstrate conclusively that the English will never pardon us. To commit so grievous an action against them that even their priests would not give us absolution. (A pause. Clutches his forehead) O God, must I do this?” (11) He orders Benedict to meet him at 9 P.M. along with Saleur and Pauli and not to bring any Indian sepoys or officers, as they have no grit for these things.
Reinhardt is a mercenary, who has come to India to earn his livelihood. His loyalty is to those native kings, who pay him the wages. Now he is loyal to Mir Kasim, who is against the British East India Company. The native kings of India take the help of either the British East India Company or the French East India Company according to the situation. In order to please Mir Kasim, Reinhardt has to kill the fifty-one English prisoners.
In the colonial context of India most of the European mercenary soldiers brought with them religious men also with them. Thus sword and bible were two inextricable companions, which accompanied the European adventurers. For example Father Gregorio is always with Reinhardt. Although Reinhardt is an unscrupulous soldier, his assistant Saleur, who is a French man, is very religious in his temperament. He feels so sad to learn that the cross that he wears on his chest has fallen off and he, therefore, feels abandoned. Father Gregorio tries to console him, “The cross is only a symbol. The Lord is always with us” (22). But Saleur comments on him, “Father, you are so steeped in good that perhaps you do not know the nature of evil” (22). Saleur fears for his soul and kisses the crucifix around Gregorio’s neck. The contrast between Reinhardt and Saleur is very clear. Whereas Saleur is a religious and conscientious soldier, Reinhardt is an unscrupulous mercenary soldier.
By that time Reinhardt comes there and finds that Saleur is in a blue funk. He thinks that in that condition Saleur is a liability to the mission and dismisses him, “I absolve you… Now fuck off and sleep peacefully while we got on with the job” (24). But Saleur being a conscientious soldier does not like the idea of anyone killing the unarmed English prisoners, “They are unarmed. It’s murder. It’s a crime” (24). But Reinhardt considers the English prisoners as criminals. He gives the example of the ‘bastard’ Ellis, who smuggled in goods, avoiding duty. So he opines, “These fifty one officers took part in an act of open rebellion against the established order. They behaved criminally. Now that they have been overwhelmed, they want to be treated as prisoners of war for a criminal act” (25). Even then Saleur refuses to kill them. Reinhardt bursts into anger and shouts at him, “You sniveling, whimpering fool! (Slaps him) Have you not the courage to be the hand of justice?” (25)
Reinhardt explains his systematically cruel and cunning plan to Benedict. He suggests that no gun fire should be used, but that the prisoners should be invited to his library at night after dinner and put to sword one by one, “I decide to splatter a library with blood. I grab the present and let history take care of itself” (27). He, obviously, accomplishes the cruel task just to please Mir Kasim. Being a mercenary, he is willing to fight for those who pay him his salary. The slaughter of the fifty-one English prisoners is not shown on the stage in keeping with the convention of the stagecraft. But it is taken to have taken place as desired by Reinhardt.
The rivalry between the French East India Company and the English East India Company is a well-known fact in the colonial history of India. The native kings had to take the help of either of these to fight against the other. Ghulam Kadir is aware of this rivalry between the two companies. The historical sources are silent about the sexual relationship between Ghulam Kadir and Farzana, the nautch girl. But Partap Sarma has put flesh and blood in the relationship between the two and depicted them as uninhibited sexual partners. The originality of Partap Sharma lies in giving life to the man-woman relationship between Ghulam Kadir and Farzana in a convincing manner and by following the law of probability. He has also invented the characters like Gauri and Zulekha, who are the companions of Farzana in the brothel. The sexual jealousy between Farzana and the other two girls has been presented in a very acceptable and convincing manner. Ghulam Kadir making use of his sexual partner Farzana is, of course, in line with the intrigues and conspiracies so common in Indian history or history of any other country. It is the rivalry between the French East India Company and the British East India Company that Ghulam Kadir explains to the nautch girl, Farzana, “As you know, Clive and the British were so infuriated at the massacre of the English prisoners at Patna that they put everything in the field to destroy Mir. Kassim. His forces were decimated at the battle of Buxar” (30). Ghulam Kadir knows that Reinhardt intends to loot the Capital city (Delhi) before the British get there. He, therefore, tells Farzana, “Col. Walter Reinhardt Sumroo is the most efficient commanding officer in all of India. I want him on my side… I am prepared to pay whatever he asks. In gold and jewels, if he doesn’t trust money” (31). Ghulam Kadir persuades his beloved dancing girl Farzana to convey his invitation to Reinhardt Sumroo by promising an offer of precious gold ornaments:
Sumroo is there outside the city, waiting to ransack it. You can have all this. (He takes a handful of glittering ornaments out of his pocket. She reaches for them. He draws them back.) But first, bring me back a sign that you’ve met him and conveyed my message. Bring me back his sword, the sword of massacre. I know it bears his initials – W.R.S. Bring me the sword and you’ll be rich. By his answer I shall know whether he intends to be my ally or my enemy” (36).
Farzana wants to oblige Ghulam Kadir, as her mother and she need the money. She wants to go to Reinhardt’s camp in the guise of a man and therefore, takes Ghulam Kadir’s turban and cloak. She cuts a bush and creeps up using it for cover and reaches the tent of Reinhardt. She reveals her real identity to Reinhardt and conveys the message of Ghulam Kadir to him. Ghulam Kadir has invited Reinhardt to join him as an ally. Initially Reinhardt does not understand the implications of this alliance. He is very honest and frank about his mercenary approach, “I fight for the money, the treasure, the wealth, the power. I’m the soldier of fortune” (45). Farzana reveals herself not as an ordinary dancing girl, but as a girl with lots of brains. She suggests to him not to join Ghulam Kadir as an ally, although she has brought the message from him to that effect. On the contrary she kindles some ambition in Reinhardt to have his own territory and revenue. She even advises him to have a policy or philosophy and fight for the Emperor of Hindustan (Shah Alam II) so that he can possess a jagir. Reinhardt has been helping Jawahir Singh to lay siege to Delhi and finds it rather difficult to befriend the enemy i.e. Emperor of Hindustan. But like a female Chanakya, she advises him to follow a clever strategy, “If you ask the Emperor’s pardon, I’m sure you’ll receive it because your brigade could be valuable in his service” (47). Reinhardt wonders at her political wisdom and exclaims, “You’re an amazing person” (47). Farzana takes Reinhardt’s sword as a token of her secret meeting with him in order to satisfy Ghulam Kadir. Before leaving his tent, she awakens his ambition by praising his military talent, “I know you’ll make a fine General in the service of the Emperor” (52). Reinhardt begins to dream about himself as a General, “General Reinhardt Sombre. No. The Indians say Sumroo. General Reinhardt Sumroo. (Smokes) Hm. General Sumroo” (52). Farzana’s betrayal of Ghulam Kadir in spite of receiving the fat reward of gold ornaments from him testifies to her opportunistic behaviour. Her successful attempt to change Reinhardt’s loyalty to Shah Alam from that to Mir Kasim is evidence of her practical political wisdom, which is generally rare in women. Although she has been a dancing girl or courtesan professionally, she is not satisfied being an object of sex and entertainment for men, but rises above that level and becomes a politician of great talent. Partap Sharma has succeeded in giving a clear motivation in the characterization of Farzana, which is very convincing from the point of view of dramatic presentation. But historical records show the fact that Reinhardt Sumroo, a European mercenary, then 45 year old, came to the red light area and fell for the charms of Farzana, then a girl of 14.7 Obviously, Partap Sarma has taken liberty with history by making her an instrument of Ghulam Kadir’s conspiracy and intrigue.
Just before his meeting with the dancing girl, Farzana and his ambition being aroused, Reinhardt has the bitter experience of being betrayed by his close friend benedict to the authorities of the English East India Company. Saleur has intercepted the letter from the English Resident at Delhi to Jawahir Singh. He says, “It says, though you may help Jawahir Singh and his Jats to take Delhi, you are to be handed over to the East India Company. The English want justice for the murder by you personally, of fifty-one British officers… Major Benedict has identified you… Apparently he’s gone over to the English side” (37). Reinhardt is shocked and enraged by Benedict’s betrayal. He bursts out, “Damned shweinhundt! I wondered where he had vanished after the battle of Buxar. In all that confusion, we even thought he might’ve been killed or taken prisoner. I… I grieved for him. Damn it! So he’s negotiated a pardon for himself?” (37) Saleur continues to tell him the details of the letter, “Obviously, sir, it could be argued that you massacred those British officers – as the dispatch states – after taking away their knives and forks and cutlery and inviting them, one at a time, into a room --. But as a deserter… you are to be hunted down and hanged and cut loose before you are dead and disemboweled and quartered” (38). Reinhardt, obviously, becomes more alert about his safety and security.
Reinhardt’s sense of insecurity (caused by the English Resident’s decision to kill him) is combined with his newly awakened ambition of becoming a General, thanks to Farzana.
The second act shows the Hall of Private Audience, wherein Shah Alam, the Emperor of Hindustan grants a jagir to Reinhardt. As Mansur Ali, the Chief Steward of the Palace announces, “Your Majesty. The first business is … (He scans the scroll)… to confirm the grant of a jagir in the fertile Gangetic Doab between the rivers Ganga and Jumna stretching from the districts of Muzaffarnagar to Aligarh on your Majesty’s loyal subject and military officer Walter Reinhardt Sumroo” (54). Reinhardt Sombre receives the document of the grant from the Emperor, thanks him humbly and promises to oblige him in both military and civil matters. When the Emperor asks Reinhardt about his choice of the seat of administration, Reinhardt seems to be uncertain, but his new (and second) wife Farzana volunteers to say that it will be at Sardhana, which is a few miles away from Meerut. The Emperor is so much impressed by Farzana’s devotion to the throne that he considers her as his own daughter and bestows the title, Zebun Nissa, the Ornament of Her Kind. Reinhardt’s fear of the English Resident goads him to request the Emperor for protection from the English, “Your Majesty. The differences between the English and me run deep. May I request from you, a royal assurance that no matter what, you will not have me handed over to the English?” (57) Of course, the Emperor promises him full protection.
Secondly, Reinhardt is promoted as a General. As Mansur Ali announces, “On the recommendation of His Excellency Najaf Khan, Commander-in-Chief of the Imperial Forces, His Majesty is pleased to confer on Col Walter Reinhardt Sumroo, the rank of General” (57). Finally he is also made the Governor of Agra. Mansur Ali announces, “As reward, in consequence of his victory over the rebel Rohillas led by Zabita Khan, who was killed on the battlefield, General Sumroo is appointed Governor of Agra” (58). Thus Reinhardt has been able to have triple promotion all because of his success as a military man.
Reinhardt’s luck has turned. He has grown from a mercenary soldier to the Governor of Agra. He is politically alerted and educated by the dancing girl, Farzana. That is why he has brought Ghulam Kadir as a prisoner to Shah Alam’s court. Shah Alam wants to punish Ghulam Kadir for his conspiracy against the throne. He shouts angrily at Ghulam Kadir, “You ate our salt and continued to conspire against us. Did you not find a way to get hold of the royal Seal? Do not lie -- on pain of death. We have proof. You were caught with the Seal on your person” (58). He continues to complain against him, “You tried to use it to grant imperial favours. Your aim was to build alliances and destroy us… Did you not attempt to defraud the Imperial Treasury? … Did you not suggest to some ladies of the royal blood that, deposing us, you would sire an imperial dynasty? … You seduced a number of ladies of the court with the sole aim of engineering our ruin and death”(58-59). After pointing out Ghulam Kadir’s conspiratorial acts, Shah Alam asks him what punishment he should mete out to the latter. Ghulam Kadir helplessly requests the Emperor to spare his life and seeks his forgiveness and mercy. The people gathered in the Hall of Private Audience are apprehensive that Ghulam Kadir will be sentenced with death. Gauri and Zuleka (the two dancing girls and erstwhile companions of Farzana) therefore, request Farzana to prevent his death. Consequently Farzana interferes and requests the Emperor to punish him with something other than death, “Punish him, Your Majesty. But spare his life. I … I urge this not out of personal consideration but for reasons of State. You would not want the people in your far-off province of Rohilkhand to say, ‘Look at this! They killed the father on the battlefield and found an excuse to kill the son in the palace.’ It may cause disquiet” (60). Then the Emperor consults General Reinhardt Sombre about what kind of punishment should be given to his prisoner. Reinhardt suggests, “If his life is to be spared there is only one way to thwart his ambition. (Glances at Farzana. Then.) Deprive him of the dynasty he wishes to found and the ability to hold out hope to women! Have him castrated, sire. Turn him into a eunuch. And set him free” (60). Ghulam Kadir is shocked by the suggestion, “Oh no. Not that. This is worse than death! Consider again, Your Majesty. Do not reduce me to the laughing stock of other men. I’m a Pathan, a Rohilla” (60). Although Zuleka and Gauri request Farzana to have the sentence changed, Farzana does not oblige them and says, “I no longer want to marry him” (61). So the Emperor orders, “Remove him from our presence. Let the sentence be carried out without delay” (61). Ghulam Kadir had used Farzana as an object of his sexual enjoyment, but had not shown any inclination to marry her. Farzana did not want his mere lust for her but wanted something lasting, i.e. love. He had rejected her suggestion of marriage outright. Farzana knew that he had his brains between his thighs and made love to her or other women like an animal. That is why she disliked him and betrayed him to Walter Reinhardt Sombre, whom she finally married.
The castration of Ghulam Kadir by Shah Akam II is an interesting event in the play, but historical records do not mention it at all. According to historical records, Ghulam Kadir did not trust the Hindus like Sindhia. He wanted to fight with the Marathas like Sindhia but Shah Alam did not permit him to do so. Ghulam Kadir and Ismail Beg sent their envoys (wakil Jawahir Nath and Mir Jina) and urged the Emperor to guard the faith of Islam and to seek the help of Infidels. But the Emperor did not yield to their suggestion. “The Emperor in reply cited Ghulam Kadir’s various acts of disloyalty and breaches of faith saying, ‘when he fired cannon balls on the fort, probably I was not a Mussalman!’ Then he called the Qazi-ul-qazat and asked, ‘what is the punishment of the man, who fires on his King?’ Answer, ‘stone him to death.’ The two envoys returned baffled to their masters.” 8 Ghulam Kadir’s hatred of Hindus and playing with the communal feelings of the Emperor have not been highlighted by Partap Sharma, but are suppressed.
Farzana has now married Reinhardt Sombre and been radiant since then. She does not care for Ghulam’s hatred towards her. She begins to exercise her political wisdom, a quality that is rare in the common run of women. She gets the map of Sardhana ready. She wants to advise the farmers of her jagir what is most profitable for them to grow and why. She clarifies to Pauli, “We are not making war. We are demarcating peace. And profit” (64). Reinhardt is basically a mercenary soldier leading a nomadic life, living in tents and earning his livelihood. That is why he asks his new and second wife Farzana, “Can’t you understand that our prosperity lies in battle?” (64) His words represent the mercenary motives of all the European Companies, who came to India in the early colonial period. All the adventures of these Europeans were motivated by the amassment of money or wealth. But Farzana’s policy and philosophy are diametrically opposed to those of Reinhardt Sombre. She wants to build a palace in Sardhana, which is the newly acquired jagir. She orders Pauli to explain to her husband the position and the privileges that are granted to him by the Emperor, Accordingly Pauli explains to Reinhardt, “What the begum is trying to say, Sir, is that in Agra you are paid for your services as Governor. Here in Sardhana and all this jagir you are the ruler” (65). Farzana wants to increase the income of the jagir through the improvement of agriculture by guiding and advising the farmers. But Reinhardt, who has a typical soldier’s attitude to life, does not approve of her ideas, “Ach, it’s a waste of a fighting man’s time. I say, leave farming to the farmers. If we need more money we will just raise it through taxes like everyone else” (66). But Farzana is so practical in her approach that she wants to give it the dignity of a policy and execute it seriously, “No! I will not increase taxes. I will lower them. We will increase the harvests. We will provide seeds. We will irrigate the whole region. We will build roads to bring in the produce. We will protect the population against thefts and crimes. We will use your abilities, General Sumroo, to defend the people against raids of envious armies. This is our policy, General, and the people must know it so that they feel safe and secure. Now that you have a territory, it’s high time you had a policy” (66). But Reinhardt cannot adjust himself to this new way of life. He says, “None of the other European mercenaries in Hindustan waste time on such things. They live like nomads. Soldiers moving from place to place, taking what they can …” (67). Farzana has started behaving in an overconfident and overriding manner. She has promoted Saleur to a Major because he has been looking after the building of the church. Although she is not a Christian by birth, she is a Christian in spirit. Saleur explains, “But she is, she is. In her heart, she is. She cares that your Christian officers too must have a place to worship and sing hymns in praise of the Lord” (68). Major Saleur tells Reinhardt that Begum Farzana has requested for some relics from Rome to be placed in the new basilica. Not only that. She has also been taking care of Reinhardt’s elder wife and her son by him. She has plans of constructing a haveli in front of the Red Fort in Delhi to be used as a guest house whenever they go to Delhi. She even suggests to Reinhardt, “And then, through the British Resident in Delhi, you must make peace with the English” (70). But he says it is impossible. But she wants to turn the impossible into the possible. She wants to have a ballroom in their palace for officers and their wives to dance. Reinhardt yields to her plans and ideas gradually.
Ghulam Kadir, who has been castrated into a eunuch, has been sharpening his dagger against the Emperor, Shah Alam. Ghulam Kadir has invited another eunuch Mansur Ali, the Chief Advisor to the Emperor, to a brothel, where he conspires against the Emperor. He suggests to Mansur Ali, “I did not call you here because you are like me but because there’s something we can do together… You and I will rule -- together. All Hindustan will grovel at your feet. It will not have seen a sword such as mine” (75). He suggests to Mansur Ali, “First, we will take over only the palace – we will strike at the very heart of Delhi and Hindustan… I will camp with my force across the river Jumna. On the appointed night, my men and I will cross over in boats. Meanwhile, you will unlock the south-east gate on the river. And we will gain entrance to the palace and capture the Emperor” (75). But Mansur Ali expresses his doubt about such a possibility. He tells Ghulam Kadir that the sentries guarding the palace of the Emperor are not Muslims, but Marathas placed there by Sindhia. But Ghulam Kadir is so clever that he suggests to Mansur Ali to insinuate that he (Ghulam Kadir) would be made Chief Noble and guard the Emperor better. He thinks that once the Emperor is in his control, he can have all the wealth of Delhi. When Mansur Ali expresses his doubt about Governor Sumroo and his soldiers coming to the rescue of the Emperor of Delhi, Ghulam Kadir answers him, “No fear of that. His troops will be putting out the biggest fire they’ve ever seen -- in their own barracks. Do you think his soldiers will leave their women and children to die in flames in order to come to the rescue of Delhi? No, that night they’ll be far too busy” (76). But when Mansur Ali tells him that Sumroo’s camp is not easy to penetrate, Ghulam Kadir says that it is already penetrated by the presence of two women there. Ghulam Kadir jokingly praises himself, “Aren’t I a fucking genius?” Mansur Ali corrects him by complementing him, “You used to be that. Now you’re just a genius” (77). Such intrigues and conspiracies are very common in the Indian history.
Ghulam Kadir’s conspiracy comes into operation very systematically. Reinhardt is poisoned by somebody. The doctor has advised him not to stir out. But Reinhardt wants to ride to Delhi in order to help and protect the Emperor of Delhi. Father Gregorio also dissuades him from going, “Walter, I forbid it. In the name of God, I forbid you. In your condition, you cannot think of marching to Delhi. Just this afternoon you were unconscious. Whoever poisoned your food is trying to kill you” (79). But Reinhardt insists on going to Delhi. Before that he climbs the rampart and addresses the soldiers of his brigade in a spirited manner,
Soldiers of Sumroo brigade! I am not used to mincing words. Less than fifteen minutes ago, we received a message from His Majesty the Emperor informing us that an army of Rohillas under the command of Ghulam Kadir is now encamped facing the Red Fort across the river Jumna. His Majesty apprehends danger not only to the city of Delhi but to the royal throne itself. The attempt of the enemy to assassinate me by poisoning is obviously intended to prevent us from going to the rescue of Delhi. But Ghulam Kadir has miscalculated. As long as there is breath in my body, as long as I can mount my horse, I will ride. But if I cannot, the brigade will follow the next person in the chain of command. That is the code of our brigade. That is the spirit… that is the spirit that guides us (80).
But he cannot continue to speak as he staggers. By that time Begum Farzana returns and is shocked to learn about his being poisoned. She wants to get a doctor, but he replies, “I sent him away. I am beyond the help of doctor or priest. Go. Be firm. Take control or the brigade may revolt. You are now in command. Remember that. Be decisive… But really, you must take charge at once. Don’t delay” (82). He dies after declaring his love for Farzana. Farzaba shows a remarkable presence of mind in such a dire situation. By this time she hears another shocking news that the barracks are burning. In spite of the sorrow and shock caused by the unexpected death of her husband by treacherous poisoning and far from losing her courage, Farzana takes almost a manly decision and exhorts her soldiers, “Our General never allowed himself to be defeated. In that spirit, we will now win over this enemy and these circumstances. Tomorrow at dawn we march to Delhi to deal with Ghulam Kadir. Tonight, we form a human chain to deal with this inferno. Soldiers of the Sumroo Brigade, prepare for action” (85). She orders Saleur to take over. Accordingly Saleur asks his soldiers to form a human chain from the reservoir to the barracks and begin passing down buckets of water to put off the fire. Then she asks Father Gregorio to make arrangements for the funeral of General Reinhardt Sombre. She remembers her husband and almost prays to him, “My General, give me the courage to go on without you” (85).
Farzana’s extraordinary presence of mind, quick and right decisions, military tactics and control of private sorrow etc are indeed very admirable in a woman. She is easily comparable to heroic women like Rani Mallamma of Belavadi (of 17th C.) and Rani Chennamma of Kittur Kingdom in Karnataka (of 18th c.), who took similar decisions to face the enemy after the death of their husbands. Farzana, like these two queens, happens to be an embodiment of female heroism.
At this time Saleur rushes in there and conveys another shocking news that Ghulam Kadir with a small band of soldiers has entered the fort through treachery, attacking the palace and suggests that they should refrain from any provocative action. But Begum Farzana does not want to let down the Emperor of Delhi. She bursts out, “What! And leave the Emperor to his fate? That was not the way of General Sumroo. Send word to Shah Alam that Begum Sumroo and the brigade are coming to the rescue. And request Mahadji Sindhia to reinforce our attack. (Saleur is stunned) Go at once. Do as I say! (He salutes and goes)” (86). By that time Pauli comes and informs her that the two, who set fire to the barracks are arrested and that they are two women, who happen to be close companions of hers. The feminine jealousy and conspiracy go together in this context. Farzana’s former companions Gauri and Zuleka have been employed by Ghulam Kadir to set fire to the barracks, by smearing them with ghee. They are arrested as they are caught red-handed. Zuleka accuses Farzana, “You’re still only a slut. A high-class slut” (91). Farzana maintains her cool and accuses her, “You are in touch with… Ghulam Kadir? … I trusted you. Gave you everything. Security. Comfort. Trusted you as my family… You betrayed me. You poisoned my husband. You set fire to the barracks” (92). Obviously Ghulam Kadir, who is proved to be a treacherous man in the Indian history, has acted according to his true nature by using the two dancing girls by bribing them heavily for his conspiracy against both Begum Farzana and Shah Alam. His sole intention is to prevent Begum Farzana from going to Delhi to protect Shah Alam from his own treachery. Zuleka and Gauri’s treachery is motivated by sexual jealousy for Farzana, who was their former companion dancer and by sexual traffic with Ghulam Kadir and a general opportunism had now become a queen.
After the death of Reinhardt Sombre, a Frenchman Le Vessault joins Begum Sumroo’s Brigade and raised a legal and religious question about her inheritance of her husband’s jagir. He points out that she is not a Catholic, “General Sombre was a Catholic. You are not. Nor is Zaffryab Khan… Even here you have Islamic Law, Hindu Law, Christian Law. The fact is, the Church of Rome recognizes only Catholics. Think about it. The General must have some relatives in Germany, Switzerland, Europe. All Catholics. (shrugs) Someone may like to own a kingdom in India… With the blessings of the Church” (89). Now alerted by his warning, Begum Sumroo requests Father Gregorio, “Father. I would like you to baptize me and Zaffaryab Khan at the first opportunity… Think up a good Christian name for me. Something like Farzana” (90). Father Gregorio suggests a Catholic name, Johanna and Adds Nobilis to make it sound impressive. Now she assumes a new and Christian name, Johanna Nobilis Sumroo thereby becoming legally acceptable to the Roman Catholic Church. This act only proves how religion (her Islam) is not a problem for her as it is part of her political ambition and does not prevent her from pursuing her quest for political power.
Ghulam Kadir has succeeded in his conspiracy with Mansur Ali against Shah Alam. He sits on the throne of Delhi and mocks at Shah Alam. He has robbed all gold and jewels from the palace and insults Shah Alam in a variety of ways, “By stages, by stages, Shah Alam. You had no choice but to make me Chief Noble. Soon the nobles will have no choice but to crown me Emperor” (94). He asks Shah Alam, “Where have you hidden your treasure?” (94) Shah Alam replies, “I tell you, there is none” (94). But Mansur Ali, who has treacherously ganged up with Ghulam Kadir says giggling, “Everyone knows it’s here somewhere in the Red Fort” (94). Ghulam Kadir is angry to note that, “My men here dug everywhere and found nothing” (94). Ghulam Kadir exhibits his beastly cruelty and robs Shah Alam of his footwear studded with jewels and even his bracelet with a gold locket. He says, “I wish I could kill you. (Takes out his dagger) But then perhaps it’s better to hack you bit by bit” (95). The height of his inhuman cruelty may be seen in his blinding both the eyes of Shah Alam by stabbing them,
GHULAM: (Pushing him down) Where shall we begin then? A mark on the forehead? Or a stab in the eye?
SHAH ALAM: No! No!
GHULAM: Yes, that! (He stabs him in the eye.)
SHAH ALAM: Ohhh. You’ve taken out my eye.
GHULAM: I should’ve done it with my fingers. That would make a better picture. (Flings away the dagger. Sitting astride the prone Shah Alam) Call the court painter! I want a picture done like this – “Emperor Shah Alam being blinded by Ghulam Kadir” (96).
Partap Sharma’s presentation of Ghulam Kadir’s beastliness in blinding the eyes of Shah Alam II is part of direct action performed on the stage. This is one of the very shocking and odious scenes in the play contributing to the odious sentiment (bibhatsa rasa) but prohibited by Bharata in his Natyasastra. One feels that Partap Sharma could have easily avoided this event in the scene. Also it runs counter to the historical facts. As Jadunath Sarkar, the famous historical has written in his date-wise entry,
“(10th August, 1788) Qadir signals to his Ruhelas to extract the eyes of the Emperor. Shah Alam said, ‘O nimak-haram! No man has yet done such acts of ingratitude as you have done. I read the Quran, do not deprive me of my eyes. If you so wish, kill me.’ Then the Ruhellas crowded together and cut out His Majesty’s two eyes with their waist-daggers. At that time His Majesty uttered no other word than the name of God; he did not even cry out Ah! His condition cannot be described.9
According to history, it was Ghulam Kadir’s soldiers, who blinded Shah Alam and not Kadir himself. Partap Sharma has tried to accentuate Ghulam Kadir’s beastliness, cruelty and vindictiveness by taking liberty with history as well as with the dramatic conventions. Shah Alam’s reference to the Quran is unfortunately missing in Partap Sharma’s play. The playwright seems to have borrowed his material from popular sources like the following one:
So, in 1765, Clive had to legalize the Company’s right to manage the finances of Bengal by taking a grant from Shah Alam. But in 1788, i.e. twenty-three years after this exercise of legal right, Shah Alam was seized in his own palace by a Ruhela (Afghan) soldier of fortune and freebooter, who blew tobacco smoke into his mouth, and afterwards blinded him. He asked: ‘Emperor, can you see anything now?’ The blind man replied” ‘Yes, the Quran between you and me!’ The plunderer insulted and tortured the princesses, some of whom died of hunger and thirst. He also sent for the court painter to paint a picture of himself – sitting on the chest of the emperor and gouging out his eyes. Afterwards the freebooter was put to flight and captured, and his eyes were brought to the blind emperor, who fondled them with his fingers.10
When Ghulam Kadir is at the height of his cruelty, Manur Ali tells him the disconcerting news that they are under attack by Begum Sumroo’s army. Ghulam Kadir and Mansur Ali are frightened by the situation and escape from there. Shah Alam is happy to know that Farzana Sumroo has come to his rescue. She says, “I am Begum Sumroo, if you decree it” (98). Shah Alam replies, “I will decree it. I wish I could see you in this moment of my relief, in the moment of your glory” (98). Begum Sumroo sends for a physician to treat the blinded Emperor. Whereas Ghulam Kadir reveals himself as an embodiment of treachery and hunger for power, Begum Sumroo has proved herself to be an avatar of political loyalty and gratitude. When the Emperor feels sad that he has no jewels left on his body now, Begum Sumroo offers the beads brought by George Thomas to the Emperor until the jewels are found.
Captain George Thomas, who has been the gunner in the service of the Nizam of Hyderabad, now seeks service with the Begum Sumroo. In spite of being English, he wants to serve the non-English brigade simply because of his great admiration for the amazing woman, Begum Sumroo,
GEORGE: But the way you avoided the Rohilla army on the Jumna. Ingenious. You could’ve been stopped there for days. You came instead, over the ridge, from the North West. Amazing!
SHAH ALAM: Was it?
GEORGE: Maginficent! She just lined up her cannon outside the fort, bombarded them to cause more fear than damage and then rode up on her horse to the very door of the palace. I’ve never seen anything like it. I couldn’t believe it was a woman doing this. I just had to meet this amazing person (100).
Begum Sumroo’s extraordinary courage, political tactics and presence of mind easily bring to our mind similar heroic Ranis of India – like Rani Mallamma of Belavadi, Rani Chennamma of Kittur, Rani Abbakka of Ullal and Rani Laxmibai of Jhansi -- though the details of their situations vary from one another. Begum Sumroo assures Shah Alam, “Sire, the physician is here. My brigade will guard you till Sindhia’s forces arrive. I must go now and see the capture of Ghulam Kadir and Mansur Ali” (101). Shah Alam wonders at the treachery of Mansur Ali, “Oh. What a foul deceiver that Mansur Ali turned out to be!” (101)
Though Farzana has been an able General as well as politician, she has the natural biological urges of a woman – like the desire for a man (at a time). She expresses and confesses her dilemma before Father Gregorio, “I have been torn between love for two monsters – Sumroo and Kadir” (102). Father Gregorio points out that her compassion for Kadir is misdirected. She confesses, “Father, it is not compassion. That is why I have come to confession. It is the left-over, smouldering passion of my youth… The heart is not answerable as the mind is. I could not control my heart. So I controlled my life and that of others. I allowed Ghulam to be brutally punished once, because I wanted revenge, because I wanted no other woman to enjoy him. But now, I don’t have the strength to condemn him, as I must. (She cries softly.)” (103). But in spite of such tender feelings of love and the resultant sexual jealousy hidden in her heart, Begum Sumroo controls them in the face of the larger political issues. For example when Pauli comes and reports about their capture of Ghulam Kadir, she orders the traitor to be brought before her and fed to the cannon fire. She has hardened herself to deal successfully with the political exigencies of life. As she tells Father Gregoria, “I made a promise long ago to be more than equal to men” (107).
Father Gregorio understands the inner dilemma of Begum Sumroo as a woman. He says, “She continues to amaze everyone. There are dances and balls and soirées… She…dances with many men… She never seems…satisfied… Whatever the Brigade may say, I’m convinced that it’s her nature that makes her so… so free with her feelings but the curse of Ghulam Kadir is at work. They say he cursed her to go on searching for love and fulfillment” (10). But in spite of her hidden frustration as a woman, she has achieved great success in her political and military career. Father Gregorio admires her wholeheartedly, “She is an embodiment of generosity. And sense. Oh yes, sense! Ask her a military question and she’ll give you a military answer. That’s why the finest commanders in Hindustan came to Sardhana. Sleeman, Skinner, Lord Lake… name them, they’ve all been here. Ask her how to fund a charity and she’ll tell you: ‘Set up a trust, don’t touch the capital, invest it and let the interest help the charity in perpetuity.’ That’s pretty sharp, and not just for a mere nautch girl. She’s a phenomenon. In Europe, I’m told they now say, ‘Go to India for two wonders – see the Taj Mahal and, if you can, meet Begum Sumroo” (Pp.110-111). Father Gregorio’s admiration for Begum Sumroo culminates in his hope that “One day she’ll be made a saint. The Begum Johanna Nobilis Sumroo is a benefactress beyond compare” (111). Father Gregorio’s admiration for Begum Sumroo’s heroism, talent and resourcefulness is almost parallel to the present day Indians’ admiration for the similar qualities in Mrs. Indira Gandhi, who turned out to be a very successful Prime Minister of India and earned the love and admiration of her countrymen and foreign politicians.
It is exactly when Father Gregorio is admiring Begum Sumroo that Saleur comes and reports some unpleasant news like Benedict’s suicide, Pauli’s being beheaded in a surprise attack and Zulekha’s and Gauri’s being buried alive. In addition he expresses his anxiety about Sumroo’s attachment for several men, “All these men in her life. It’s very…worrying… So many of them. Indian, French and English too. They were never able to defeat Sumroo. Now they want his Begum” (113). Saleur reveals the secret that the Irish adventurer George Thomas, Pauli and now Pierre Le Vassoult are her lovers; that Pierre has stopped her from dining with the military officers at the high table. Further, he points out the arrogance, the possessiveness and lust for power that characterize Pierre Le Vassoult, “Father, he does not like us to talk to her. He treats us like vermin. He dines alone with her in her rooms. He orders us about. He’s still only a captain. He talks to Brigadiers and Colonels and Majors as though they were subordinates! Even the simple foot-soldiers, who adore her, detest him. They fear she may marry him” (115). Father Gregorio thinks about the problem from the perspective of religious idealism when he says, “She is free to marry. She is a widow… Marriage is a sacrament, my son. It is preferable to living in sin” (115). But Saleur explains the problem from the military and practical point of view. He tells Father Gregorio that Le Vessault wants to marry Begum Sumroo not to have children and raise a family, as she happens to be barren, but to have power and control over the Brigade, “He is after the Brigade. He wants to command it. As his wife she may hand over the command to him. She will. Women do these things. She must realize that we are her power” (115).
Meanwhile Begum Farzana grows closer to her lover Le Vessault, who wants to marry her and even take her to France. One night when they escape into the forest for their secret honeymoon, the Brigade chases them. Now Le Vessault goes to another part of the forest, leaving Farzana at the same spot. Inayatullah, who has led the Brigade meets Begum Sumroo and articulates his disapproval of her having a husband, “who does not match up to the soldering abilities of General Sumroo” (120). She grasps their ideas and quickly decides to give up the idea of marriage in favour of the Brigade. She says, “In short, no husband and I have the Brigade” (120). In order to satisfy her Brigade she has to sacrifice her love for Le Vessault. She proves it by saying, “Have no fear. I choose to stay with the Brigade. A little cut through the blouse here. A little blood. Nothing that a soldier need die from. Now take my blouse and find Le Vessault” (120). She takes off her blouse and gives it to them. They want to march forward and capture Le Vessault, in good time. Farzana orders him further, “Show him the pierced and bloody blouse. And he will shoot himself. You would not want the murder of a fellow-officer on your hands. It would be bad for the Brigade if I court-martialed its two senior most officers. (They smile) As for the men, I know they will not be satisfied unless they see me chastised in some way. A military exercise satisfies and teaches only if it is successful. So tie me to this tree” (121). Begum Farzana has to sacrifice her personal love for the sake of enjoying her military and political power. She, therefore, exclaims, “Can real love occur between birds in a gilded cage? Or does one give up choice to master brute reality?” (121) Instead of tying her to a tree, Inayatullah ties her to a cannon, with her arms pinned back in a crucifixion against a barrel, as per the convention of the Brigade. Thus Begum Sumroo is willing to punish herself thereby satisfying the Brigade. She orders them, “Leave me here till the men feel I’ve learnt my lesson and will never repeat the mistake. For better or for worse, I know now I’m well and truly married to the Brigade. Then it will be safe to send someone out to rescue me” (122). When Saleur wants to know who they should send, she suggests, “George Thomas, don’t you think? He is rather romantic. And charming. And he is sensible” (122).
On the whole, the picture of Farzana Begum Sumroo that emerges from this historical play is that of an amazing lady with an extraordinary political caliber, military discipline and tactics. In Indian history we have many Ranis known for their heroism like Rani Mallamma of Belavadi Kingdom, Rani Chennamma of Kittur Kingdom and Rani Laxmibai of Jhansi, but all of them hailed from royal backgrounds. But Farzana comes not from a royal family, but from a family of dancers, who are also incidentally prostitutes. Her phenomenal rise from the level of a dancing girl to that of a Begum, her political alertness, quick decisions, military efficiency, extraordinary generosity and her love affairs with a number of men – all these qualities combined together cannot be found in any other Indian woman or Rani. That is why the publishers describe the play as follows, “The play shows how an extremely capable Indian woman, with humble beginnings as an impoverished dancing girl, took over the brigade from its smitten European commander, led it and made it the most efficient in India, never lost a battle, rescued an Emperor, was wooed by the English and French, had lovers of many nationalities and, among her fans, she could eventually count men of the cloth including the Pope. She also built a couple of palaces that may be seen to this day. She was like an Indian equivalent of Joan of Arc but succeeded so admirably in all she did that she avoided being martyred and is therefore not remembered except by a few historians. In short, the play is about a European-officered brigade and an amazing Indian woman, who was ahead of her time and ours” (Back Cover).
Partap Sharma has been a theatre and media personality, who, therefore, has a sense of the stage and its technique. He knows how to convert the experience into dramatic language and achieve an immediacy of appeal and liveliness. The dialogues in the play are sharp, smart and pointed and therefore prove to be very effective on the stage. Borrowing a theme from the 18th century Indian history and enlivening it with flesh and blood thereby capturing the attention of the twenty first century reader is not a joke, but certainly a remarkable achievement. Begum Sumroo easily brings to our mind expert women politicians like Mrs. Indira Gandhi and Mrs. Mayavati. Begum Sumroo’s life provides a good ideal for our modern feminists, who want liberty without responsibility. The other plays in Indian English Drama comparable to Begum Sumroo are Gurucharan Das’s Larins Sahib and Manohar Malgonkar’s The Line of Mars, which deal with similar, if not the same, aspects of colonial encounter in the Indian context.
***
The popularity of this play may be understood by the fact that it was performed for over a year in India to packed houses. As the publisher’s note says, it was first performed and directed by Alyque Padamsee in a highly successful production that premiered in Bombay in July 1997 and ran through 1998. Similarly it was presented by Theater Rasa Nova in San Francisco and directed by Vidhu Singh, former Managing Director of Asian American Theater Company.
References:
Begum Sumroo –Wikipedia, Free Encyclopedia.
Chaudhuri, Nirad C. Clive of India, Bombay: Jaico Press Pvt Ltd, 1977,
Sharma, Partap, Begum Sumroo, New Delhi: Rupa & Co. 2004.
Sarkar, Jadunath, Ed & Tr. Persian Records of Maratha History, Vol. I: Delhi Affairs. Bombay: The Director of Archives, Government of Bombay, 1953.
Walter Reinhardt Sombre – Wikipedia, Free Encyclopedia.