The Anarchy of Thought

Charity begins at home. Perhaps. But then so does the long revolution against the Establishment.

Sunday, March 13, 2005

The Autobiography Of The Transparent Ironist : Chapter 3 Posted by Hello


(This is Chapter 3 of my autobiography My Experiments With Irony : I return here to my favourite theme of my Gothic fascination with the forgotten age of the British Empire in India.)
I arrived in Calcutta by the coal-steamer from Southampton in the midst of the sultry Bengal summer of 1826, and was immediately sent to Barrackpore to join the expedition of Sir Thomas Crawley Everest who was then setting out on a journey to the unexplored Himalayas. We moved out in the first week of July as the torrential monsoon showers began to pour down upon us from the deep heavens : an enormously long chain of mules, pack-horses, natives, guides, and British officers. We had been travelling for two months when we finally reached the silent unspoilt plateau of Sikkim in early September. It was my first time in the Himalayas, and I was exhilarated by the sight of the golden peaks in the distance.
One morning as we were rising higher into the mountains, we came across a band of natives who were singing and dancing around a wildly-dressed woman. She was wearing a necklace of what looked like bleached human finger-bones, her hair was smooth, long, and black, and she was whirling round and round in a delirious frenzy. Sir Everest ordered me to go ahead and clear the way for our company, and I took two of my men and began to move towards her. When I was very close to the natives, I got down from my horse and stood beside it, silently watching her mesmerising movements. She suddenly stopped in the middle of her terrible dance, and saw me mutely staring at her. She came closer to me, looked into my eyes, and gave out a most horrible laugh that echoed and reechoed through the placid mountains. She unfolded her hands, and I saw some sweet-smelling white powder on her black palms.
She came closer to me, and said in the broken Hindusthani that I had been struggling to learn at the London School of Oriental Languages : 'Eat this, you white man, and taste the bliss that you have never known in your distant island. This is the holy food of the sacred Mother. Eat it, and she shall become yours, and you shall become hers!' And she spread out the sugar evenly on her right palm, and held it up to my nose. I inhaled the sweet fumes, and began to feel that the primordial mountains were revolving around me in a cosmic dance. The shaky ground beneath my tired feet was slowly slipping away from me, and I felt myself slowly dissolving into the ancient womb of creation. I wildly threw out my hands but I could not find anything solid to hold on to.
At that moment, I heard the frantic galloping of a horse behind me, and I was rudely shaken out of my gentle descent into sweet oblivion. I turned round and saw Sir Everest charging at the native woman, his white sabre flashing in his right hand. He sliced the cold air with it and struck her on her right shoulder, and immediately a stream of thick red blood poured out from her. There was a sudden uproar from the natives who had been silently watching me, and they now rushed towards the woman who had fallen to the ground in a pool of shining blood. I could see that she was in great agony, and yet she screamed at Sir Everest : 'You white man, you shall see the Horror! Yes, the Horror of the sacred Mother shall forever haunt you!'
The days passed, and we ascended yet higher into the rarified reaches of the Himalayas where no European had ever journeyed to. The geographers in our company were busy charting the rugged terrain, and the engineers from the Royal Corps were already planning to build roads through the mountains to Tibet. Sir Everest's behaviour, however, became more and more whimsical, he was now easily irritated with his juniour officers, and he would sometimes ramble off into the wrong direction muttering something to himself. One morning, he shocked us by declaring that he would go alone into the Himalayas leaving us behind at that point, and though we protested vigorously with him he would not listen to any of us. So he left us that misty morning on his horse in his shining red uniform, his black revolvers sticking out from the sides, and his green cap turned round the wrong way. We waited for him for two weeks at that spot hoping that he would return soon, but that was the last I ever saw of Sir Thomas Crawley Everest.
Or, at least, that was what I believed for the next twenty years of my life. I came back with the failed expedition to Calcutta Presidency within a month and was promoted after five years in the army to become Lieutenant Thomas Manley Hopkinson. I returned to England after an honourable ten years' service in India, got married to my childhood sweetheart, and settled down in the picturesque countryside of Dorset.
In 1846 I had to travel to London to meet an old friend who was a doctor with the Admiralty, and when we were having lunch I was casually asked by him if I had ever heard of someone called Sir Thomas Crawley Everest. Seeing how shocked I was on hearing that name, he surmised that I had somehow come into contact with Sir Everest in Bengal, and he took me to the newly built hospital in St George's Fields beside the Thames. There on the second floor was a wizened old man, his crisp hair whitened with age, his dry skin wrinkled with time, and his bushy eyebrow weighed down with approaching death. When I introduced myself to him, he remained still for a moment on his brown chair. Then he slowly rose to his feet, turned towards me and started walking even as spasms of pain shook his frail body. When he was close to me, his withered face underwent a most horrendous contortion, and he screamed out in violent agony : 'The Horror! the Horror!'

10 Comments:

  • At 12.3.05, Blogger Shantisudha said…

    Kali-The Mother.....sign of creation and distruction ...both

     
  • At 12.3.05, Anonymous Anonymous said…

    Apart from signifying creation and destruction, Kali also symbolizes Knowledge. The reference for Kali being knowledge herself can be seen in the Sahasranama Stotras where she is referred to as the one who is knowledge of the self, who is knowledge of Brahman, she whose form is the highest Brahman. Elizabeth Harding, while analyzing the various expressions of the appearance of Kali writes: “Kali's white teeth stand for the white sattva guna, her red tongue stands for the red rajas guna, and her black skin stands for delusion which is associated with the tama guna. Kali stretches out her tongue because she wants to conquer her devotees’ tama guna by increasing their raja guna. And then she conquers their raja guna by cutting it with her large white teeth. Through the sattva guna, she leads her devotees toward salvation.”[Harding, U. Elizabeth, Kali: The Black Goddess of Dakshineswar, Delhi: Motilal Banarsidass, 1998, pp. 55-56]. Colours also dominant it the picture posted above, in addition, the blueness in her eyes is symbolic of freedom, as she in her unique ways demolishes restricted conceptions of the world view, inviting those who would learn from her to be open to the whole world in all of its aspects.

    Kali also goes beyond the constraints of gender peculiarities. As Madhu Khanna rightly invokes: “... the goddess has been portrayed as an omniscient and omnipotent deity transcending limitations of space and time (desakalanavacchinna), as partless (niskala) and qualityless (nirguna). In this highest state (para), she is looked on as an ungendered deity, transcending the distinctions of empirical existence.” [Khanna, Madhu, “The Goddess-Women Equation in Sakta Tantras”, in Faces of Feminine in Ancient, Medival, and Mordern India (Ed. Mandakranta Bose), New Delhi: Oxford University Press, 2000, p 114]

    The transcendence of all forms is also suggested by the blackness of Kali, which symbolizes her all-embracing, effusive nature. As black is a colour where rest of the colours blend. The Colour black is also symbolic of the absence of colour. Again the blackness of Kali represents the nirguna nature of Kali as ultimate reality. But both the amalgamation of all forms and absence of various characteristics represent her transcendence of form and any kind of gender notability.

    Therefore, it is not a mere coincidence that the first organized feminist press in India was called “Kali for Women”. Kali, the pra-krti, (pro-creativeness) takes the pen away from patriarchy and rewrites the text of the world both for and with women.

     
  • At 12.3.05, Blogger Shantisudha said…

    This comment has been removed by a blog administrator.

     
  • At 12.3.05, Blogger Shantisudha said…

    Yes! I agree with you. I have not mentioned before but similar kind of description is given about "Kali" in the book by Sister Nivedita - "Kali-The Mother". References tells that she interprited Kali so well that the trustees of the 'Kali Temple' of
    Dakshineshwar, Calcutta (During that time around 1910 or something) called her to give discourse on the topic "Kali-The Mother" on the occassion of their annual discourses.

     
  • At 13.3.05, Blogger The Transparent Ironist said…

    BHARAVI,Thanks for the enlightening comments. I have read the book by E.Harding, but did not know about the other one by M.Bose. Since you mention Dakshineswar, I am a bit curious about one aspect of its religious practice, that is, animal - sacrifice (usually of goats). How would a feminist view-point reconcile animal-sacrifice with the Kali motif, since such sacrifice is arguably an expression of 'masculine violence'? (Of course, such sacrifice could also be represented as an act of returning to the deity what one has received from the deity.)

    Secondly, Kali is a gender-less deity who is beyond empirical (including sexual) distinctions. Would it not be more favourable to a form of feminism that aspires to erase sexual identities and urges women to attain an androgynous state?

     
  • At 13.3.05, Anonymous Anonymous said…

    If I did not know that you are a man in 'real life', I would have never guessed from your posts!

     
  • At 13.3.05, Anonymous Anonymous said…

    "If I did not know that you are a man in 'real life', I would have never guessed from your posts!"

    ...which again goes to show how gender identity is deeply entrenched in our psyche.

    Referral and identification are a way of puzzle solving. We don't like to be left open ended all the time. If the murderer did not remind Miss Marple about someone she knew most of her crimes wouldnt be solved.

    But then I feel it is only natural for a man more than a woman to try and delve into the feminine side, since there always is a societal and cultural training in his early life to segregate him from it. So he begins the process of integration later on in life.

     
  • At 13.3.05, Blogger The Transparent Ironist said…

    If I did not guess that you are a woman in 'virtual life', I would never have known from your comments!

     
  • At 14.3.05, Anonymous Anonymous said…

    “How would a feminist view-point reconcile animal-sacrifice with the Kali motif, since such sacrifice is arguably an expression of 'masculine violence'?” After (re-) reading your curiousity, I think, the solution is masked in it, so I will try to unveil it. First, how can a feminist view-point reconcile with something which is an expression of ‘masculine violence’? Second, one of the most brutal manifestations of masculinity i.e. animal sacrifice, the feminist perspective is definitely not going to reconcile with this institution, constructed in the name of Kali. Infact, feminist methodology/ perspective/ activism will critique and/ or eliminate such a practice.

    Scholars such as Iravati Karve, Romila Thapar, Roberto Calasso and others have done extensive work on how myths, symbols and interpretations etc. are merged into narratives, thus these are exploited by confined institutions and demonstrate how a reversal of history continued for ulterior motives. For example: The icon of Kali, which has its origin in the tantric tradition, symbolizes her display of her absolute and overwhelming power that is why she has thrown Siva on the ground and is standing on him. She is in terrible rage - wearing her garland of skulls and in each arm a weapon of destruction. The tantric devotees seeking perfect knowledge worship this image. Her lolling tongue symbolizes anger. This account of Kali broadly resembles the portrayal of Kali in Mahanirvana Tantra. But this icon as represented in the Candi Purana has been interpreted as advocating female self-control and restraint. The lolling tongue of Kali is seen as expressing lajja (shame), as she stepped on Siva, her husband. As Menon and Shweder writes: “.... lajja has been defined as a highly refining emotion characterized by respectful self-restraint and deference, essential for the maintenance of social order. ... local understanding has it that women more than men embody natural power, power that if not contained and if not controlled from within could spill into socially destructive emotions.” [Menon, Usha and Shweder, Richard A., Dominating Kali: Hindu family values and tantric power, In eNCOUNTERING KaLi: in the margins, at the center, in the west (Edited by, Rachel Fell McDermott and Jeffrey J. Kripal), London: University of California Press, 2003, p 90].

    The other possible perspective could be that these practices were associated with Kali as the testerone infected ideology felt threatened by the feminine elements so powerfully portrayed in deities such as Kali, so it emphasized her dark, sexual, destructive aspects in an attempt to discourage people from her worship. As Barbara G. Walker argues that Kali's three functions as creator, maintainer and destroyer were taken from her and given to the male gods, Brahma, Vishnu and Siva. “The Aryans demonized Kali, it has been claimed, by naming the fourth and worst yuga, or era, after her (the Kali yuga), by borrowing her supreme attributes to award to their own gods, and making their disparaging associations of her black colour with low status.”[As quoted in, McDermott, Rachel Fell, “The Western Kali”, in Devi: Goddesses of India (Ed. by John S. Hawley & Donna M. Wulff), Delhi: Motilal Banarasidass Publishers, 1998, p.288].

    Second inquiry: Ofcourse, it would be the ideal state of affairs not just for women, but also for men if they attain an androgynes state. Gender,according to me, is an institution so dominant and confining, but perhaps not so visible in our everyday existence as it excercises its control in a very nuanced fashion. Judith Butler suggests the notion of transcending gender when she argues, the only way in which the system of compulsory heterosexuality is reproduced and concealed is through the cultivation of bodies into discrete sexes with ‘natural’ appearances and ‘natural’ heterosexual dispositions.[Butler, Judith, Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory, In Performing Feminisms: Feminist Critical Theory and Theatre [Ed. Case, Sue- Allen], London: The John Hopkings University Press, 1990]. At a theoritical level it sounds very facinating, but practically very difficult to attain. Furthermore, “How do we know that a person has transcended her/his gender?” [Barua, A., Unpublished discussion on gender and androgyne, 2005], as one is so caught in this instution. A very good representation of transcending institutions, if not gender, can be seen in Pasolini’s TEOREMA, especially the last scene, of course one doesn’t have to take it literally, but the film says a lot about the constructed belief systems and how those systems are restricting. Pasolini portrays the world which unites our experiences of the waking life with that of dreams, of consciousness with subconsciousness, of surface reality with surreality. I think, in doing so he really surpassed his own “GENDER”.

     
  • At 17.3.05, Anonymous Anonymous said…

    I liked the story, the way you wrote it and put it together...although it seems to me quite cheesy and fake, clishe-filled... Especially the part with "The horror, the horror" sounds like cut from a sloppy cartoon magazine for teenagers.
    Waiting for the next chapters!
    By the way, to compensate for the criticism here, let me congratulate you for the "How Many Times" remake! It is A M A Z I NG!!!!!!

     

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