A Few Things About Something

THE SIEGE OF CHITTOR

noreply@blogger.com (Sumit Soren) — Sun, 19 May 2013 11:09:31 PDT

It was in the middle of the year of 1567, when Akbar had just returned from an expedition, he was informed of the rebellion in Malwa. The rebellion was instigated by the two sons of Muhammad Sultan Mirza, the ruler of Malwa. Akbar did not take it lightly and ordered his troops to march towards Malwa. I guess his plans were not one, but several as shall be shown shortly. Akbar with his army marched out of Agra, the Mughal capital, and camped at a place called Dholpur. Here in Dholpur he became interested in hunting and games, and the local princes, chieftains, from far and near came to meet him, to pay their respects. One of the nobles who appeared before Akbar was Shakti Singh, son of Udai Singh the Rana of Chittor.

HISTORY OF CHITTOR:

Fort of Chittor, source-Wiki

It is necessary here to discuss the history of Chittor briefly. Chittor’s history is entangled with the myth and legends of the historical Bappa Rawal (646-753) who is considered to be the founder of the Mewar kingdom; he conquered vast tracts adjoining Chittor and made the latter its capital. Chittor became the headlines with Allauddin Khilji’s invasion; it is with this invasion that the exotic beauty of Rani Padmini, wife to Ratan Singh is connected. It is generally attributed that Allauddin’s lust for queen Padmini crossed beyond imagination as he ventured to take her by force by attacking Chittor. Which he did in the year 1303, after six month’s trial he was unable to get the queen. Somehow he captured the king, Rana Ratan Singh I and killed him. While the queen plunged into the fire of Jauhar and immolated herself. After the fall of Ratan Singh, Rana Hammir was crowned as the new Rana, in fact he extended the title and became, “MahaRana”. Perhaps the most illustrious ruler of Mewar was Rana Khumbha, who attacked and defeated the joint armies of Malwa and Gujarat; in fact he kept Mahmud Khilji of Malwa a prisoner for six months. Such was his power that no foreign invaders dared to set their eyes on Mewar. Sadly he was assassinated by his own son Rana Udai Singh, who was later dethroned, and his brother Raemall became the new Rana. One more legendary Rana of Sisodia clan needs mention here, and he is none other than MahaRana Sangram or “Sanga” as he is known commonly. The great man was a fierce warrior and had suffered eighty wounds at different parts of the body. This desert storm was defeated by Babur in the battle of Khanwa in 1526. Rana Udai Singh was son to MahaRana Sangram, perhaps less worthy, but that ill-luck would be filled up by his illustrious son MahaRana Pratap who was yet to come to the scene.

THE ROYAL MARCH:

The March of Akbar

Coming back to the story, Shakti Singh had a long personal discussion with Akbar, and the latter spoke of his desire to have Chittor under his rule. Akbar expressed his displeasure by saying that almost all the rulers, chieftains of this country had “paid their respects to him” except Rana Udai Singh, and for this he was planning to attack Chittor. The seriousness of His Majesty’s wish can be questionable, but the crown prince Shatki Singh did not take it lightly. On the following day he disappeared from the Mughal camp and fled to Chittor to tell his father about Akbar’s dangerous ambition. When Akbar heard of his flight he became furious and immediately resolved to attack Chittor. His conquest began in 19^th September 1567 when he encamped near Shivpuri (the fort of Sivi Supar as in Akbarnama) and found it to be deserted. Subsequently he reached Ranthambore, and found the fort empty as well. In fact the governor of the fort had fled on hearing Akbar’s march. Perhaps Akbar was pleased to see the forts empty on his arrival; this rejuvenated his pride that rulers of Hindustan dreaded him.

Next in line was of course the fort of Kotah which easily passed into his hands, he appointed one of his general as its custodian. After the victory at Kotah, the Mughal army camped near the fort of Gagraun which is surrounded on three sides by the rivers Ahu and Kali Sindh. Here he planned to kill two birds with one stone. He divided his army in two, one part was to go Malwa, and the other led by him would march to Chittor. The generals who had fiefs in Malwa were ordered to relieve Malwa from the Mirzas, which was a very good decision. That meant they would do their job very arduously for their own personal benefit. In fact it was done, and the good news arrived to the Emperor that the Mirzas (sons of Muahmmad Sultam Mirza) had fled to Gujarat on hearing Akbar’s advance from the capital. It was moral boosting news for Akbar. Nevertheless he chalked out a very ingenious plan. He knew that the Rana would be informed of the division in his army and possibly come out of the fort to meet him. He knowingly reduced his troops for this purpose, but the Rana was well conversant with Akbar’s capabilities.

Rana Udai Singh vacated the fort of Chittor with a small contingent, and left it under the joint protection of two very brave and able commanders- Jaimal and Patta. Before abandoning the fort he stocked ample provision for civilians and soldiers for over a year. There were at least five thousand Rajput soldiers guarding the fort with their family. Leaving the stock inside the fort, there was not a grain left for the Mughal army to collect, the farmlands were burnt and the total country left devastated. This is called scorched Earth policy; this was followed in the battle of Stalingrad too. So the policy is not too old! Akbar was one kos away from Chittor, when he heard of the Rana’s flight, angered by the Rana’s cowardice he immediately appointed his generals to trace him out. But this was not executed, as news came in that Udai Singh had gone into oblivion; to hunt him down was simply a waste of time.

The Mughal army arrived near the outskirts of Chittor fort on 20^th October, 1567. A violent storm with thunder and lightning welcomed the Imperial forces, when the skies cleared the Mughals had an impossible task before them. The towering Chitor fort, standing 200 meters above the ground, stood before them and it seemed that the fight was between “terrestrials” and “celestials”. The terrestrials that are the Mughal army proved careless, and looked utterly dismayed when the fight began. Hundreds of Mughal soldiers lost their lives as they rushed near the fort, and were greeted with arrows and bullets. Akbar understood that this was nothing but foolishness, a waste of precious lives. He mounted his horse and circuited the entire fort with his surveyors, looking for the most vulnerable part of the fort. After a close inspection he formulated his plan and put them to execution.

THE PLANNING AND EXECUTION:

He formed three principal batteries, each under one or two commanders, and assigned them to construct a long snakelike covered path to reach the base of the fort. It was called sabat, a long trench built over the ground, covered with raw hides of animals for protection against bullets and arrows. The sabats were so wide that ten horsemen could ride side by side, and a man on an elephant with a spear could pass through. There were loop holes on the walls of the sabats from where Mughal marksmen occasionally shot down Rajput gunners. Akbar himself travelled through this passage to see the progress of work. The idea was to approach the fort through the sabats and dig two huge ditches on the base of the fort, and stack it with 120 and 80 mans of gunpowder. Once the gunpowder stacked properly it would be detonated from a distance, the huge explosion would blow away the walls of the fort to pieces. A passage will be opened and through this passage thousands of Mughal soldiers will find their way into the fort. This was a very daring and dangerous plan as you shall soon find out. The execution of this plan turned out to be immensely difficult. Chittor become a bloody mela where hundreds of carpenters, workers worked in perilous condition to construct the sabats. As the Rajputs rained arrows, bullets, rocks on them, Akbar on the other hand showered gold and silver upon them. Each day at least two hundred men died constructing sabats, sometimes dead bodies were fastened to the walls of the sabats as protective layer!

The Imperial army had arrived Chittor on October 1567, by 17^th December the mines were carefully positioned at the base of the fort, ready to explode. Akbar explained his plan to the generals; he asked them to lead the soldiers as soon as the two mines explode. But this never happened, the mines were detonated by a single fuse, one mine exploded and blasted away a portion of the wall into the air. The Mughal soldiers without waiting for the second mine to take fire, rushed towards the broken wall and a wave of Rajput soldiers came out to stop them. The two armies hacked, cut and killed each other on the spot as the second mine exploded and blew off both the parties out of the world. Limbs, torso, and heads went flying into the air, as the second mine exploded causing a tremor. It was a huge loss for the both the armies nevertheless the fight went on, both sides wouldn’t give away an inch. It was one of the bloodiest and scariest battles in Indian history. Akbar had reportedly asked his miners to ignite the two mines from two separate places, this was left unheard and the price was paid by blood. This great tragedy did not hamper anything, the loss of lives, nor Akbar’s stern determination. In quick space, the Rajputs, who were fighting valiantly succeeded in erecting another wall of stone as big as the former and to some extent repaired the damage caused. The Mughals slightly were losing ground, time was running out, so were lives, but the most important was all these arrangements. Akbar however remained still, he asked his soldiers to be patient and concentrate finishing sabats. However the Mughal army knew that this war could only be won by a miracle and a miracle was done by none other than Akbar himself.

Akbar shoots Jaimal, source V&A

Days passed this way, months passed, and February came, when something remarkable happened. After continuous battle, offense and defense, the walls of the fort had developed large breaches. The Rajputs in some places had stuffed inflammable objects like muslin, cotton etc so when the Mughals charge in, they could lit up the fire and burn the invading army. Attacks, counterattacks of these were devised everyday and tested. When one day a fierce attack was made and a part of the wall nearly gave away, the Rajputs immediately were on their toes, and commenced repair work. In that evening a Rajput general was inspecting his workers at work, when Akbar saw him through the loophole of the sabat. He called for his gun Sangram right away, it was delivered. He took a long aim at him and fired a shot. To his amazement and also his officers, the Rajput commander fell down, suggesting that he was shot and dead. Although Akbar was not sure of the rank of the person he killed, he had thought him to be important since he wore the Hazari masha (the coat of thousand nails). Perhaps his officers and Akbar were also not sure of his death so they waited for an hour. One of his officers reported that this man, the fallen Rajput commander had been up there all night inspecting the repair work, since he did not return for an hour it was almost sure he was dead. Akbar waited nervously but after a short while news came in that the workers had all left the place, and black smoke is seen twisting up into the air from the fort of Chittor. Rajah Bhagwant Das, who was a Mughal ally along with Rajah Todar Mal, in the entire expedition, confirmed that the smoke was from the pyres of Jauhar!

THE RAIDERS OF THE FORT:

That night at least three hundred women plunged into the open fire and killed themselves. The workers had retired broken hearted and now it was obvious that the Mughals had won the war after a long wait. In the morning Akbar was informed that the Rajput commander he killed was no other than the celebrated leader of Chittor fort- Jaimal. A meeting was soon called and it was decided that the fort was to be stormed, but with great precaution and care, to avoid a trap. Akbar thought it best to launch the medieval tanks into action, the fully armored huge elephants of war. Akbar himself mounted on an elephant and rode with his infantry. Some strange incidents happened during this attack. A great elephant called Madhukar, looking fierce and brutal, swayed its trunks and moved forward, when a brave Rajput warrior by the name Aissar Das Cohan stopped it, and asked its name. He was told and he quickly grasped the elephant’s tusk with one hand, and with the other he struck the elephant with a dagger; and said, “Be good enough to convey my respects to the world-adorning appreciator of merit.” Some great deeds were happening all over, right before Akbar’s nose. The Rajputs were displaying wonderful act of courageousness and bravery, some of it are beyond explanation. Akbar was standing near a wall of the fort when a Rajput appeared from nowhere and challenged him from a duel. Akbar happily responded to his call, unsheathed his shamsir, the fight went for a long time before the man was killed. Inside the fort there was no question of formation and battle plan, there was fight in every nook and corner of the fort, hand to hand, steel to steel.

When the raiders stormed the fort there were fifty elephants, in short time the passage so widened that almost three hundred elephants entered the fort, and trampled people under its feet. The elephants used some brutal techniques as well, they grasped one limb of the enemy with its trunk, trampled the other and ripped him apart. Still this horrible sight did not deter the brave Rajputs who were putting fight in every place in every part of the fort. The Mughal meet obstacles on every road, the valiant Rajputs were leaping out from oblivion to offer the greatest fight ever. Finally the elephant Govind Shyam made news when it trampled a man under its feet near a temple; it carried the man on its trunk and dropped him before Akbar’s feet. Although the man was still alive, he breathed his last in few minutes as Akbar came to know it was none other than Patta who had assembled a number of Rajputs and fought determinedly.

The battle, massacre, whatever you say, went on from dawn to midday; approximately 30,000 men had died and thus ended the great siege of Chittor. The great violence, the immense loss of Imperial soldiers, maddened Akbar so much that he ordered for a general massacre. His anger was further fueled by the Rajput marksmen who had killed a lot of Mughal soldiers in their attempt to break the walls. It turned out that these snipers had all left Chittor before it was sacked, and could only be found in the wilderness. Although he had ordered for general massacre, but many were taken prisoners, at mid-day Akbar’s great revenge pacified, he ordered the killings to stop. After his great victory he stayed at Chittor for three more days, and finally gave the province to his illustrious general Asaf Khan (the same man who played a crucial role in the Battle of Panipat). He sent out letters to Agra to inform of his victory, and he himself to fulfill his long cherished promise, set out for Ajmir.

The Emperor walked the whole way on foot, with the entire regiment gradually moving with him, this way he reached Ajmir, to the Dargah of Moin-ud-din Chisti. There as penance or perhaps as an act of atonement, he gifted alms to the poor and needy. Subsequently to commemorate this great feat he built the beautiful city at Fatehpur-Sikri, near Agra and named it “Fatehpur” or the “Town of Victory”!

Fatehpur-Sikri,self photography

This war had many implications in Akbar’s life as an Emperor, it did add another precious feather in his cap, but capturing Chittor added to his reputation of being a great military strategist. The Mughals had very little siege weapons, mortars, siege canons and if they did none of it were effective. At one point they even started building it in-situ, but it proved absolutely unproductive. As far as the strategy was concerned it was brave, but calculated risk from Akbar to reduce his army, and set out to destroy Udai Singh. Ironically this did not help as Udai Singh posed a more difficult challenge to him, by vacating the fort, leaving up to Akbar the task of conquering Chittor. What is extraordinary is the management and leadership skill of both the commanders Akbar and Jaimal-Patta. Luck also favored Akbar in many ways, on one occasion, while he was sanding with his generals a canon ball feel near, and sent twenty of his men straight to death, while Akbar was left unhurt. Similar incidences happened many times in this war, but each time Akbar was saved. That makes me believe that leaving aside all military strategy and norms, in effect the Mughals led by Akbar had one great edge, that edge, was no other than His Majesty himself!

Signing off today, stay well, cheers!

ACKNOWLEDGEMENTS:

1. The Akbarnama, Volume II, by Abul Fazl, translated by H.Beveridge.

2. The Muntakhabu-rukh by Al Badaoni, translated from Persian by George S. A Ranking, Sir Wosley Haig, and W.H Lowe.

3. Rajput, by Eva Ulian.

4. The Rajputs of Rajputana: A Glimpse of Medieval Rajasthan, by M.S Naravane.

The Influences on the Design of Taj

noreply@blogger.com (Sumit Soren) — Sun, 12 May 2013 12:54:35 PDT

It was mid August when I planned to visit the Taj Mahal after a week of my arrival In Agra. In the same day I also visited the Agra fort, and the plan was to leave the fort before 2.00 o’clock and after a lunch break of an hour- onward to Taj. It was a simple plan and the execution worked out, after a heavy meal with chicken curry and nan, I hired an auto to take me to Taj. It was my first visit so I didn’t know that there are three gates by which one could enter-The East, West and The North Gate. luckily I entered through the West Gate where the queue was small. After a round of security check up and these sorts of things I entered the Taj complex.

The Impressive Gateway to the Taj

By whichever gate one enters he/she has to go through the impressive Main Gateway which is richly adorned by chatris at the top and exquisite calligraphy. The calligraphy is in Thulth style, where the letters have a definite slope and exquisite curves. The beautiful inscription ends with,” now enter the paradise”. I entered the gate and after taking a few steps forward this is what I saw.

The Wonder!

You see it doesn’t seem real, especially after criss-crossing the noisy city of Agra what you see before you absolutely doesn’t seem manmade. Thence I admired the poets who have portrayed Taj,”as a dream in marble,” “as tear drop in the cheek of time”, it absolutely is. And tell you what from that day I visited the Taj almost twelve times, in different months, in different times of the day and with different intentions in mind, but never for once that marble building seemed to me real. It appeared quite literally as if a huge oil painting on canvas hanging from heaven. But whatever it was, I am here to explore it and know about the most beautiful building ever made, and above all I was on the look for the evolution of the Taj.

Humayun's tomb

If Taj Mahal is the highest achievement of Mughal Architecture and Engineering there must be some imprints in the past from where the architects took inspiration. For that we need to again take a dive in time and go to 1569 when the construction of Humayun’s tomb finished. Humayun was the son of Zahiruddin Muhammad Babur, the founder of Mughal Empire in India. If you see the pic of the tomb you and the high-lightened portion you know what inspiration I am talking about. First thing here is to note the Iwan (definition may vary!), which are unique to Persian architecture. I am not quite sure, but I can say with a certain degree of accuracy that this was for the first time that Hindustan saw-Iwan. In fact the main architect was Mirak Mirza Ghiyath a Persian Architect. And why not, Humayun himself was so fond Persian architecture,manners,customs, and etiquette that he carried an army of skilled workers, musicians, cooks and what not all the way from Persia to India. He was not fond of one thing though- Persian monarch. The notable thing here is also the superb geometry that the Mughal architects were always famous for and of course the Charbagh garden which was then India’s newest import from Persia.

Gateway to the tomb of Akbar

Next is of course the tomb of Akbar at Sikandra. Built over a vast area this is Mughal knowledge of geometry and symmetry at its best. The entire tomb looks like a step pyramid, resembling the roof of a Hindu temple, broader at the base and gradually narrower as it reached the apex. Akbar had fascination over these sorts of buildings it can also be seen in Fatehpur Sikri, one of his most celebrated building -the Panch Mahal. It is entirely different from Taj Mahal but there are some aspects which may have inspire the designers of the Taj. Akbar’s tomb was started by His Majesty himself but after his death it was left incomplete which was then completed by Jahangir his son and next Emperor. The time of construction usually attributed is 1555 to 1605. It has four gates at four different corners and of course one main gateway which contains excellent work of pietra-dura. What are interesting are the four minarets with chatris at the apex over the gateway. In many ways they resemble the minarets of the Taj. Also it is a three stage minaret if I may call them this way, with circular rings at regular intervals. Below the rings, you may also call them eaves, which protect the minaret against rain are decorated brackets. Here we have an example of Rajput influence since decorative brackets are quite unique to Rajasthan. The most convincing effort of copy paste is noticeable in the herringbone inlays. As I have tried to show in the pic, one is of Taj Mahal’s and another is from the main gateway of Sikandra. The two buildings are twenty seven years apart from each other, nevertheless the resemblance is striking.

The Herring Bone Inlays of the slim Minarets: Left and Right, at Akbar's tomb Sikandra and Centre Taj Mahal

Tomb of Abdur Rahim Khan i Khanan

Abdur Rahim Khan I Khanan who was one of the Navaratnas in Akbar’s court and a very illustrious noble is buried in New Delhi. His tomb built around 1627 A.D is yet another monument from where the Taj got inspiration. In fact “it resembles Taj more closely”, the structure is more tightly packed as in the case of Taj and unlike Humayun’s tomb where they occupy a larger extent. The chatris are nicely placed at four corners, the building is symmetrical only perhaps the minarets are missing. It is likely that Shah Jahan and his engineers may have studied this tomb before designing the Taj since it was built only five years before the construction of Taj started. So we may look at it as a trend quite prevalent in those days.

The Taj and the Agra Fort is on the same side of the river Yamuna, on the other side of the river is a monument which the locals call,” the baby Taj” which in fact is the tomb of Itmad-ud-Daulah. Itmad-ud-Daulah was a very famous man of his time, father to Nur Jahan, Emperor Jahangir’s consort and grandfather of Mumtaz Mahal. His tomb is like a jewel casket where the most exquisite form of inlay work is seen, some of it are truly mind boggling. Built around 1622 A.D commissioned by none other than Nur Jahan it is perhaps the first building before the Taj which is entirely of marble. On this note it is mention worthy that each Emperor starting from Akbar and ending in Shah Jahan had different style. Akbar was mainly a proponent of red stand-stone and very seldom commissioned marble work. Akbar like a sponge sucked every notion and idea and played with it. His crafts man created some magic out of red sandstone which is visible in Fatehpur Sikri which I will discuss more elaborately in future. Jahangir his successor was the first to introduce marble in construction, but never constructed the whole building out of marble, except perhaps the tomb of Itmad-ud-Daulah. Shah Jahan turned to be a real exception if he lived for a long time he would have rided the whole Makrana of marble.

The Tomb of Itmad-ud-Daula

The tomb is built entirely of marble save the platform where it stands. It does not have dome but it has four minarets fitted at the four corners of the building. The minarets here are obviously not as tall and towering as in the Taj but it has some striking features. Take for example the brackets below the eaves they closely resemble the brackets of the Taj. So we can say that these exquisitely decorated brackets had become the trend in those days. The Jalis here are all masterpieces of art and that is also something you will see in the Taj. I really wonder what tools the stone cutters might have used, but whatever they used they simply made a magnum opus out of it. Inside the “baby Taj” you will get to see all different types of Jalis, all of different designs and patterns and inside the Taj where the tomb lays there as well you get to see all kinds of Jalis.

Left Jali on the Baby Taj, Right Taj Mahal

In the pic below I have tried to compare the Chatris of the Taj and that of the tomb of Itmad-ud-Daulah. Have a look and tell me you don’t find a resemblance! Of course there is and that is what about it, well we can say that this building the tomb of Itmad-ud-Daulah was the greatest monument till the making of the Taj. It must have envied Shah Jahan who was an architect himself while in deputation to Guajarat in his youth, and a man of such artistic caliber, and vision must have envisioned something, that could surpass this great monument of tribute from a daughter to his father. It was only a coincidence that the grand-daughter (Mumtaz Mahal’s tomb) overshadowed the charm of the grandfather (Itmad-ud-Daulah). But it is a family matter anyway!

Chatris: Left the Taj and Right Baby Taj

Although the Taj might have been influenced by many of monuments, buildings, structures built by the Mughal Emperors in the past, but its greatest charm is the creative and intelligent uses of all those elements, and making a wonder out of it. The bulbous dome or the lotus dome whatever you call it is a fine example of the fine mastery and innovation. In fact in the tomb of Ibrahim Shah II, the Adil Shahi Sultan of Bijapur, has also this lotus element in the dome of the tomb. This is completely an Indian element, more of a Hindu element if I need to be precise, but this was used magnificently and craftily to ornate the domes, making it more Indian and thereby distinct from those of Arabia or other Muslim world. In case of the Taj this reaches to fantastic level, where the lotus flowers opens up inversely at the top and is joined together in the pinnacle. This amazing taste of art, extending art beyond frontiers, religion and tradition is one of the remarkable features of Mughal Architecture. Shah Jahan although orthodox in his religious view gave that freedom to his architects, for the sake of art and architecture that they could imbibe different aspects and make the wonder that is Taj.

Note the lotus petals on the dome, the tomb of Ibrahim Shah II

From all different angles there is no masculinity in Taj, it is entirely feminine, and like a jewel which makes onlookers bedazzled by its beauty. Someone has rightly said that Taj Mahal is not being, “a thing of will, of design , or of scholarship, but a discovery of the nature of things in building a continuous development along the same line of direction imposed by needs, desires and tradition.”

Acknowledgements

History of Indian Art by E B Havell.
Taj Mahal, by Cynthia Kennedy Henzel.
Taj Mahal, Archaeological Survey of India.

Photographs: Ibrahim Shah II tomb, Humayun's tomb, Abdur Rahim's Tomb from wikipedia under creative common license and rest photographed by me.

Representation of Santals by Bengali Artists

noreply@blogger.com (Sumit Soren) — Mon, 30 Jul 2012 01:05:36 PDT

In the state of West Bengal the Santals and Bengalis have resided together for a long long time. It is very hard to specify a time period of their association nevertheless it is impossible to deny the symbiotic relationship between these two communities. Exchanges as we know occurred on all fronts and it is interesting to observe these interactions. One way to observe these interactions is to look at the exchanges between Bengali and Santali languages which still is quite significant. Both the languages have considerably influenced one another, but in art we get to see another interesting level of interaction which is the subject of this article.

To discuss this I must begin from somewhere, perhaps it will be proper to begin from the time of Santal rebellion. I choose the year 1855 to begin the discussion since prior to this there is not enough material or documents which can throw ample light of the social status of Santals in Bengali community. It is because of the intensity and the popularity of this landmark event that produced so many documents and literature about the Santals. Before Sepoy Mutiny, Santal rebellion was an event widely covered by the press and every day development was presented with renewed interest. Probably one report will help us to understand how the rebellion was covered by the press.

“It is extremely painful to write about the atrocities of the mountain dwellers. They have committed unprecedented violence while sacking Jhikarhati, the nature and intensity of which cannot be imitated by the fiercest wild animals. They have involved themselves in slaughter and arson.

The unity among Santals is truly amazing. They can assemble thousands of their comrades by beating their drums. The reader may wonder about the amount of force necessary to keep them at bay. As what caused this rebellion, the reason is yet unknown but there is a rumor that two infidels have raised themselves against the Government. Since the wretches have sacrificed a few before goddesses Kali, I am convinced that they are not infidels. Some say the rebellion is due to the atrocities on the Santal women by the railway workers, some say it is all about land revenue, no one knows the actual cause, I will try to post about it as soon as I know.” (Translated from bengali) Amra, Sambad Prabhakar, 13^th July, 1855.

This is a picture of how the news was covered in a nutshell. Just as in recent time, one fine morning we get to know that communal violence in Assam, we learn about the ravages and the atrocities, and then we get curious to know what might have caused it. It worked similarly then as well. But apart from exposing the violence the report does raise an important question- what were the causes of the rebellion? When the cause was known the Bengalis partly sympathized with the Santhals however the violence committed by the rebels still remained fresh in their memory. With the growth of nationalism and reformation especially after 1890 a renewed interest on the Santals was slowly gaining ground. The Bengali revivalists started to look at the Santals with a feeling of empathy and appreciated their innocence and vitality which was quite lacking in their own society. Santali society was becoming the embodiment of an “ideal society” where they could find the essence of long lost Oriental values. I will discuss below how some of the key figures of Bengali renaissance endorsed this perception, became interested in the Santals and represented in them in various art forms in the early half of the twentieth century which in effect became the inspiration for other artists to come.

Ishwar Chandra Vidyasagar

I would like to begin with Ishwar Chandra Vidyasagar, the eminent Bengali social reformer. As a matter of fact while endorsing and implementing widow remarriage, women education the great man received unimagined wounds in his heart. He was shocked by the hypocrisy in Bengali middle class and disenchanted by the double-standards of the Pandits. While he appreciated the Western notions of equality and liberty he was shocked by the diffidence of the Anglican intelligentsia to deliver the same goods in India. An embittered Vidyasagar therefore had to severe all connections, even with his closest family members and look for peace somewhere else, away from urban emptiness. He went to Karmatanr (now in Jharkhand) and spent his days with the Santals there; he practiced homeopathy medicine and looked after the medical need of the Santals, in turn the latter presented him with gifts, the produce of their farms.[i] He spent 18 years in Karmatanr, here he was friend, a doctor, a reformer and also an educationist. He found the Santals unspoiled and untouched by “urban civilization” and to a certain extent they managed to hold his “faith on man”. With all his courage and convictions, unequalled scholarship and intellect, Vidyasagar became increasingly lonely at the later part of his life; his association with the Santals was the only good memory of what has been a tedious and excruciating journey of reformation.

Swami Vivekananda the fervent religious cum social reformer was vocal to spread the message, “forget not that the lower classes the ignorant, the poor, the illiterate, the cobbler, the sweeper, are thy flesh and blood, thy brothers”. I think that was a very important message passed down to his people for in essence it contained his wish to unite people than to divide. If one considers the time then we will see that this was quite a radical idea. And not just in speeches and lectures but it was put into action in the maths where Vivekanada and his monk brethren regularly feed the Santal construction workers. When one of the monk follower asked him, “Why do you fuss so much over the Santals?”. He said, “They are as much the children of God as you or I”.[ii]

THE SANTAL woman hurries up and down the gravelled path under the

shimool tree; a coarse grey sari closely twines her slender limbs, dark and compact; its red border sweeping across the air with the flaming red magic of the palash flower.

Some absent-minded divine designer, while fashioning a black bird

with the stuff of the July cloud and the lightning flash, must have improvised unawares this woman's form; her impulsive wings hidden within, her nimble steps uniting in them a woman's walk and a bird's flight.............

I sit on my terrace watching the young woman foiling at her task

hour after hour. My heart is touched with shame when I feel that the woman's service sacredly ordained for her loved ones, its dignity soiled by the market price, should have been robbed by me with the help of a few pieces of copper.

This is none other than our very own bard observing a Santali woman at work, making the poet’s mud house. After poetry let’s consider a prose.

“Baire theke misti sure awaj elo (The sound of a sweet voice came from outside)

Babu dekechis kene? (Babu, why have you called me)

Baire ese dekhi camellia (I came to see the camelia)

Kalo galer opor alo koreche (Brightly arrayed on her dark cheek)

Se abbar jiggesa korte, dekechis kene? (She asked again,” why have you called me?”)[iii]

I hope you can notice a different perspective of viewing and representing the Santal here, is it not? It is something beyond seeing the Santals as long ignored and betrayed people, but this is something exquisite. It is about their beauty, it is about the charm which yet remained unexplored. Tagore throws a pleasant light on this aspect of the Santals. It is certainly not socio-economical perspective which can only measure abject poverty, misappropriation of lands etc, but about something more passionate more emotional. This is also different from the mostly anthropological perspective presented by the British civil servants and ethnographers.

This aspect of the Santals perhaps could only be covered by artists, and this is where the Bengali artists of the early twentieth century made a remarkable contribution. The Bengal school produced some finest painters who dealt with the Santals in varied and interesting perspective. The painters of Bengal school in Kolkata and Shantiniketan brought a fresh breath of air in Indian art. One of the greatest aspects of it was to bring the previously unexplored elements or subjects in art. Like the representation of the Santals for example, before this Indian art was centered on Hindu mythology or Mughal retrospective or perhaps some alternative art from the company paintings. But all these covered the already known elements of the society, the grandeur of Nawabs and Kings, a vivid picture of the festivities, of old and new mansions, the tales of mythology but something unique was waiting to happen.

The Government College of Art and craft one of oldest art colleges in India was founded in 1854. Eminent artists like Percy Brown, Abanindranath Tagore and Mukul Dey served as the principal of this college. This college produced some of the best known artists like Jamini Roy, Nandalal Bose, Devi Prosad Roy Chowdhury, and Kshtindrananth Majumdar. All of them painted the Santals and each of them represented the Santals in a unique perspective.

Kshitindranath Majumdar

Kshtindranath Majumdar an eminent artist from Murshidabad was a student of Government Art College and a disciple of Abanindranath Tagore. He painted a Santal woman as Jamuna (refer page 28 of the book), it is a beautiful painting please have a look. Kshitindranath was a devoted Vaishnavite and had painted a number of scenes from the Hindu mythology. The naming of the Santali woman as Jamuna is quite interesting and draws attention. Kshtindrananth draws a connection of the Santals with the fate and status of the river goddesses Jamuna, who is dark, beloved of Vishnu and is second in place after Ganga. Second in place, but both Ganga and Yamuna is considered as a lucky charm in India. So in the naming part Kshitindranath depicts the Santals as important as the elite classes of the society and the same children of God. It has a tinge of irony in it, but Kshitindrananth reacts to the “skin color prejudice” by making the woman beautiful and pleasing to the eye. Her facial feature does not contain the prominent Santali features but it is all about the dress, the flower in head, and the posture which speaks of its Santalhood.

So clearly Kshtindranath’s work is a deviation from the Colonial interpretation of the Santals. It finds beauty in a simple Santali woman and it represents it with purity and with the natural aura which is intrinsic to the Santals. Nevertheless in doing this work Kshtindranath understand the status and position of the Santals with respect to the Vaishnav worldview and perception.

One of the important aspects of the Santals which immensely attracted Bengali artists was the Santali dance. As a matter of fact the Santali dance is a wonderful visual art form and is a treat to watch. The Bengalis initially love this because of its visual grace and then later they appreciate its rhythm and grammar. Jamini Roy who worked for a new style and new mode expression represented the Santals in a unique setting. His Santali women give the impression of strength, of motherly affection and the enduring the struggle meet with simplicity. He depicted the Santali dance in his paintings much like the potuas (Bengali village scroll painters). In fact in 1935 Jamini Roy received the highest accolade at the Academy of Fine Arts in Calcutta for his Santal and Child.[iv] Nandalal Bose also captures this great art form of the Santals in his painting the – The Santali Dance. It is fascinating to watch the Santal dancers in action, in full swing.

Jamini Roy

In fact a significant counter current was flowing inside the Bengali society led by Rabindranath. His idea of “Shantiniketan” an abode of peace where teachers and pupils would jointly study in the lap of nature was an antithesis to the materialistic and urban centric development imported from the West. This idea to go back to the basics, to go look for once own root, right from where civilization began was a very formidable idea brought forth to challenge the Western blue print to design India at their own sweet will. To support this theory or to market this idea a suitable subject was necessary and that happened to be the Santhals. It was not only the Santals though in general it was the peasants of Bengal who were well represented by Sarat Chandra Chattopadhay and later by Bhibuti Bhusan Bandhopadhay but that was in literature.

It was necessary then to rediscover the simple and uncorrupted life of Santals and project it to support the theory of going back to roots (or back to basics theory). The easy going life of the Santals, their simplistic approach to life, their song and dance were displayed passionately by the artists to show the “the nature’s children”. Ramkinkar Baij exhibited the dynamic and the relentless struggle of the Santals against odd time in his monumental sculpture- The Santal Family. In doing this he displays the strength of the Santal women perhaps both inner and outer, also their temperament and vitality. [v] So in effect what we see that the Bengali revivalists in launching the counter thesis represented the Santals in an all new perspective. However if we look more closely then we will find that apart from representing the Santals in the light of “back to basics” perception few more perspectives were added quite unknowingly and that came from the experiences and the personal beliefs of the artists. Like in Kshitindranath’s case he understood the Santals from his Vaishnab background for Ramkinkar it was his experiences with the Santal people or laboring masses in general. For Binode Behari Mukherjee it was the illustration of casual scenes of Santalivillage and daily life, coming from his candid involvement with the Santals whereas Deviprosad Roy Chowdhury in his painting Santal Mother and the child (click and refer page 30 of the book) presented the Santal family quite symbolically much like Kshitindranath's Jamuna. As a matter of fact every individual has multiple identities and while making a creation he/she leaves a mark of all those identities, which are traceable only if we study their lives.

I also get the feeling that the artists in Shantiniketan poised themselves against the Anglican views of the indigenous people of India. The British civil servants and ethnographers represented the Santals as very distinct from the Hindu society, their culture, their habit, and pointed that their social injunctions and customs shared very little from their elite neighbor. In effect this representation produced some separatist demarcation of an indigenous people and endorsed the idea of a “noble savage” much better than their corrupt Aryan neighbors. The hardcore Hindu Nationalists in countering this threat projected the Santals as a long forgotten Hindu brother and showcased their culture, rituals quite in harmony with the basics of Hinduism. However the secular artists of Shantiniketan and Bengal freed themselves from all these prejudices and represented the Santals in the way they are and found a way of unity with them, in doing this they passed the message of unity among diversity. It was perhaps also an answer to the Anglican Protestant Missionaries working in Eastern India converting Adivasis who aimed to reshape the Santals in their own line.

The representation of Santals in this new perspective was instrumental in re-shaping the common Bengalis notion about Santals. The works of Jamini Roy, Nandalal Bose, Jamini Roy, Ramkinkar Baij, Binode Behari, Devi Prosad inspired the later generation of artists, writers and filmmakers. Mahesweta Devi, Ritwik Ghatak, Satyajit Ray touched and handled the "Santal" subject in their own way. In fact Satyajit Ray’s last film Aguntuk (1992) is a wonderful visual representation of the contrast between the two societies, of urban and indigenous. The question is not, whether all these perspectives were wrong or right, but what is interesting are the “perspectives” itself. For it shows how people of other communities look and understand indigenous people.

[My sincere thanks to Dr. Daniel Rycroft of East Anglia University, who made me interested in this topic. ]

Acknowledgements:

[i] The Bengalis: The People, Their History, and Culture. Bengali Renaissance, edited by S.N.. Das

[ii] Sculpting the Middle Class: History, Masculinity and the Amar Chitra Katha, By Deepa Sreenivas

[iii] Studies on Rabindranath Tagore, Volume 1, By Mohit Kumar Ray

[iv] The Triumph of Modernism: India's Artists and the Avant-Garde, 1922-1947, By Partha Mitter

[v] Ibid.

Murshidabad Mangoes

noreply@blogger.com (Sumit Soren) — Thu, 19 Jul 2012 22:43:24 PDT

Purna Chandra Mazumdar was the Abul Fazl of Murshidabad, his priceless work, “The Musnad of Murshidabad” is a must read for anyone who wants to know about the old city of Murshidabad. Born in 1856, Purna Chandra Mazumdar grew up to be a brilliant scholar. He passed his law examination with credit, but refused the British Government’s offer for a magisterial post, preferring to practice law in his home town. Dedicated to public service he was held in high regard. Of a literary bent, he wrote, “The Musnud of Murshidabad”. In addition to this he became the legal advisor and the private secretary of the Nawab Bahadur of Murshidabad. He died in January 1912. [i]

The Musnud of Murshidabad covers the historical places of Murshidabad in depth. Since Purna Chandra was very close to the then Nawab and his secretary, his access to the royal archives was unrestricted, and he used this precious opportunity to enrich the book with lots of details and minute observations. The book is not merely a handbook it is an excellent source of information for historians as well. Like Abul Fazl’s Akbarnama, The Musnud of Murshidabad touches all the aspects of the Nawabi era Murshidabad. However during 1905 when this book was released the Nawabs were nothing more than state pension holders and Murshidabad had become a relic. Purna Chandra therefore captures the dwindling days of Murshidabad nevertheless it successfully pictures what Murshidabad was in the past.

Now that the brief introduction about the author and the book is done, I come to the point and that is– mangoes! Perhaps you are swindled by the opening paragraphs, but yes today my topic is the Mangoes of Murshidabad. You see there are many aspects linked with a simple mango, the greatest of course is it to have it served on a plate, but beyond that there are something else which are equally interesting. So I will not waste time but simply copy paste from Purna Chandra’s book the section where he discusses mangoes. Occasionally I will give my inputs (will be in bold) to “enrich” the narration and also to make it little, “spicy” so you that relish it with heavenly pleasure.

About a quarter of a mile to the south of Katra Masjid is Kadam Sarif, to the south east of Kadam Sarif, about a couple of miles away from the palace is Mubarak Manzil. Once upon a time this place had a building which was owned by the East India Company. Courts were held here from 1765 but later it was transferred to Calcutta. Subsequently Nawab Humayun Jah purchased the land and the building from the Company and thereafter it was converted to a garden house cum summer residence. Humayun Jah also installed a throne here, it was actually a round table made of stone- six feet in diameter, eighteen inches high, with four thick pedestals. Later this too was transferred to Calcutta and now it graces the Victoria Memorial.

Mubarak Manzil, like many other gardens of the Nawab Bahadur of Murshidabad, produces very good mangoes, for the variety and excellence of which Murshidabad has always been famous. They are known and appreciated in Calcutta by the name of Choonakhali mangoes. But the fruits of the best qualities seldom go out of Murshidabad. Which planting, grafts are preferred to seedlings, as the former bear fruit earlier. The general qualities of good mangoes are Chhilkapatla, or thin skinned, ##thiradar (the first two alphabets are unreadable )or juicy, gootlichoota or small stoned, turshi that is of sweet-sourish taste, mugzmolaem or of delicate flesh and beresha or threadless. With pallao (pulau), meat dishes, and preparations of ghee the best suited and generally liked is the ananas, which in flavor and color very much resembles the legitimate fruit of that name namely the pineapple. Great precautions are taken to prevent the fruit from being purloined. The owners of the best gardens seldom sell them and hence the extreme difficulty of securing the best varieties in the bazaar.

Mango trees in Katgola Bagan Murshidabad

The Murshidabad fruit is unrivalled in color, flavor and taste. Subacid mangoes are generally preferred by the Mahomedans to the very sweet varieties, so much in favor with the Hindus. The fruits are taken down from the trees, one by one, in what is called a thoosi, which is a thin bamboo pole, with an open mouthed net bag at the top end, into which the fruits are received when drawn in with a slight jerk. No good mangoes are obtained by shaking the branches and collected on the ground. The slightest pressure or hurt spoils them. The parts affected become hard and bad of taste. The most delicate varieties, like the Kalapahar, are kept on a cushion of leaves and their position is changed many times a day, till they are ready for the knife. Mahomedans and appreciative Hindus eat mangoes in slices, and seldom take its squeezed out juice with milk, so much valued by the Hindus. The best varieties, so jealously sent out as present to the Europeans, seldom find a place on their table and frequently find their way into the private store room of the butler or cook.

The Murhsidabad crop is earlier than the Maldah and June and July constitute its season. Mango makes good sauce and jelly. Indigestion if ever caused by partaking mangoes is cured by taking the kernel of the stone of the fruit with milk. A half ripe mango, taken from the tree with its stalk, is said to retain its taste for two or three months, while the color will remain even for a year, if the broken end of the stalk be closed with warm wax and kept in butter or honey.

The best living authority on and connoisseur of mangoes is Nawab Wala Kadr Syud Hossein Ali Meerza Bahadur (the son and successor of Feradun Jah, the last of the Nawab Nazims), who owns some of the best trees or purchases them at fabulous prices during the season.

The best varieties of Murshidabad mangoes are the following, among which the Kalapahar is the sovereign fruit.

1. Ananas

2. Anupan

3. Bangajal

4. Begumpasand- Pranab Mukherjee is said to have sent the famous Begum Pasand mangoes of Murshidabad to madam (Sonia Madam) and the PM. (Telegraph 2nd July 2006)
5. Bhowanichoras

6. Bimli

7. Bira

8. Daudbhog

9. Dilpasand

10. Doodhia

11. Foucalbayan

12. Gourjit- Also famous in Maldah, literally means the conqueror of Gour.
13. Hilsapeti

14. Kalapahar

15. Kohitoor

16. Misrikand

17. Mirzapasand- Named after the Mirza of Manpur.

18. Nawabpasand

19. Nazimpasand

20. Nazookbadan- Have very low sugar content good for diabetics.

21. Ranipasand

22. Rougni

23. Shadowla

24. Shahi (bura)

25. Sinduria (bura)

26. Subza

Apart from Purna Chandra, Asok Mitra a civil servant who spent some time in Murshidabad also attests the fanaticism about mangoes in Murshidabad. Here’s what he writes in his book, “The New India, 1948-1955: Memoirs of an Indian Civil Servant”. “Once a year Mr. Sripat Sing Duggar used to throw a mango party in his house where he used to serve anything between fifty to sixty varieties of the choicest mangoes that would have put Patna, Digha, Allahabad, Benaras, and Lucknow to shame. Nawabzada Kazem Ali Mirza who died in 1988, whom I had first met as SK Dey’s friend in Krishnanagar, had his own mango garden. He was seldom in residence but came at least once in the mango season. He had an exclusive prize breed called Molamjam. One day in 1949 he asked me if I could spend thirty-six hours with him right away at Hazar Duari. “What’s so scared or imperative about 36 hours,” I asked. ‘You see’ he said, ‘the molamjam must be eaten at the very moment it is ripe on the tree. My man who sits under the tree now says that it is about to ripen but cannot tell exactly when. It may ripen around two in the morning when he will awaken us, as happened once in 1932 when Sushil Dey was SDO here, you will have to eat it right then.’ ‘That’s the bally limit’ I exploded!”

Hazar duari palace built by Nawab Humayun Jah

Acknowledgements:

[i] Memoirs of an Indian Woman, By Shudha Mazumdar, Geraldine Hancock Forbes

Photo Courtesy- Subhajit Dasgupta

TRIAL OF SEEDO MANJHE AND OTHER REBELS

noreply@blogger.com (Sumit Soren) — Mon, 23 Jul 2012 08:32:19 PDT

While writing various articles on Santal Rebellion, and going through various books, write-ups I found that there is hardly any authentic description on the final days of the two celebrated leaders- Seedo and Kanhu. Some documents say they were hanged, others point they were shot, I believe as Santals we must know the truth and develop a consensus on this. Then of course we can disseminate this information among all Santali and other readers. It is not that there are no authentic records from which we can draw a fairly accurate idea on these issues, there is, but those records are waiting to be published and distributed. This year I translated some important reports/records in Bengali and published a booklet on this. This booklet named “Santal Hul 1855, the statements of Seedo in Court” was released last Saturday, 7th July 2012, on the eve of Santal Hul Celebration in the town of Berhampore.

Booklet on Seedo's trial

While writing on the fate of Seedo and Kanhu I have taken into account the first hand reports. From these reports it is clear that both Seedo and Kanhu had undergone trial along with other Santal leaders. Seedo was captured by betrayal and his trial was conducted first by the Session Judge of Bhagalpore- Mr William Bell and then the case was referred to Nizamat Adalat for the final verdict by the Nizamat Judges. He (Seedo) and other accused were presented in the Nizamat Adalat on 4th December, 1855 and on the same day the death sentence was awarded to Seedo.

A page from the book

The trial was conducted on the fourth day of December in the year 1855 at Bhagalpore in the Nizamat Adalat. The trial is recorded in, “REPORT OF CASES DETERMINED IN THE COURT OF NIZAMUT ADAWLUT for 1855, Volume V, Part 2”. The document is currently in the Harvard Law Library, the library received this document on January 17, 1899. I present below the summarized version of the entire proceeding.

PRESENT: SIR R. BARLOW, Bart, and B. J COLVIN, Esq Judges

GOVERNMENT

VERSUS

TRIAL NO.-1

SEEDO MANJEE (No.1), KISTO SONTHAL (No.2), MOOCHEA SONTHAL (No.3), DUKEA SONTHAL (No.4), HINGO CHOWDHRY(No.5), CHUCKOO DOME (No.6), BUDDUN DOME (No.7), JOORAWUN DOME (No.8), and BHOLA DOME (No.9)

TRIAL NO.2

ANTA MANJEE (No.10)

The Convicts (Spellings of names unchanged)

1. Seedo Manjee:

2. Kisto Sonthal:.

3. Moocheea Sonthal:

4. Dukea Sonthal:

5. Hingo Chowdry

6. Chuckoo Dome:

7. Buddun Dome:

8. Joorawun Dome:

9. Bhola Dome:

10. Anta Manjee:

The first nine, Seedo Manjee to Bhola Dome stood in the first trial, whereas Anta Manjee stood the second trial.

Charges against Seedo Manjee-

i) During the Months of July and August 1855, assembled men for purposes treasonable to the state and subversive of public tranquility.

ii) In having on 15th of the same month unlawfully resisted with arms the officers of the Government, thereby causing bloodshed.

iii) In having between the 5th and 7th July willfully murdered Mohess Dutt, naib Suzawul and eight others with a sword.

iv) In having during the months of July and August laid waste a large tract of country, plundering, and burning villages and putting all to the sword and placing the officers of the Government at defiance.

Charges against Kisto Sonthal, Moccheea Sonthal, Chuckoo Dome, Buddun Dome, Jorawun Dome-

i) During the Months of July and August 1855, unlawfully joined Seedo Manjee for purposes treasonable to the state and subversive of public tranquility.

ii) In having on 15th of July 1855, at Muheshpore unlawfully resisted with arms the officers of the Government, thereby causing bloodshed.

iii) In having been accomplices in the willful murder of Mohesh Dutt, Naib Suzawul and others between 5th and 7th July.

iv) In having accessory to the willful murder of Mohesh Dutt, Naib Suzawul and others.

v) In having aided and abetted in the willful murder of Mohesh Dutt and others.

vi) In having during the months of July and August laid waste a large part of the country, burning and plundering the village and putting the inhabitants to the sowrd and the placing the officers of the government at defiance.

Charges against Hingo Chowdhry-

1. Aiding and abetting in rebellion attended with murder, arson and plunder.

The Judges: SIR R Barlow and B J Colvin.

Committing Officer: The Honourable A. Eden, assistant special commissioner exercising the powers of a joint Magistrate.

Summary of the remarks by the Session Judge:

The committing officer, the Honourable Mr. Eden, assistant to the special commissioner for the suppression of the Sonthal Insurrection, was at the time of the outbreak in charge of the subdivision of Ourungabad (presently Aurangabad) and states, “On the 9th of July I received intelligence of an outbreak amongst the Sonthals, on the same day Sunno Momin came and told me that large bodies of Sonthals were assembled under Seedo and Khanooo (Kanhu) Sonthals, and that they had murdered the Mohesh Dutt Naib Suzawul and eight others with him and also several other men, that they were killing all they found, and plundering and burning. I sent for troops to Berhampore and on the 13th they arrived and we went in pursuit of the rebels and found that the whole country under the hills laid waste…Seedo was afterwards caught by an old Sonthal sent by me from Ourungabad, with him was caught Kisto (No.2) he abused the captors of Seedo and wanted to rescue him etc…Seedo and Kanoo must be looked upon as responsible for all atrocities that were committed by the men assembled at their bidding. No adequate causes for the rising has been assigned, and probably none exists, disposition to plunder and murder which is innate in the savage hill tribes, has been worked upon by several causes which it is unnecessary for me to particularize at this place.”

The first trial under report was held at Bhagulpore on the 29th, 30th, and 31st October and 1st Nomvember, 1855 and I (Mr. William Bell) was aided by a jury consisting of Meher Chunder Misser, Ram Chunder Chowdhry, and Bhowani Suhoy.

Seedo’s Statement and evidences of witness as placed by the Session Judge :

No less than eleven witnesses, swear to Seedo as concerned as a principal in the murder of Mohesh Dutt and others. According to the Session Judge, “the evidence of these witnesses is entitiled to every credit and the slight dispositions in their do not shake it any way. Seedo’s defence before the assistant commissioner and before the Sessions court is same in substance.” In his defence he clearly stated that he cannot be convicted of having risen up against the Government, when his original grievance was against the Muhajans (money lenders) who unlawfully extracted money from them. Seedo said that he had complained to Mr. Pontet (whom the Santals called "Ponteen") and the daroggah (police inspector) in this regard but there was no effect to his complains and finally he had to kill the daroggah for being an instrument in the hands of the muhajans (money lenders). He mentioned that it was true that his bands had in fact attacked villages and led raids however he did not fight with the troops at Mohespore.

Author's Remark: Sadly, these statements made by Seedo were not taken as his “defence” rather, “what he urges(d ) as a defence before me fully admitting his guilt upon all points.”

Kisto’s Statement and evidences of witness as placed by the Session Judge :

Session Judge stated, “Kisto pleaded guilty to being accessory to the murder of Mohesh Dutt Darogah, and of having laid waste of the country as detailed in the count 6th and his participation in these last acts of violence, and being present and armed at the murder of the Darogah was proved by the witnesses.” Witnesses also asserted that Kisto Sonthal abused and threatened his captors while he was cornered and arrested.

Moocheea’s Statement and evidences of witness as placed by the Session Judge:

Moocheea pleaded guilty to “having been an accomplice and accessory to the murder of the darogah and not guilty to the other charges.” “Before me he admits his participation in the murder of the darogah, but denies the intent to murder him beforehand, and his being with the plunderers out at a distance.”

Author’s Remark of the actual facts: The Session Judge seems to have overstated the facts for there was no plan to murder Mohesh Dutt darogah beforehand. The Santals had gathered under Seedo and Kanhu at Baboopore when Mohesh Dutt was bribed by the local money lenders and scared businessmen to arrest the leaders on false ground. When Seedo and Kanhu meet Mohesh Dutt, they said that the Santals were starving for want of food and requested him to collect some money from the businessmen to help them. Instead of helping Mohesh Dutt revealed his actual intention (which was to arrest them) and then the Santals became furious and cut him down. The facts as narrated here fully comply with the record of Captain Sherwill who wrote in “The Friend of India,” July- December, 1855 .

Hingo’s Statement and evidences of witness as placed by the Session Judge:

Compared to the above three Hingoo’s charge was nominal, only in aiding and abetting the rebels. He confessed that he had encouraged the rebels and sent them wine and a gun.

Remarks by the author: In fact Hingo’s statement was all but confused.

Chuckoo, Boodhun and Joorawun’s Statement and evidences of witness as placed by the Session Judge:

Remarks of the Session Judge: “Chuckoo Boodhun and Joorawun all plead not guilty, but allow they were present at the darogah’s murder, but say they ran away and hid themselves and did not assist in the plunder their participation in the business is established by witnesses Nos. 2,3,4 and 29.”

Trial No-2, Anta Manjee:

The second case regarding Anta Manjee was opened. He was charged “upon two separate counts, to both of which he pleads guilty”. The witnesses-Sepoys of the 40th regiment stated that Anta Manjee was with the group who attacked Captain Sherwill on August 1. That time Capain Sherwill was out in an expedition against the Santals. The Session judge remarked, “The prisoner is clearly shewn to have been wounded and seized with arms in his hands and to have resisted his capture. He confessed before the assistant commissioner on the 12th of October that he was at the fight, but says Chutto Manjee forced him to go, and this confession is attested as free and unbiased by witnesses. Before me he states that he went to look for his mother and brothers, when Chutto Sirdar called him and told him that the soldiers had burnt the villages of Deajajuree, and therefore he went with him, that he was armed and went to fight and that he was wounded and seized. He says he has nothing to offer in extenuation of his guilt. The jury find him guilty, in which I agree.”

Upon considering all the evidences and the statements of the accused, the Session Judge- Mr. William Bell passed his verdict outlined below-

The Verdict of the Session Judge:

1. Seedo Manjee: Sentenced to death by hanging.

2. Kisto Sonthal: Transportation for life beyond the sea.

3. Moocheea Sonthal: Sentenced to death by hanging.

4. Dukea Sonthal: Acquitted by lower court.

5. Hingo Chowdry: Fourteen years in banishment.

6. Chuckoo Dome: Fourteen years in banishment.

7. Buddun Dome: Fourteen years in banishment.

8. Joorawun Dome: Fourteen years in banishment.

9. Bhola Dome: Acquitted by lower court.

10. Anta Manjee: Transportation for life beyond the sea.

After passing his verdict the Session Judge added that in his opinion those awarded with capital punishment (Seedo and Moocheea) should be executed at the scene of their crime so that a strong lesson passes onto the Santals. They are to be put in to the charge of the assistant commissioner who will choose the site of execution in a manner which best suits for the suppression of the revolt. Further instructions were given by the court not to expose the bodies for public display after execution

The above was the proceeding and verdict of the Session Judge, the case was then forwarded to the Nizamat Adalat where Judges altered the previous verdict a little and passed a new verdict which is given below-

The Verdict of the Nizamat Adalat:

1. Seedo Manjee: Guilty of “willful murder”. Sentenced to death by hanging.

2. Kisto Sonthal: The Judge found his guilt was not of the same proportion as of Seedo but he stands charged with 1st, 2nd and 6th count (refer charges against him) and was, “Imprisoned for life with labor and irons in transportation.”

3. Moocheea Sonthal: For taking part in several acts of violence, was sentenced to death by hanging.

4. Dukea Sonthal: As no substantial evidence was found against him he was acquitted by lower court.

5. Hingo Chowdry: His sentence of “fourteen years in banishment” by the Session court was repelled since the Nizamat Adalat found that he only acted in obedience to the leaders and not voluntarily, therefore he was acquitted.

6. Chuckoo Dome: No evidence of serious offence was found against him, and also he was not Santal, the court acquitted him.

7. Buddun Dome No evidence of serious offence was found against him, and also he was not Santal, the court acquitted him.

8. Joorawun Dome: No evidence of serious offence was found against him, and also he was not Santal, the court acquitted him.

9. Bhola Dome: Lack of sufficient evidence acquitted by lower court.

10. Anta Manjee: He was guilty of what “he has confessed”, so the court sentenced him, “imprisonment with labour and iron for life and transportation.”

After this sentence was passed Seedo and Moocheea Sonthal was hanged at the “Baboopore, at the scene of their murders.” This is mentioned in Allen’s Indian Mail, February 5, 1856.

The Capture of Kanhu Murmu

The following are the records of the movements of Kanhu Murmu as prisoner after being caught near Opurbund.

1. Opurbund, November 30, 1855: Kanoo, Chand and Bhyroo (Bhario or Bhairav) along with other comrades were arrested while fleeing towards Hazaribagh, following their arrest they were brought to Opurband. He was arrested by Sirdar Ghotwal of Konjra.[i]

2. Raniganj, December 3, 1855: On Saturday Morning, Ensign Allen, of the 2nd Grenadiers, came into Raneegungee (Raniganj) from Opurbund with a party of his regiment, having as prisoners Kanoo, Chaund, Bhyro, and Kanoo alias Jutta, Sonthal mangees (Manjhis) and nine of their followers. He was transported from Raniganj to Suri because the authorities of the former place was unable to find any proof against him.

3. Suri, December 5, 1855: Khanoo Manjhee and twelve Sonthal prisoners were brought into Soorie on the morning of 5th December. On the evening of the same day General Lyod ordered that he and other prisoners should be brought to his camp. Here he said that he had been with Sidhu for a couple of months in Bhagalpore but choose to go towards Calcutta to see the Governor. He was noted to be a, “small limbed man, about five feet six inches tall in height, with small features… he is about thirty five years of age.” During his stay here he made it clear that his fight was not with the Europeans or the Company Raj but with the evil jamindars and their operatives, and he after finishing them off, longed to meet the Governor General. The news of Sidhu Murmu’s execution had not reached him, and when it was informed he said that it was fate and became indifferent about himself.

4. Camp Birheit, 24th February, 1856: The following is from a correspondent at Camp Birheit on 24th February, 1856- “You will hear no more of Kanoo Manjee, the celebrated Sonthal chief, as we hung him yesterday at 2’o clock, p.m, at his own village, where the gallows was all ready for him. We afterwards burn him so there is precious little left of him now. We were afraid that there might be a row when we arrive at Khanoo’s village Bhognaddee, so the guard was increased to 120 men, and about twenty men of the 2nd Irregvular cavalry accompanied him. Although there was a nice party, as eleven gentlemen from the neighboring parts accompanied us to the place of the execution.” His last words- “Kanoo says that he will come to life again in six years, and then that all the country will rise again. He did not seem to be a bit afraid of being hung, nor did he conceal anything that he knew about the Sonthal insurrection. He told us he should have liked to have get hold of a sahib, as he would have made him write chits (letters) to the Lord Sahib (Governor General at Calcutta) and other people, and that he would not have murdered any gentleman that he got hold of.“There are some other details but that do not require mention.

In preparing this article there might be some mistakes, I will be happy to correct them if the reader points them out.

PS- "Hul Sengel: The Spirit of the Santal Revolution", is a very informative documentary on "Santal Hul" by Dr. Daniel Rycroft of the East Anglia University and Mr. Joy Raj Tudu an Adivasi actitivist based in Jharkhand. This documentary made in 2005 is a real treat to watch since this was shot in actual location in Bhognadih, and contains the interviews of the descendants of Seedo and Kanhu. It has been uploaded in YouTube please have a look.

References:
[i] Calcutta review, Volumes 26-27 By University of Calcutta, University of Calcutta. Dept. of English.

Key words: Trial, Court, Sidhu Murmu, Kanhu Murmu, Kano Murmu, Santhal Rebellion, Sonthal Rebellion 1855.

The Bose behind Boson

noreply@blogger.com (Sumit Soren) — Wed, 11 Jul 2012 09:48:37 PDT

SN BOSE

“Do not think that committing scientific errors is the monopoly of ordinary scientists. Even the greatest of them, Einstein himself committed a very grave one... all errors made, particularly by men of intuition always become useful and even fruitful.” SN BOSE

Last week was busy; I had to write a booklet on the Santal Rebellion which included translation of some rare documents from the time of rebellion. Published 100 copies of the booklet, sold 25 out of them and sale is still on, so I am pretty happy. Although the happiness is not all out since I am bit dissatisfied with some minor mistakes which escaped my eyes during proof-checking. Had to write and publish this booklet in quick time so obviously there were all chances of error, hopefully the readers will forgive me for the mistakes. In few days I will give the English version of this booklet in my blog, till then I thought I could deal with something else.

While I was occupied with the booklet, one of my readers phoned me and drew my attention to the recently going fuss in the world of science. Yes, right you are all about- bosons, Higgs, LHC, and Bose. He demanded a write up on any of these, I immediately choose Bose. Not the “noble committee ignored”, “un-thanked”, “less remembered”, “forgotten Indian Scientist” Bose, but a different Bose- the Bose behind the Boson!

His Guru

In June 1924 a letter reached Einstein, the content of the letter read-

Respected Sir,

I have ventured to send you the accompanying article for your perusal and opinion. I am anxious to know what you think of it. You will see that I have tried to deduce the coefficient 8π ν2/c3 in Planck’s Law independent of classical electrodynamics, only assuming that the ultimate elementary region in the phase-space has the content h3. I do not know sufficient German to translate the paper. If you think the paper worth publication I shall be grateful if you arrange for its publication in Zeitschrift für Physik. Though a complete stranger to you, I do not feel any hesitation in making such a request. Because we are all your pupils though profiting only by your teachings through your writings. I do not know whether you still remember that somebody from Calcutta asked your permission to translate your papers on Relativity in English. You acceded to the request. The book has since been published. I was the one who translated your paper on Generalised Relativity.

The phrase, “independent of classical electrodynamics” and the proof presented, was enough to convince Einstein about the profound significance of this letter. Before this, the paper was presented to the Philosophical Magazine, six month later Bose was informed through the editors that the referees were not impressed with it, and they had no choice than to send it back. Bose was unperturbed by this negative review, he sent the paper to none other than his master, “Einstein” and who in turn replied in a postcard dated, 2nd July-

“I have translated your paper and given it to Zeitscrift fur Physik for publication. It signifies an important step forward and pleases me very much.” When the paper was published it had Einstein’s comment in the footnote- “Bose’s derivation of Planck’s formula appears to me to be an important step forward. The method used here gives also the quantum theory of an ideal gas, as I shall show elsewhere.”

The significance of this paper can only be understood when we observe, “an avalanche of developments (which followed it), the extension of Bose’s theory to particles of arbitrary mass and non-zero chemical potential by Einstein (1924, 1925): the Fermi-Dirac statistics for electrons (1926), the quantization of the electromagnetic field by Heisenberg and Pauli (1929, 1930), and quantum electrodynamics by Dirac (1927, 1935).” [i]It was the later, Paul Dirac who eventually coined the term “Bosons” for particles which obey Bose-Einstein statistics.

In fact after Einstein had translated Bose’s paper he published his own paper following Bose’s work, titled, “On the Quantum theory of Monoatomic gases.” Two more paper followed this; the second one eventually became famous because it predicted the possibility of a new state of matter- the Bose Einstein Condensate. It was verified 75 years later in 1995 by Eric Cornell and Carl Wieman for which they both were awarded Noble Prize in 2001.

The letter of Bose to Einstein had a profound effect in the scientific world, and likewise the post card where Einstein jotted down his answer to Bose had a similar effect in Bose’s life. Previously Bose, then a young man had applied for fellowship in the Dacca University but there was no positive response from the University but as soon as he presented this little letter of Einstein to the Vice Chancellor he was awarded the fellowship outright! In the words of Bose-

“That little thing (Einstein’s Postcard) gave me sort of passport for the study leave-study leave for two years with a good stipend, a separation allowance for the family, sumptuous travel allowance with a round trip fare.”

Interestingly he also showed this letter from Einstein to the German Consulate who happily offered him the visa, (no charges paid) and off he went to Paris aboard a steamer! He arrived in Paris in October 1924 and decided to stay in Paris for few weeks before going to Berlin to meet his guru Einstein. There he wanted to work in the laboratories of Rutherford and William Bragg, but both did not show great interest. However, he had enough impressed the French Physicist Paul Langevin, who wrote a letter of introduction for whom, and with that letter Bose went to meet Madam Currie. Madam Currie greeted Bose affectionately, but stressed that in order to work in her laboratory one needed to know the French language first. Bose was well versed in French but somehow he did not get an opportunity or chance to tell this, and subsequently he had to drop the idea. Eventually he worked in the laboratory of De Broglie’s and for a brief period did appear in Currie’s laboratory.

It is amazing to know how much Bose admired Einstein and in a letter that he wrote right after his arrival in Europe he began with- “Dear Master” and Einstein of course replied by opening with, “Most Esteemed Colleague”! And then again Bose replied to Einstein’s letter with the salutation, “Respected Master”. So this went on.

After about a year’s stay in Paris Bose decided to leave for Berlin and on 8th October he wrote Einsten-

“Dear Sir,

I have just arrived in Berlin, and I am very anxious to see you.” And the famous two finally meet. Einstein introduced him to other Physicists, Fritz Haber, Otto Hahn, Lise Meitner, and Walter Gordon. Then Bose spent some lively and wonderful time in the Kaiser Wilhelm Institute and worked in the laboratory of Herman Mark. Mark later recalled his meeting with Bose in a seminar that he gave in Berlin, in 1925-26,” I don’t recall whether he gave the seminar in English or German, but I think he gave in German because he was fluent in German. Usually after the presentation Laue (German physicist, Noble Prize winner of 1914) would get up and say, ‘alright fine this was nice, and is there any question?’Then there would be a lengthy discussion on what the issue was. And in this case Laue said immediately, I am not sufficiently familiar with the topic and I would like Prof. Einstein to comment. Then Einstein said, “Well, I think this is one of the most worthwhile works of the last few years.’ He talked about it and asked few questions and then Nernst asked few questions. In other words it was a very sensational event on that day. The discussion on this specific seminar took few hours. That was the first time I saw him and liked him. Then of course Karman, Leo Szilard, Eugene Wigner also asked questions. We were young and he was young- so we quickly became friends, and we invited him to come to the Kaiser Wilhelm Institute in Dahlem and give us the seminar to continue the discussion and so he came out a few weeks later and we there had a seminar.”

Mark also said that Bose was very friendly, sang German songs, even conducting songs and frequently ended up in parties. He took him to the University of Vienna where Bose meet Erwin Schrödinger, Thirring and Flamm. Besides all this fun and seminar Bose was also a visitor to Einstein’s flat in 5 Heberland Strasse. And in one occasion they had rather an interesting conversation regarding India’s Freedom Movement. By that time back home in India Gandhi had appeared in the centre stage, he and his congress party were lashing out against the British Rule. Einstein found all this quite confusing, as Bose writes-

“He confided to me, “I think Englishmen are better than other Western Colonial Nations, and I feel they are far better than the French and the Dutch. You should not be surprised that a German like me praising the English (after the world war). Now, tell me do you really want the British should quit your country?” I said,” of course we all want to determine our destiies.” He was not quite convinced. He raised a rather hypothetical question. He said, “Suppose there was a button near you and all the Englishmen would quit India if you were to press it. So, would press that button?” I smiled and said,” If God were to grant me such an opportunity, I would not even hesitate even for a moment to press it.” “Really” he said and kept quiet for a while!

Even though he had very high regard for his “master” he was not late to come up with an equally sensitive question. After the defeat of the Ottoman Empire and the British conquest of Palestine there was clearly a new emerging home for the Jews. The Arab world was poised against the large immigration of the Jews in this new land (future Israel) endorsed by the British (Britain had obtained a mandate for Palestine in 1922) for the Jews. And Einstein had taken the trouble to visit an obscure University in this new land and delivered an address. So Bose asked,

“Well, why do you Jews then want to establish a new Israeli state? Even you seemed to be fairly inclined in its favour. He said, “I have, of course, I now understand what you are saying- it is an emotional matter and cannot be explained by logic.”

Bose was well known for his outspoken nature. However, the time arrived to say good bye to all his acquaintances in Europe, Bose bid them farewell and came back to Dhaka. After having spent two years in Europe Bose decided to do return the favour of the Dhaka University. He began by setting up advanced laboratories, the x ray crystallography laboratory to be precise. Because of Bose’s venture the laboratories of the Physics Department became the centre of research in x ray spectroscopy, x ray diffraction, magnetic properties of matter, optical spectroscopy, Raman Spectra and wireless. He diligently appeared 7 am in the morning in the University and worked late until evening. Whenever he was not attending a seminar or conference his room was a visiting place for all kind of researchers curious about all kinds of things- Physics, Chemistry, History, Hieroglyphics literally everything under the Sun!

In 1938 Bose investigated the problem of total reflection of radio waves in the ionosphere. It is said that it was M. N. Saha who induced Bose to look into this problem. To quote one of Bose’s colleagues Dr. Satish Ranjan Khastgir: “Prof. Saha had once come to Dacca from Allahabad. He gave a lecture in the Physics Department. He addressed a huge gathering at the Curzon Hall. Saha spoke these problems relating to reflection of radio waves from the ionosphere on which he was working. He asked his friend Bose to work out a solution for an intricate problem like this. Appleton had given three conditions for the reflection of radio waves, Saha introduced a fourth one based on the hypotheses that there is no absorption of radio waves in the ionosphere. But Saha knew himself that the assumption was arbitrary. So he requested Prof. Bose in the open meeting to give a general solution to the reflection problem. After this lecture Satyendranath concentrated on the problem and finally succeeded in finding a general solution.”[ii]

In 1945 Bose came to Calcutta to join as the Khaira Professor in the University of Calcutta. With his coming a fresh breath of air circulated inside the University. He was joined by a group of brilliant students who worked in the X ray Laboratory, but in the unfortunate communal violence of 1945 entire Calcutta was thrown into dismay. In the air of communal carnage and amidst tremendous violence India finally got Independence in 15th August 1947. However whatever was the political or social situation Bose and his students carried on the progress of Science. They were able to construct a number of precision cameras, a differential thermal analyzer, a mirco focus X ray tube, a special type of powder camera, and a fully automatic scanning spectrophotometer for thermo-luminescence studies. Bose rarely endorsed the idea of importing instruments from abroad he encouraged his students to setup their own instruments for experiment. He was open to anyone for any kind of consultation.

S Ramaseshan mentioned this interesting side of Bose. He went to University College, Calcutta to meet Satyan Bose and found that Bose would be leaving in the next half an hour. He tried his luck went to Bose’s chamber and found a visitor just leaving. Bose welcomed him with a smile, Ramaseshan introduced himself as the student of C V Raman, and the two talked for a quite some time, but Ramaseshan did not want this rare opportunity to pass and asked if he could talk more with him. Bose paused for a moment and then after his charming smile invited him to his home and added, “I can give you tea, I can play music, you can see my cats, I hope you are not allergic to them”! Ramaseshan was delighted and went to Bose’s house and found that his room “was perfectly in a chaotic state but which strangely had a character of his own. It seemed to be overflowing with cats, every type that T S Elliot describes and more”! After few rounds of knowledge sharing Bose suddenly asked him if he could deliver a lecture in his mother tongue. The helpless Ramaseshan shook his head and Bose said, “You should be ashamed of yourself”. [iii]

Bose was extremely informal when it came to dress, he would not mind attending a seminar even in a lungi! Shantimay Chatterjee and Enakshi Chatterjee authors of the book- Satyendranath Bose, says, “Professor P. A. M. Dirac had come to Calcutta along with his wife in the mid-fifties. They were sharing the same car with Bose. Bose let them have the back seat. The front seat, which Bose occupied along with the driver, did not have much room; nevertheless Bose asked some of his students to get in. Dirac, a little surprised, asked if it wasn’t too crowded. Bose looked back and said in his disarming fashion, `We believe in Bose statistics,’ Dirac explained to his wife, `In Bose statistics things crowded together.’ But surprisingly enough Bose preferred not to talk of his work except by way of joke.”

Neils Bohr and Albert Einstein

Once Bose was presiding in a lecture in the Saha Institute of Nuclear Physics Neils Bohr was delivering a lecture, Bose had closed his eyes and sat in a relaxed posture it almost appeared that he had fallen asleep. At one point Bohr hesitated before the blackboard and said, “Perhaps Professor Bose can help me here.” Bose sprang up immediately, explained the point and went back to his former posture. In another occasion when Professor Fredrick Joliot Currie was about to deliver a lecture, Bose introduced him in English, and then went back to the chair and closed his eyes. However when Fredrick Joliot Currie requested for an interpreter and none came for the rescue, Bose again sprang up from his seat and interpreted Currie’s statements sentence by sentence!

Dwarka N Bose, nephew of the legendary Indian nationalist Subhas Chandra Bose mentioned of a unique experience his father had with Bose. His father Sunil Chandra Bose was a doctor and a friend of Satyendranath Bose. Occasionally the father and son went to meet Bose either in the Science College or in his home at Ballygunge Circular Road. DN Bose says-

“The first general election after India’s independence was held in 1952. An indelible ink was used to mark the fingers of voters to identify the voter and to prevent the casting of vote more than once. After casting his vote, my father, with me in tow, decided to visit Bose in the Science College. After usual enquiries about each other’s health, my father mentioned that he had just cast his vote and his finger had been marked with an indelible ink. Curious about such things, Bose called a laboratory assistant and asked him to prepare a solution. When this was brought, he proceeded to dip a matchstick into the solution and to rub the proffered finger. Imagine his childish delight when gradually the spot disappeared! “Baby (Sunil Bose’s nickname), you can go and vote again!” [iv]

So this was Bose a Genius of the finest quality, and very few people know that he was wonderful player of Esraj. Some say that if he wouldn’t have been a great scientist he probably would have been a legendary Esraj player. He even played flute and often appeared in musical concerts, and like always closed in eyes and emerged himself in the ocean of music. After the concert was over, as was in his curious nature, he would put relevant questions to the performer.

Unlike many researchers he was never hungry of publishing paper, as Mark Herman points out when questioned that whether Bose published anything with Einstein when he went to meet him.

“Well you see, because of course they were like Socrates and like Greek philosophers, they did not publish anything. You see Einstein was also the same way. He walked out there -- there was a nice park you know in the neighbourhood of the Institute in Dahlem and there he and Einstein would walk and they would talk (laughing) and I don't think anything was published.”[v]

In fact in Bose’s own words while re-deriving Planck’s Law he “had no idea that what I had done was really novel. I thought that perhaps it was the way of looking at the thing.” This was remarkable in him the way to look at things in another perspective. That is why he took interest in wide number of subjects and dealt with all kinds of problems. But never in the process trying to get fame or name, as a matter of fact- he just enjoyed what he did!

For a detailed and brief biography of Bose you can always refer wiki.

Photo Courtesy- Wiki

Acknowledgements:

[i] http://www.vigyanprasar.gov.in/dream/jan2002/article1.htm

[ii] http://www.vigyanprasar.gov.in/scientists/snbose/bosenew.htm

[iii] A conversation with Satyendranath Bose about five decades ago- Some Recollections, S Ramaseshan. Page 442 K C Wali.

[iv] Satyendra Nath Bose: His Life and Times: Selected Works (with Commentary), By Kameshwar C. Wali, Page 463.

[v] https://sites.google.com/site/snbproject/purnimasinha

Keyword: Boson, S N Bose, Bose Wiki, Satyendra Nath Bose, Indian Physicist.

Childhood Memoirs

noreply@blogger.com (Sumit Soren) — Thu, 28 Jun 2012 22:22:29 PDT

In our times when we were growing up there were some special things around us that grabbed our attention, became our favorites, and influenced us for a long period of time. Childhood is precious and like all childhood memories these still remain to be our most invaluable memoirs.

So my job today is to bring out those golden memoirs back to you, and I am 100 % sure that we will love them too. So here is a list my top six childhood picks!

1. Param Veer Chakra- This was my first television serial and I thoroughly loved it. This serial produced and directed by Chetan Anand (who directed films like Haqeqaat, Heer Ranjha and Taxi Driver, and was elder brother of Dev Anand) was probably his master piece and I guess like in my case it touched the hearts of millions of viewers. Write now when I am jotting these lines I am listening to the opening song, sung by Amarinder Pal and still now it produces the same effect on me as “La Marseilles” does to the French. If you want to refresh your memory it is here. I consider me and kids of my generation lucky to be able to see this beautiful series. Those who might know about this serial, it is about the Param Veer Chakra (Highest Gallantry Award) winners of India who displayed exemplary courage and confidence during battles and made highest sacrifice in the heat of the battle regardless of their own safety. I especially like the episode of Lance Naik Albert Ekka (played by Anu Kapoor) who died in the battle of Hilli in the Bangladesh Liberation War (1971).

M16 TOY GUN, AMAZON

This serial had so profound effect on me that I begged my father to buy me a gun and this is what I got! Violence never comes to mind while watching the series but a strange feeling feels the heart with joy and sadness both.

2. Surabhi- Unlike now, Sundays was a great day for us, for we were hooked to TV watching Param Veer Chakra in the morning and of course in the evening. Surabhi in a nutshell was the Album of India, it covered extensively the diverse and rich aspect of Indian culture. It ran from 1991 to 2001 and completed 415 episodes! I liked the hosts and I am sure many more liked them- Renuka Sahane and Sidharth Kak. The opening of Surabhi was also amazing, the theme music was composed by the maestro Dr. Lakshminarayana Subramaniam, it had the use of wide variety of musical instruments and the visual treat of a collage of various art forms.

3. Mahabharat- How can I leave this, how can I! It is still the only serial I am never tired of watching, I can go on and on. I can’t tell you how many times I have watched Lord Krishna’s stupendous “Biswarupa” where he reveals his divine form and universal self. Since then many producers and directors have come up with other versions of Mahabharata but no, nothing can match B R Choopra’s Mahabhrata. I think no one can think of any other actors playing the role of Arjuna, Bheema, Yudhisthira, Karna, Duryodhana as Arjun (born Firoz Khan), Praveen Kumar, Gajendra Chouhan, Pankaj Dheer, Puneet Issar. I never measured the goof of Praveen Kumar’s Punjabi Hindi accent; neither was bothered about Mukhesh Khanna’s overacting or jaded by the dual utterance of one-liners! And I must mention Haresh Bhimani’s amazing voice-over as Samay .

4. The Ghost’s walk and the Magician’s Tricks: - Yes I am talking about Phantom and Mandrake, what a treat it was reading and being absorbed in these comic books hour after hours. It first needed reading, then re-reading, then some close study of Phantom’s Diana and Mandrake’s Narda and finally a little gasp. In the era of no-tattoos many times I had sketched the Phantom’s skull ring in right middle finger and showed it to my friends, although I still do it now, but no one faints so it’s innocuous.

5. The Bengali Superman: - Oh I loved him so much- Bantul the timeless creation of Narayan Debnath. What more I can say of him! When I was a kid I appreciated the comics and for the lovely sketches but later when I grew up a bit I liked the setting as well. The wild wild west scenario, the horse drawn carriages and fire engines, the unfortunate mayors, and of course the little terrorists! I doubt whether anyone can keep the great work going especially when Mr. Debnath is ailing.

6. Anandamela:- In the days of no discovery channel (in our little town) and national geographic this fortnightly magazine was our only source of entertainment with education. Wonderful writers contributed to this magazine and through them, we could walk beside the mammoths, sleep in an eskimo’s igloo, or see the great Madam Coorie’s humble laboratory! I was regular subscriber to this magazine and had a huge bunch of these magazines. Now I don’t think the magazine has retained these old features.

Anandamela Puja edition, wiki

So this is the short list can you help to extend it? J