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PAUL SCOTT: IMAGES of INDIA by the Same Author PAUL SCOTT: IMAGES OF INDIA By the same author AN INTRODUCTION TO SHAKESPEARE'S COMEDIES UNOFFICIAL SELVES: CHARACTER IN THE NOVEL FROM DICKENS TO THE PRESENT DAY GEORGE ELIOT: MIDDLEMARCH (Casebook) (editor) SHELLEY: SHORTER POEMS AND LYRICS (Casebook) (editor) Paul Scott: Images of India Patrick Swinden It was a survival of exiles. Their enemy was light, not dark, the light of their own kind, of their own people at home from whom they had been too long cut off so that, returning there briefly, a deep and holy silence wrapped them and caused them to observe what was real as miniature. In India they had been betrayed by an illusion of topographical vastness into sins of pride that were foreign to their insular, pygmy natures. The Day of the Scorpion, n, ii, 4 © Patrick Swinden I g8o Softcover reprint of the hardcover 1st edition 1980 978-1-349-16406-6 All rights reserved. No part of this publication may be reproduced or transmitted, in any form or by any means, without permission First published 1¢o by THE MACMILLAN PRESS LTD London and Basingstoke Companies and representatives throughout the world Printed in Hong Kong British Library Cataloguing in Publication Data Swinden, Patrick Paul Scott, images of India I. Scott, Paul-Criticism and interpretation I. Title 823'.g'I4 PR6o6g.Csg6Z/ ISBN 978-1-349-16406-6 ISBN 978-1-349-16404-2 (eBook) DOl 10.1007/978-1-349-16404-2 For Serena Contents Preface lX I Paradise Lost: an Introduction 2 The Early Novels I I Johnnie Sahib ( I 952) I I The Alien Sky (I953) I9 A Male Child (I956) 25 The Mark of the Warrior ( I958) 30 3 Towards the Q_uartet 4I The Chinese Love Pavilion (I 960) 4I The Birds of Paradise (I962) 47 The Corrida at San Feliu (I 964) 57 4 The Raj Q_uartet 6s 5 Staying On ( I977) I03 Index 119 vii Preface Three years ago I had never heard of Paul Scott. Then, in November 1977, he won the Booker prize for fiction; and a few words about him and his novel Staying On appeared in the newspapers. These included a brief comment, sympathetic and admiring, by Philip Larkin, who was one of the judges. Less than six months later he was dead. Puzzled by the Booker award and saddened by news of Scott's death so soon afterwards, I decided I should have a look at one of his books. I had been given to understand that his largest achievement was a tetralogy about the last days of the Raj in India, so I started on a reading of the first novel in the series, The Jewel in the Crown. On finishing the first Part of this long book, 'Miss Crane', I was convinced that I had encountered a novelist of major stature. Nothing I have read of his since has made me change my mind. Rather I was shocked that it had taken the death of an author fifty-seven years old, with thirteen published novels to his credit, to make me recognise his existence. There is a moral in this. When I looked for Paul Scott's books in public libraries, I discovered that most of them were on the borrowed list. When I went into the bookshops, I found that almost all the paperback volumes ·of the Raj Qyartet had been sold, and replacements were on order. When I went into the university library to check the stocks, I saw not a single novel by Paul Scott in the shelves or the catalogues. In other words I was not alone in my ignorance. But it was an ignorance shared mainly by academics, not ordinary members of the general reading public. Yet Scott's novels had been, for some time, well received by reviewers- though the only extensive commentary on his work that I could find in a public journal was Max Beloff's long review of the Raj Quartet in Encounter (to which I refer at the opening of my chapter on the Quartet). I have written this book for three reasons: to alleviate my sense IX X Priface ofguilt at failing to notice the work of a fine writer before he died; to draw the attention of other people professionally concerned with literature to the great merit ofPaul Scott's fiction; and to try to encourage a wider public to read (and it seems it will often be the case reread) some of these splendid novels. There is so much to admire in Paul Scott's work that one is aware that many gaps will be revealed in one's appreciation of it, especially in a short book like this. But now is not the time for long, painstaking analyses of the novels. What is required is a briefbut, I hope, thoughtful and enthusiastic treatment of them. Most of the general reasons for my admiration will appear in the introduction to this book, and in the chapters that follow on the individual novels. As a word of encouragement to the wary reader, however, I should like to take this opportunity to suggest two of those reasons in bold outline. First, there is the consistency of Scott's achievement. With the possible exception of The Bender, he has not written a single novel which is not a fully serious and accomplished work of fiction. As he gets into his stride the scope of his interest widens, the depth of his understanding ofhuman nature becomes more profound, and his technical resources grow more sophisticated as the subjects on which they are brought to bear grow more complex. But his first published novel, Johnnie Sahib, is, within its own terms of reference (which are less narrow than its subject might lead one to suppose), highly accomplished and well written throughout. Second, there is the completeness of his achievement. On receiving the Booker prize Scott said: 'I have finished with India for ever. It just needed some little valedictory thing' (i.e. Staying On). No one can say what fresh subject would have claimed his attention had he survived his fifty-eighth year. But that confes­ sion does indicate something that must surely be felt by the author and his readers alike: that Staying On represents the end of a long and important phase in Scott's career as a writer. In my view, the thirteen novels as a whole add up to a finished achievement, with everything said that needed to be said about the interesting and varied subjects Scott had chosen to write about so far. The Quartet, especially, demonstrates that he had acquired as complete a mastery as one could legitimately expect of an approach to the writing of fiction he had been developing over the previous twenty-five years. Priface XI I should like to thank friends and relatives with whom I have discussed Paul Scott's work. Special thanks are owed to Judith Brown, whose intimate and extensive knowledge of Indian politics during the Independence period has prevented me from making several errors of fact. Also toM. R. Elliott-Bateman, for information he provided about the military aspect of the Anglo­ Indian situation in Burma and Malaya during and immediately after the Second World War. Any mistakes that remain are my own responsibility. Penny Evans went to great trouble preparing the typescript. My wife, Serena, whose interest in the novels began at the same time as my own, has been a mine of information and ideas; and deserves at least half the credit for whatever is satisfactory in this book. The author and publishers wish to thank the following who have kindly given permission for the use of copyright material: David Higham Associates Ltd on behalf of the Estate of Paul Scott for extracts from The Birds of Paradise, Staying On, The Alien Sky, A Division of the Spoils, Johnnie Sahib, The Chinese Love Pavilion, The Mark of the Warrior, The Jewel in the Crown, A Male Child, The Day ofthe Scorpion, and The Corrida at San Feliu; and the Trustees of the Joseph Conrad Estate for an extract from Lord Jim. NOTE: In his Indian novels, Scott uses the term 'Eurasian' to describe a person who is the offspring of a mixed marriage between European and Asian parents. He uses the word 'Anglo­ Indian' to describe the offspring of a mixed marriage between English and Indian parents. And he has a number of ways of referring to the British in India, 'British-Indian' being the most frequently used. I have tried to simplifY things by using the word 'Eurasian' to denote any person who is the offspring of a mixed marriage in Malaya, Burma, or India; reserving the word 'Anglo-Indian' for the English (and other British residents) in India, in the sense in which it is commonly used- e.g. by George Orwell in his essay on Kipling. I think the advantages outweigh the disadvantages, especially the awkward substitution of 'British-Indian' for the less precise but more familiar 'Anglo­ Indian' in the context of British rule in India. Scott's novels can be read either in hardcover (Heinemann) or in paperback (Panther) editions. These have different page references and so when I quote from the text I provide references Xll Priface to the parts, sections and sub-sections, into which Scott is in the habit of dividing his novels; and not page numbers, which will differ between hardcover and paperback. June 1979 P. S. .
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