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The Muslims of Northern India and the Trauma of the Loss of Power, C. 1857-1930S

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The Muslims of Northern India and the Trauma of the Loss of Power, C. 1857-1930S The Muslims of northern India and the trauma of the loss of power, c. 1857-1930s EVE TIGNOL Submitted to the Department of History in fulfilment of the requirements for the degree of Doctor of Philosophy ROYAL HOLLOWAY UNIVERSITY OF LONDON AUGUST 2016 Declaration of Authorship I, Eve Tignol, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: August 2016 A section of Chapter Three of this thesis has been published as Eve Tignol, "A Note on the Origins of Hali's Musaddas-e Madd-o Jazr-e Islam̄ " in the Journal of the Royal Asiatic Society, May 2016, pp. 1-5. doi: 10.1017/S1356186316000080 À mes parents Abstract This thesis explores the views, writings and emotions of Urdu-speaking intellectual elites as they undergo a process of collective mourning and articulate memory as a creative tool for cultural regeneration in northern India from 1857 to the 1930s. North Indian Urdu and English language writings from the colonial period, I argue, reveal successive stages in the process of collective grieving that was triggered by the trauma of the loss of power and affected several generations of north Indian intellectual elites. Both considering well-known sources and investigating neglected ones, this thesis proposes to reassess the cultural and social history of colonial north India through the yet little explored perspective of memory and emotions and restore a more complex picture of Indian Muslim identity formation. This thesis also aims to draw attention to the literary history of the Urdu nostalgic genre of shahr āshob and to its role in fostering a collective sense of belonging in the late nineteenth and early twentieth century. Chapter One introduces the thesis in its historiographical context. Chapter Two delineates the genre of shahr āshob, its poetic developments after 1857 and its role in establishing 1857 as the symbol of cultural trauma. Chapter Three re-evaluates the evolution of the genre in the late 1870s and reveals its function in the re-channelling of collective grief into regeneration particularly in the works of the Aligarh poet Altaf Husain Hali. Chapter Four considers the significance of memorials for public recognition and for the shaping of a new pan-Indian Muslim identity in Mohamed Ali’s papers from 1911 to 1915. Chapter Five shows how the new generation of Urdu- speaking intellectual elites strove to emancipate themselves from cultural trauma by turning nostalgia into positive action and self-assertion, especially during the Khilafat movement (1919-1924). Chapter Six extends the analysis to 1910-1930 fiction novels about Delhi by evaluating how they facilitated collective closure. This thesis more broadly heightens our understanding of cultural trauma and its impact on the processes of Muslim identity formation and separatism. Contents ABSTRACT 1 CONTENTS 2 ACKNOWLEDGEMENTS 3 A NOTE ON TRANSLITERATION AND TRANSLATION 5 ABBREVIATIONS 6 LIST OF FIGURES 7 CHAPTER 1: Introduction 8 CHAPTER 2: Narrating the traumatic shock: Urdu shahr āshob poetry 30 on 1857 CHAPTER 3: Grieving through nostalgia: āshob poetry and the Aligarh 68 movement CHAPTER 4: Burials, memorials and public recognition in The Comrade 117 and Hamdard, c. 1911-1915 CHAPTER 5: Overcoming grief by building resilience: nostalgia and 162 empowerment in the early twentieth century CHAPTER 6: Mourning and Creativity: Historical fiction on Delhi 194 among second and third generation “survivors”, c. 1910s- 1930s CHAPTER 7: Conclusion 232 BIBLIOGRAPHY 239 2 Acknowledgments First and foremost, I would like to thank wholeheartedly my supervisor Professor Francis Robinson for his continuous support, for his patience, immense knowledge and guidance. He has always encouraged me to get to the bottom of my ideas, to travel and experiment and he has been a constant source of inspiration. I have learnt so much from his advice and will be forever grateful. This work would not have been possible without the generous support of the Reid Research Scholarship and I am also thankful to the Department of History at Royal Holloway University of London for the Friendly Hand Trust fellowship, the Postgraduate Discretionary Fund and the PGR Research Fund bursaries, which enabled me to conduct research in India from 2013 to 2015. Countless people have helped me in the course of this thesis. They are too numerous to be listed here but I hope they will recognise themselves and accept my warmest thanks. At Royal Holloway, I would like to thank particularly my thesis committee, Professors Humayun Ansari, Dan Stone and Dr Markus Daechsel, for their insightful feedback and encouragements. Thanks also to Professor Sarah Ansari who has been a reassuring and benevolent presence since the very first day of my doctorate. In Oxford, Professor Rosalind O'Hanlon, Dr Imre Bangha and Dr Mohammad Talib have eased my first steps in South Asian cultural and literary history. My undergraduate language professors Alain Désoulières and Amina Niazi first exposed me to the beauty and sweetness of the Urdu language. For this and for many other things, I am indebted to all of them. Professors Frances Pritchett, Margrit Pernau, Katherine Butler-Schofield and Drs Megan Robb, Liz Chatterjee and Sneha Krishnan kindly read and commented on draft chapters and papers, detecting shortcomings and helping me to correct many mistakes, I thank them very much for their thought-provoking comments. Over the course of my graduate studies, I have greatly benefited from the encouragement, assistance and criticism of fellow researchers and friends. My warmest thanks go in particular to Megan Robb, Javed Wani, Layli Uddin, Richard Williams, Ryan Perkins, Raisur Rahman, Nishtha Singh, Laurence Gautier, Hur Hassnain, Sophie Jung Kim, Moin Nizami and Fouzia Farooq. Drs Nicolas Dejenne, Anne Castaing and Claudine Le Blanc have provided me with a friendly and stimulating environment to complete this work, I thank them for believing in me. I consider myself very fortunate to have met many kind and generous people during my studies and travels. In India, I would like to thank Professors Chander Shekhar, Ashraf Rafi, Karen Leonard, Tariq Ahmad, 3 Asghar Abbas, Ishtiaq Ahmad Zilli, Seema Alavi and Drs Abdur Rasheed, Hilal Ahmed, Oudesh Bawa and Waseem Raja for their continuous and invaluable help and advice. In Delhi, I am extremely grateful to Kamal Abdul Nasir and Nuzhat Farzana and to their families for accompanying me in my exploration of Delhi's culture and poetry with lots of love and care. Many thanks also to Sanjeev and Pritam who opened their home and hearts and showed me the city in a different, entertaining, light. In Hyderabad and Lucknow, I am thankful to Raghu Cidambi, Adhiraj Parthasarathy, Madhumeeta Sinha, Rashid Changez, Amir Naqi Khan and, especially, to Amir Durrani and his family for making of my stay a truly wonderful experience. I am grateful to the librarians and staff of the National Archives of India, the Nehru Memorial Museum and Library, the Delhi State Archives, the Urdu Academy, the Ghalib Institute, the Dr Zakir Husain Library at Jamia Millia University, the Hamdard University Library, the Maulana Azad Library at Aligarh, the Salar Jung Museum Library, the Nizam's Urdu Trust Library, the Andhra Pradesh State Archives, the Osmania University Library, the School of Oriental and African Studies Library, the British Library and the Bodleian Library for their kind assistance. Finally, I would like to thank my friends and family for their unconditional love. To my parents, I dedicate this work. No words could ever describe how much I am grateful for everything you have taught me. To my sister Céline and my brother Jean I am thankful for so many stimulating (interdisciplinary!) discussions and for always making me laugh. To Matthieu, my beloved husband, I owe everything: thank you for always reminding me what matters. I cannot wait to start a new journey together. 4 A Note on Transliteration and Translation This thesis mainly draws on written sources in Urdu. All translations are mine unless otherwise stated. All proper names appear un-transliterated, according to their common usage in English, e.g. Mohamed Ali rather than Muḥammad ‘Ali. In case this usage is not known, a simplified transliteration without diacritics is applied. Place names are either spelled according to their common modern English usage or according to the predominant form used in my sources. All other words from Urdu or Persian are transliterated with diacritical markings as described below and italicised, except for the nouns and adjectives that are widely used in English scholarship (e.g. ulama, Nawab). The Urdu terms that frequently appear in the course of the thesis, however, (e.g. ashrāf, shahr āshob) are not italicised. m م ṛ ڑ a/i/u ا n ن z ز ā آ au/ū/w و zh ژ b ب ه س پ p s h ī/y ی sh ش t ت ai/e ے ṣ ص ṭ ٹ ’ ء ẓ ض ṡ ث ṇ ں ṯ ط j ج h ھ ẕ ظ ch چ izafat -e ‘ ع ḥ ح ġh zer i غ ḵẖ خ f zabar a ف d د q pesh u ق ḍ ڈ k ک ż ذ l ل r ر 5 Abbreviations AIG: Aligarh Institute Gazette AMU: Aligarh Muslim University, Aligarh AUS: Annual of Urdu Studies BL: British Library, India Office Records DSA: Delhi State Archives, New Delhi IESHR: Indian Economic and Social History Review JESHO: Journal of Economic and Social History of the Orient JMI: Jamia Millia Islamia, New Delhi JRAS: Journal of the Royal Asiatic Society MAS: Modern Asian Studies NNRNWP&O: Native Newspapers Reports for the North-Western Provinces and Oudh NMML: Nehru Museum and Memorial Library, New Delhi NAI: National Archives of India, New Delhi SAGAR: South Asia Graduate Research Journal SAMAJ: South Asia Multidisciplinary Academic Journal SJM: Salar Jung Museum Library, Hyderabad UP: United Provinces 6 List of Figures 2.a.
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