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Romance, Heroism, and Hindu Nationalism in the Bengali Novel, 1880-1920

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Romance, Heroism, and Hindu Nationalism in the Bengali Novel, 1880-1920 University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2016 Imagining Bharat: Romance, Heroism, And Hindu Nationalism In The Bengali Novel, 1880-1920 Monika Rani Bhagat-Kennedy University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Asian Studies Commons, and the South and Southeast Asian Languages and Societies Commons Recommended Citation Bhagat-Kennedy, Monika Rani, "Imagining Bharat: Romance, Heroism, And Hindu Nationalism In The Bengali Novel, 1880-1920" (2016). Publicly Accessible Penn Dissertations. 2190. https://repository.upenn.edu/edissertations/2190 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2190 For more information, please contact [email protected]. Imagining Bharat: Romance, Heroism, And Hindu Nationalism In The Bengali Novel, 1880-1920 Abstract Although the Republic of India was founded as a secular democracy, the country has long been plagued by sectarian violence between its Hindu majority and Muslim minority. Scholars have examined how the 1940s Indian nationalist movement and the 1947 Partition of the subcontinent laid the foundation for communal tensions, but the long-standing conception of India as a fundamentally Hindu nation has received less attention. This dissertation examines colonial Bengal at the turn of the twentieth century in order to trace the longer history behind the widespread belief that India is a fundamentally Hindu nation—the animating tenet of contemporary Hindutva ideology. Reading works composed in Bengali and English, I demonstrate how the Bengali novel played a central role in perpetuating and, at times, contesting this Hindu cultural imagining by strategically exploiting elements of indigenous oral and literary traditions alongside key themes of British Orientalist discourse. The dissertation argues that turn- of-the-century Bengali writers were paramount in politicizing the emerging understanding of India as the mythic Hindu utopia “Bharat,” a term lifted from ancient religious texts that, for many Hindus today, represents not just India’s true identity but also its only acceptable future. Degree Type Dissertation Degree Name Doctor of Philosophy (PhD) Graduate Group English First Advisor Ania Loomba Keywords Bengal, Hindutva, History, India, Nationalism, Novel Subject Categories Asian Studies | South and Southeast Asian Languages and Societies This dissertation is available at ScholarlyCommons: https://repository.upenn.edu/edissertations/2190 IMAGINING BHARAT: ROMANCE, HEROISM, AND HINDU NATIONALISM IN THE BENGALI NOVEL, 1880-1920 Monika R. Bhagat-Kennedy A DISSERTATION in English Presented to the Faculties of the University of Pennsylvania in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy 2016 Supervisor of Dissertation _____________________ Ania Loomba Catherine Bryson Professor of English Graduate Group Chairperson ___________________ David L. Eng Richard L. Fisher Professor of English Dissertation Committee Suvir Kaul, A.M. Rosenthal Professor of English Jed Esty, Vartan Gregorian Professor of English Manu Goswami, Associate Professor of History, New York University IMAGINING BHARAT: ROMANCE, HEROISM, AND HINDU NATIONALISM IN THE BENGALI NOVEL, 1880-1920 COPYRIGHT 2016 Monika Rani Bhagat-Kennedy This work is licensed under the Creative Commons Attribution- NonCommercial-ShareAlike 3.0 License To view a copy of this license, visit https://creativecommons.org/licenses/by-nc-sa/3.0/us/ iii For Tim iv ACKNOWLEDGMENTS I would like to express my gratitude to Barbara Metcalf, Thomas Metcalf, Arvind-Pal Mandair, Christi Merrill, Farina Mir, Lucy Hartley, and Adela Pinch, whose graduate seminars at the University of Michigan laid the groundwork for this dissertation. Michigan’s Center for South Asian Studies was a crucial site for my intellectual development from 2007 to 2009, a second home where I forged sustaining bonds with Rebecca Grapevine, Sri Nair, Manan Desai, Nirinjan Khalsa, Avani Tailor, Andrea Wright, Purvi Mehta, Laura Brown, Jane Lynch, Puninder Jaitla, and Lia Wolock. I would also like to thank Simone Singh, with whom I enjoyed frequent study sessions and fun excursions in Ann Arbor. This dissertation would not have been possible without the training and mentorship that I received at the University of Pennsylvania. I thank Ania Loomba for supporting and challenging me over the years and for honing in me the importance of precision and clarity in intellectual exchange. I am indebted to Suvir Kaul for helping me conceptualize the dissertation at critical moments; I remain in awe of his brilliance, eloquence, and graciousness. Jed Esty has been an invaluable advisor on this project, shaping my thinking about the connections between genre and empire at the turn of the twentieth century. I am inspired by Jed’s scholarly rigor and am grateful for his guidance and encouragement over the years. Manu Goswami graciously agreed to join my committee in the later stages of this project and I am grateful for her support and feedback. My time at the University of Pennsylvania was transformative in many ways and I depart with many valued relationships. I would like to thank Melissa Sanchez, Chi-ming Yang, Jo Park, Rita Barnard, Michael Gamer, Lisa Mitchell, and Deven Patel for their mentorship. Jackie Burek, Kelly Rich, Beth Blum, Amy Paeth, Miranda Hausberg, Sunny Yang, Thomas Dichter, Kalyan Nadiminti, Nesrine Chahine, Julia Dasbach, and J. Bret Maney have become trusted friends. Special thanks are also due to my long-time colleague Lydia Kertz, with whom I was fortunate to share my graduate experience at Penn years after we had completed our bachelor’s degrees in English at Emory University. Words cannot express my gratitude to Tim Kennedy for his boundless encouragement and support of my fuzzy dream as an undergraduate to become a professor of “India stuff” one day. I am also grateful to my in-laws Richard and Patricia Kennedy for providing many hours of childcare and other valuable on-the-ground logistical support during my last two years of writing. Finally, I would like to thank my parents, Rabi and Ebha Bhagat, for instilling in me the importance of education, a lesson that I endeavor to pass on to Vidya. v ABSTRACT IMAGINING BHARAT: ROMANCE, HEROISM, AND HINDU NATIONALISM IN THE BENGALI NOVEL, 1880-1920 Monika R. Bhagat-Kennedy Ania Loomba Although the Republic of India was founded as a secular democracy, the country has long been plagued by sectarian violence between its Hindu majority and Muslim minority. Scholars have examined how the 1940s Indian nationalist movement and the 1947 Partition of the subcontinent laid the foundation for communal tensions, but the long-standing conception of India as a fundamentally Hindu nation has received less attention. This dissertation examines colonial Bengal at the turn of the twentieth century in order to trace the longer history behind the widespread belief that India is a fundamentally Hindu nation—the animating tenet of contemporary Hindutva ideology. Reading works composed in Bengali and English, I demonstrate how the Bengali novel played a central role in perpetuating and, at times, contesting this Hindu cultural imagining by strategically exploiting elements of indigenous oral and literary traditions alongside key themes of British Orientalist discourse. The dissertation argues that turn-of-the-century Bengali writers were paramount in politicizing the emerging understanding of India as the mythic Hindu utopia “Bharat,” a term lifted from ancient religious texts that, for many Hindus today, represents not just India’s true identity but also its only acceptable future. vi TABLE OF CONTENTS ACKNOWLEDGMENTS…………………………………………………………………..iv ABSTRACT……………………………………………………………………………..........v LIST OF ILLUSTRATIONS………………………………………………………………..vi INTRODUCTION: IMAGINING INDIA AS A HINDU NATION………………………1 CHAPTER 1: BRITISH ORIENTALISM AND HINDU INDIA…………………………. 17 CHAPTER 2: BANKIM CHATTOPADHYAY’S CHALLENGE TO BRITISH HISTORIOGRAPHY IN ANANDAMATH………………………………………………66 CHAPTER 3: HINDU HEROISM IN INDIAN NIGHTS’ ENTERTAINMENT: THE TRIALS OF NARAYAN LAL………………………………………………………………………127 CHAPTER 4: “A GRAND ASIATIC EMPIRE”: THE EXPANSE OF BHARAT IN HINDUPORE: A PEEP BEHIND THE INDIAN UNREST: AN ANGLO-INDIAN ROMANCE AND THE PRINCE OF DESTINY: THE NEW KRISHNA…………………………..…..171 CONCLUSION: CONTAINING BHARAT: TAGORE’S WARNING……………………………………………………………………………..…...238 BIBLIOGRAPHY…………………………………………………………………………..253 vii LIST OF ILLUSTRATIONS FIGURE 1: THE CONSTITUTION OF THE REPUBLIC OF INDIA: PART I, SECTION I, POINT I………………………………………………………………………………………....16 FIGURE 2: LITHOGRAPH ACCOMPANYING JAMES RENNELL’S MAP OF HINDOOSTAN (1782)……………………………………………………………………….....................................63 FIGURE 3: EXCERPTS FROM THE TABLE OF CONTENTS OF JAMES MILL’S THE HISTORY OF BRITISH INDIA (1817)………….………………………….....................................64 1 INTRODUCTION IMAGINING INDIA AS A HINDU NATION In 1884, Sir John Strachey, an esteemed and long-serving official of the British Raj, delivered twelve lectures on India at the University of Cambridge. Strachey covered a range of topics including the army, tax policy, education, and the administration of justice. Of particular interest is Strachey’s introductory address, which begins with a reflection on a peculiar quandary that confronted British officials when discussing India with those who were unfamiliar with it. Concurring
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