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A Critical Study of William Dalrymple’S Travel Writing

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A Critical Study of William Dalrymple’S Travel Writing MODES OF CULTURAL REPRESENTATION OF THE SUBCONTINENT: A CRITICAL STUDY OF WILLIAM DALRYMPLE’S TRAVEL WRITING SHIREEN RAHIM DEPARTMENT OF ENGLISH LANGUAGE AND LITERATURE UNIVERSITY OF THE PUNJAB 2012 MODES OF CULTURAL REPRESENATION OF THE SUBCONTINENT: A CRITICAL STUDY OF WILLIAM DALRYMPLE’S TRAVEL WRITING A THESIS SUBMITTED TO THE UNIVERSITY OF THE PUNJAB IN FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ENGLISH LITERATURE BY SHIREEN RAHIM DEPARTMENT OF ENGLISH LANGUAGE AND LITERATURE UNIVERSITY OF THE PUNJAB 2012 ii CERTIFICATE OF APPROVAL This is to certify that the research work described in this thesis is the original work of Shireen Rahim (Assistant Professor, Department of English Language and Literature University of the Punjab) and has been carried out under my direct supervision. I have personally gone through all the date in the manuscript and certify its correctness and authenticity. I further certify that the material included in this thesis has not been used in part of full in a manuscript already submitted or in the process of submission in partial/complete fulfilment of the award of any degree from any other institution. I also certify that the thesis has been prepared under my supervision according to the prescribed format and I endorse its evaluation for award of PhD Degree through the official procedures of the University. Signature:………………………………………….. Name:…………………………………………….... Designation:……………………………………….. iii ACKNOWLEDGEMENTS I am extremely grateful to Dr. Waseem Anwar, Dean of Humanities, Professor and Chairperson of the Department of English, Forman Chrisitan College (A Chartered University), Lahore, who was kind and patient enough to guide me in my research work. I have benefited greatly from his intellectual insights and constructive criticism. I especially want to thank Professor Shaista Sonnu Sirajuddin, former Chairperson of the English Department Punjab University, for having initiated the Doctoral programme at the English Department and for expanding the resources in the department library. As an inspiring and exacting teacher and a dear friend, it is in large measure her support and encouragement that sustained me in bleak moments of this journey. My friends and colleagues at the English Department have been very encouraging. I want to especially thank Amra Raza and Zareena Saeed for their interest, affection and wise counsel. I am particularly grateful to Olya Mariam for her practical assistance in giving shape to the thesis. The research could not have been completed without the active support of my family, both near and far and I want to thank each member for being patient and understanding. iv ABSTRACT As an established literary genre, in which the factual and the fictive narrative conventions intersect, travel writing, with its vivid descriptions of people and places has had a consistent ethnographic focus. Literary and cultural theory during the last three decades, has led to critical debates over the definition of cultural boundaries and the aesthetics and politics of cultural representation. In representing a cultural space, the contemporary travel writer recognises that stories and histories are complexly interwoven across geographical and national boundaries. He therefore has to engage with the realities of transculturation, cultural displacement, and cultural hybridity as distinctive features of a complex global world. William Dalrymple‘s travel writing is reflective of this engagement at both the thematic and the stylistic levels. It marks a sustained interest in the study and representation of the many layered cultural landscape of the Indian subcontinent, both in terms of historical legacy and the dynamism of current social and political change. With a repertoire that draws extensively on archival research, intertextual reference and on direct observation and personal interaction during his travels across India and Pakistan, Dalrymple combines various narrative strands and gives authority to multiple voices. The research study contextualizes Dalrymple‘s travel narrative as a polyphonic cultural representation Towards this end it attempts to explore his use of the historical and ethnographic modes through which a range of articulations serve to represent the cultural diversity of the subcontinent. v LIST OF ABRREVIATIONS Quotations and references from William Dalrymple‘s work appear in brackets in the text with the indicated abbreviation. Complete Titles Abbreviations Age of Kali AK City of Djinns CD In Xanadu IX Nine Lives NL The Last Mughal TLM White Mughals WM TABLE OF CONTENTS CERTIFICATE OF APPROVAL ii ACKNOWLEDGEMENTS iii ABSTRACT iv LIST OF ABBREVIATIONS v CHAPTER 1: INTRODUCTION 1-37 CHAPTER 2:CULTURAL REPRESENTATION OF THE SUBCONTINENT: A HISTORICALREVIEW 38-60 CHAPTER 3: THE HISTORICAL MODE 61-104 CHAPTER 4: THE ETHNOGRAPHIC MODE 105-150 CONCLUSION 151-153 WORKS CITED 154-161 WORKS CONSULTED 162-166 Rahim 1 CHAPTER ONE Introduction Travel narrative forms an integral part of the oldest literary traditions across civilisations and cultures. An inherent curiosity about distant places and the compelling urge to imagine, explore and interpret that which is unfamiliar and therefore strange, explains the motif of the journey -- both literal and symbolic – that has inspired the literary imagination of many through the ages. This includes writers from antiquity such as Homer who represents the episodic adventures and the arduous journey of his protagonist Odysseus as a symbolic quest--- an ‗odyssey‘ of epic proportions. The Greek historian Herodotus, in the Histories, 440 B.C. recording his journey to the Mediterranean includes details of the physical landscape and documents the history of the Persians and Egyptians and also reports on their myths and exotic customs. Medieval travel in the pilgrimage mode is represented through accounts of individual travellers, such as those in Chaucer‘s The Canterbury Tales which focuses on the sharing of diverse tales by a community of pilgrims, together on the road. The narratives of Marco Polo and John Mandeville mark ―the beginnings of a new impulse in the late Middle Ages which would transform the traditional paradigms of pilgrimage and crusade into new forms attentive to observed experience and curiosity towards other cultures‖ (qtd. in Hulme and Youngs 3). These travel texts came to be widely read and influenced successive generations of travel writers. During the seventeenth and eighteenth century fictional voyages represented most imaginatively in Defoe‘s Robinson Crusoe came to be identified with travel writing as survival literature. First person accounts of shipwrecks, castaways and captivities contributed greatly to the popularity of the journey narrative and readers were often uncertain whether they were reading truth or fiction. Swift‘s Gulliver‟s Travels extended the travel narrative to the form of satire. Laurence Rahim 2 Sterne‘s A Sentimental Journey drew on the conventions of the novel so that there is an overlap of fiction and fact. According to William Sherman these ―authors played with the boundaries between eyewitness testimony, second-hand information, and outright invention and readers were unsure whether they were reading truth or fiction‖ (31). In the nineteenth century literary writers such as Dickens, Trollope, Stendhal and Flaubert wrote about the actual journeys they undertook (Hulme and Youngs 7). Early twentieth century imperial expansion saw writers such as Kipling, Conrad, R.L.Stevenson and D.H. Lawrence incorporate their travels in parallel in fiction and travel writing as did for example Evelyn Waugh and Peter Fleming. Helen Carr is of the view that ―these modernist texts register a new consciousness of cultural heterogeneity, the condition and mark of the modern world‖ (74). Travel writing in the decades of the thirties and forties especially during the war years saw a shift to a more subjective mode. There was a tendency to examine the realities of the post-war fragmented world through an ironic vision. The journey itself becomes a metaphor for self-introspection and the search for meaning, as seen for example in the writing of Graham Greene (Blanton 60). There was a great revival of travel writing in the last few decades of the twentieth century. The first special issue on travel writing by Granta magazine in 1984 directed attention to the innovations in both content and form in travel writing with the work of V.S. Naipaul, Bruce Chatwin, Paul Theroux and Colin Thubron. Those writers who are identified with the contemporary forms of the genre for example William Dalrymple, Pico Iyer and Rory Stewart have stretched the genre in keeping with the complex themes that travel generates in a complex global context. The wide range of texts concerning travel, reveals that travel writing is marked by a generic fluidity that is singular, comprising as it does, various literary forms such as the epic poem, the journal, essay, memoir, the epistolary account and Rahim 3 the novel. The consensual view is that travel texts , both factual and fictive, are narrative accounts of a journey undertaken by the author/protagonist, in which there is a textual representation of landscape, place, people, events and objects. As such, there is a continuous interplay between the inner world of the traveller and the outer world in terms of a subjective response to the impersonal, which may be perceived and depicted in varied ways. Language therefore operates as the medium through which the thoughts, feelings
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