Part 12

On reaching home Captain West learns, like the elder Wetherby in Lang's story, that an uncle has died leaving him a good income; so he enters Parliament, and the remainder of his autobiography is entirely occupied by an account of his efforts in the cause of army reform, which eventually succeed when he has overcome the scruples and hesitation of the prime minister—Mr. Merriman, a transparent pseudonym. The author's plan of endeavouring to interest his readers in professional and technical questions is very creditably carried out, for the book is throughout readable; and it also shows that on the subject of military organisation Chesney was often in advance of his time; but the scene changes from India to England so very early in the narrative that this novel takes a place on our list more by reason of its Anglo-Indian authorship than of its connection with India.

In The Dilemma, on the other hand, Chesney gives us a story with characters and catastrophes drawn entirely from the sepoy mutiny. The main interest centres round the defence of a house in some up-country station that is besieged by the mutineers, and for such a purpose the writer could supply himself, at discretion, from the abundant repertory of adventures and the variety of personal conduct—heroic, humorous, or otherwise astonishing—which had been provided by actual and recent events. We have here, indeed, a dramatic version of real history; and, since the original of an intensely tragic situation must always transcend a literary adaptation of it, the fiction necessarily suffers by comparison with the fact. Yet the novel contends not unsuccessfully with this disadvantage, and in the lapse of years, as the real scenes and piercing emotions stirred up by a bloody struggle fade into distance, the value of Chesney's work may increase. For it preserves a true picture, drawn at first hand, of the time, the circumstances, and the behaviour of an isolated group of English folk who, while living in a state of profound peace and apparent security, found themselves suddenly obliged to fight desperately for their lives against an enemy from whom no quarter, even for women and children, could be expected in case of defeat.

We may now take up a book of a very different kind, the production, not of an Anglo-Indian amateur, but of an eminent English novelist who has lived, though not long, in India—Mr. Marion Crawford. Here we are back again in the region of romance, for, although the story opens at Simla in Lord Lytton's reign and during the second Afghan War, Mr. Isaacs, the hero (whose name gives the book its title) is outwardly a Persian dealer in precious gems, but esoterically an adept in the mysteries of what has been called occult Buddhism. This queer science, as professed by a certain Madame Blavatsky, had much vogue in Northern India about 1879, particularly at Simla. To sceptics it appeared to be an adroit mixture of charlatanry and mere juggling tricks, with some elementary knowledge of the beliefs and practices of the true Indian Yogi, who seeks to attain supernatural powers by rigid asceticism, and who has really some insight into secret mental phenomena, being in this line of discovery the forerunner of the English Psychical Society.

The part played in this story by Mr. Isaacs, who is not in all respects an imaginary personage, might remind one of Disraeli's Sidonia. He is an enigmatic character, versed in the philosophy of the East and the West, who excels on horseback and in tiger shooting, yet can discourse mystically and can bring the mysterious influences at his command to bear upon critical situations. The novel has thus two sides: we have the usual sketch of Anglo-Indian society—the soldiers, the civilians, the charming young English girl whom Mr. Isaacs fascinates. But a writer of Mr. Crawford's high repute is bound to put some depth and originality into his Indian tale, and so we have the Pandit Ram Lal, who is somehow also a Buddhist, and who is Mr. Isaacs's colleague whenever occult Buddhism is to give warning or timely succour. The chief exploit occurs in a wondrous expedition to rescue and carry away into Tibet the Afghan Amir, Sher Ali, who had just then actually fled from Kabul before the advance of an English army; and it must be confessed that so fantastic an adventure sounds rather startling in connection with a bit of authentic contemporary history.

On the whole, whether we assume that the object of a novel is to illustrate history, or to present a faithful reflection of life and manners, or to render strenuous action dramatically yet not improbably—by whatever standard we measure Mr. Crawford's book, it cannot be awarded a high place on the list of Indian fiction. But we have run over this list so rapidly, touching only upon typical examples, that we are now among the latest writers of the present day; and we may take Helen Treveryan (1892) as a very favourable specimen of their productions. Comparing it with earlier novels, we may remark, in the first place, that there is no great variety of plot or treatment, Anglo-Indian society being everywhere, and at most times, very much the same, except so far as closer intercourse with Europe softens down its roughness, materially and morally, increases the feminine element, and assimilates its outer form to the English model. Helen Treveryan, whose author is a very distinguished member of the Indian Civil Service, is, like all other novels of the kind, the narrative of the adventures, in love and war, of a young English military officer in India. The characters are evidently drawn from life; the main incidents belong to very recent Indian history; the description of society in an up-country station, with which the movement of the drama begins, is an exact and humorous photograph. A tiger hunt is done better, with more knowledge of the business, than a similar episode in Mr. Crawford's novel; and the passionate love between Guy Langley and Helen Treveryan is well painted in bright colours to intensify the gloom and pathos of Langley's death in battle.

As Chesney went to the sepoy mutiny for his scenes of tragedy and heroism, so Sir Mortimer Durand (we believe that the original pseudonym has been dropped) takes them from the second Afghan War, having been at Kabul with General Roberts in the midst of hard fighting, where he first placed his foot on the ladder which has led him upward to high places and unusual distinction. In the chapters describing the march upon Kabul, its occupation, the rising of the tribes, and their attack upon the British army beleaguered in the Sherpur entrenchments, we have simply a memoir of actual events, written with truth, spirit, and with the pictorial skill of an artist who understands the value and proportion of romantic details. The English commanders, the Afghan sirdars, and several other well-known folk are mentioned by name; the skirmishes and perilous situations are described just as they really occurred. No book could better serve the purpose of a home-keeping Englishman who might desire to see as in a moving photograph what was going on in the British camp before Kabul during the perilous winter of 1879-80, to hear the camp-talk, and to realise the nature and methods of Afghan fighting.

'He turned to the westward, and as he did so there was a flicker in the darkness, where the rugged top of the Asmai Hill could just be made out. For an instant there was perfect silence; then, as the flame caught and flared, there rose from the men around him a low, involuntary "A—h," such as one may sometimes hear at Lord's when a dangerous wicket goes down. Then in the distance two musket shots rang out, and after them a few more; but along the cantonment wall all was silent; men stood with beating hearts awaiting the onslaught. For some minutes the suspense lasted, and then suddenly burst from the darkness a wild storm of yells, "Allah, Allah, Allah," and fifty thousand Afghans came with a rush at the wall, shouting and firing. The cantonment was surrounded by a broad continuous ring of rifle-flashes, and over the parapet and over the trenches the bullets began to stream.'

But the subjoined extract, which gives Langley's death, is a better example of the book's general style—cool, circumstantial, abhorrent of glitter or exaggeration, leaving a clear impression of things actually witnessed and done, a brief glimpse of one of the incidents that remain stamped on the brain of those who saw it, but are otherwise forgotten in war-time, after a day or two's regret for the lost comrade.

'They were all weary, and marched carelessly forward in silence. The night was closing fast, and a little fine snow was falling.... There was a sudden flash in the darkness to the right, a shot, and then a scattering volley. Guy Langley threw up his arms with a cry, and as the startled horse swerved across the road he fell with a dull thud on the snow. There was a moment of confusion, but the Sikhs, though careless, were good soldiers, and two or three of them dashed towards the low wall from which the shots had come. They were just in time to see four men running across a bit of broken ground towards a deep water-cut, fringed with poplars. The horsemen were very quick after them, being light men on hardy horses; and one of the four Afghans, a big man in a dirty sheepskin coat, lost his head, and ran down under a bit of wall; the other three crossed the water-cut. The horsemen saw the position at once, and rode after the man on their side of the trench. They were up to him in a minute, and Atar Singh made a lunge at him with his lance; but the Afghan avoided it, and swinging up his heavy knife cut the boy across the hand. Before he could turn to run again a second horseman was on him, and with a grim "Hyun—Would you?" drove the lance through his chest.'

The dialogue is occasionally used to bring out contending views in regard to Indian politics, as might be expected from a writer who has thoroughly studied them. At a Simla dinner-party the conversation turns upon the question whether, in the event of a collision between the armed forces of Russia and England on the Indian frontier, the Anglo-Indian army could hold its own successfully against such a serious enemy. We have on one side the man of dismal forebodings, so well known in India, and against him the hopeful, resolute officer, who lays just stress on England's superior position, with all the strength and resources of India and the British empire at her back. One supremely important point in the discussion is, by consent of both speakers, the probable behaviour in such a crisis of the native Indian army; and we may here express our agreement with the view that our best native regiments would prove themselves faithful soldiers and formidable antagonists to the Russians. As is well said in the course of the argument, the Sikhs and Goorkhas faced us well when they fought us, 'and with English officers to lead them, why should they not face the Russians?... I believe the natives will be true to us if we are true to ourselves; some few are actively disloyal, but not the mass of them. If we begin to falter they will go, of course; but if we show them we mean fighting they will fight too.' This is the true political creed for Englishmen in India, outside of which there is no salvation, but the reverse.

It is perhaps to be regretted that so capable a writer upon Indian subjects has given us nothing of native life and character beyond a few silhouettes; and after Guy Langley's death, when the scene is transferred entirely to England, the story's interest decidedly flags. Yet we may fairly assign a high place in the series of Indian novels to Helen Treveryan, not only for its literary merits, but also for the historical value of the chapters which preserve the day by day experience of one who took his share in the culminating dangers and difficulties of an arduous campaign.

Mrs. Steel's book, On the Face of the Waters, has been so widely read and reviewed since it appeared, so lately as 1897, that another criticism of it may appear stale and superfluous; yet to omit mentioning in this article the most popular of recent Indian novels would be impossible. Here, at any rate, is a book which is not open to the remark that the Anglo-Indian novelist usually leaves the natives in the background, or admits them only as supernumeraries. For Mrs. Steel's canvas is crowded with Indian figures; their talk, their distinctive peculiarities of character and costume, their parts in the great tragedy which is taken as the ground-plan of her story, are so abundantly described as occasionally to bewilder the inexperienced reader. The scene of action is the Sepoy mutiny at Meerut and the siege of Delhi, and while the Indian dramatis personæ are mainly types of different classes and castes—except where, like the King of Delhi, they are historical—the English army leaders act and speak under their own names, as in Durand's book, being of course modelled upon the ample personal knowledge of them still obtainable from their surviving contemporaries in India.

The book, in fact, attempts, as is frankly stated in its preface, 'to be at once a story and a history.' And we observe that Mrs. Steel tells us, as if it were a credit and a recommendation to her work, that she 'has not allowed fiction to interfere with fact in the slightest degree.'

'The reader may rest assured that every incident bearing in the remotest degree on the Indian Mutiny, or on the part which real men took in it, is scrupulously exact, even to the date, the hour, the scene, the weather. Nor have I allowed the actual actors in the great tragedy to say a word regarding it which is not to be found in the accounts of eye-witnesses, or in their own writings.'

Is such minute matter-of-fact copying a virtue in the novelist? or is it not rather a defect arising out of a misunderstanding of the principles of his art? In our opinion the business of the novelist, even when he chooses an historical subject, is not to reproduce as many exact details as he can pick out of memoirs, official reports, and histories, but, on the contrary, to avoid making up his story out of a string of extracts and personal reminiscences, or at any rate to use his skill rather for disguising than for disclosing the precise verbal accuracy of his borrowed material. What would be thought of a naval romance that adopted, word for word, the authentic account of Nelson's death, or of a military novel that seasoned a full and particular account of Waterloo with a few imaginary characters and incidents? Any one who has observed how two fine writers, Thackeray and Stendhal, have brought that famous battle into the plot of their masterpieces (Vanity Fair and La Chartreuse de Parme), will have noticed that they carefully avoid the crude and undisguised employment of detail, either in words or incidents; they allow fiction to interfere very constantly with fact in all petty matters of this sort; their art consists, not in historical accuracy, but in verisimilitude; they discard authentic phrases and incidents; they do not aim at precision, but at dramatic probabilities. But Mrs. Steel does not only draw too copiously, for a novelist, upon history; she also undertakes to pass authoritative judgments upon disputable questions of fact and situation, with which fiction, we submit, has no concern. She very plainly intimates that nothing but culpable inaction and want of energy prevented instant pursuit by a force from Meerut of the mutineers who made a forced march upon Delhi on the night of May 10, and whose arrival produced the insurrection in that city.

'Delhi lay,' she says, 'but thirty miles distant on a broad white road, and there were horses galore and men ready to ride them—men like Captain Rosser, of the Carabineers, who pleaded for a squadron, a field battery, a troop, or a gun—anything with which to dash down the road and cut off that retreat to Delhi.'

To argue the point in this review would be to fall into the very error on which we desire to lay stress, of attempting to deal with serious history in a light, literary way. We shall therefore be content with reminding our readers that Lord Roberts, who is perhaps the very best living authority on the subject, has come to the conclusion, after a careful survey of the circumstances, that the refusal of the Meerut commanders to pursue the mutineers was justifiable.

Yet Mrs. Steel's performance is better than her principles. The unquestionable success of On the Face of the Waters is in no way due to her scrupulous exactitude in particulars, for if this had been the book's chief feature it would have failed. She has a clear and spirited style; she knows enough of India to be able to give a fine natural colour to the stirring scenes of the Sepoy mutiny, and to execute good character-drawing of the natives, as they are to be studied among the various classes in a great city. And whenever her good genius takes her off the beaten road of recorded fact her narrative shows considerable imaginative vigour. The massacres at Meerut and Delhi, the wild tumult, terror, and agony, are energetically described; and her picture of the confusion inside Delhi during the siege is admirably worked up, remembering that she wrote forty years after the event, at a time when the people and even the places had very greatly changed. The storming of the breach at the Kashmir gate by the forlorn hope that led the English columns is dexterously brought into an animated narrative; and although that story has been much better told in Lord Roberts's autobiography, we need not look too austerely on the crowd of readers who find history more attractive under a thin and embroidered veil of fiction.

A still more recent novel, entitled Bijli the Dancer (1898), should be mentioned here, not only for its intrinsic merits, but also because the author has boldly faced the problem of constructing a story out of the materials available from purely native society, the stock themes and characters of Anglo-India being entirely discarded. Bijli is a professional dancing girl, whose grace and accomplishments so fascinate a great Mohammedan landholder of North India, that he persuades her to abandon her profession and to abide with him as his mistress. This arrangement is correctly treated in the book as quite consistent with the maintenance of due respect and consideration for the Nawab's lawful wife, who occupies separate apartments, and, according to Mohammedan ideas in that rank of society, has no reasonable ground for complaint. Yet Bijli, though she has every comfort, and is deeply attached to her lord, grows restless in her luxurious solitude; she pines for the excitement and triumphs of singing and dancing before an assembly. So, in the Nawab's absence, she takes professional disguise, and sings with a lute in the harem before his wife. To those who would like to see a Mohammedan lady of high rank in full dress, the following description of costume may be commended:

'She was dressed and adorned with scrupulous care; her eyebrows trimmed of every stray hair that might deform the beauty-arch; the lids pencilled with lampblack; the palms of her hands and the soles of her feet stained with henna; not one stray lock encroached on the straight parting of her glossy hair.

'She wore gold-embroidered trousers of purple satin, loose below the knee and full over the ankles, and fastened round her waist by a gold cord with jewelled tassels. A black crape bodice adorned with spangles and gold edging confined her full bosom, and an open vest of grey gauze with long, tight sleeves hung loosely over her waistband. Upon the back of her head was thrown a veiling-sheet of the fine muslin known as the dew of Dacca. Her feet and hands, arms and wrists and neck, were adorned with numerous rings, jewels, and chains, and from her nose was hung a ring of gold wire, on which was strung a ruby between two grey pearls.'

But Bijli's intrusion into the harem is a grave breach of etiquette; she is detected, and told to be gone, though the lady bears her no malice. The incident brings home to her a sense of degradation; she asks the Nawab to marry her, and her discontent is increased by his refusal, until at last she escapes secretly from his house. The Nawab follows, and finds her in a hut on the bank of a flooded river which has stopped her flight; but after a really pathetic interview she returns to her free life—and 'thus ended the romance of Bijli the Dancer.'