Perverted History – Perverted Minds

Teaching of History affects our thinking and behaviour.

Here is an extract from my Newsletter No.12 of 16 February 1984

V S Godbole

England

1.6 Perverted History; Perverted Minds

(A) Bharatiya Vidya Bhavan, Bombay publishes a monthly entitled 'Bhavan's Journal'. February 1983 issue carries an article "Svadharma Gita" by Dr P. Nagaraja Rao. He writes -

".... The Gita is the earliest work that was carried to the West by Sir

Charles Wilkin's translation. It carries foreword by our first Governor General,

Warren Hastings ..."

Note - Since when did Warren Hastings become our Governor General?

(B) Sometime during April 1973 and November 1977 Institution of Engineers India issued a special circular to its members. It said ".... our Institution was

founded by the Royal Charter of 1934. Article number so and so of the Indian

Constitution safeguards our position. Our members are entitled to call themselves Chartered Engineer (India) C. Eng (I).

Note - Though such qualifications are worthless in England, we are ever so proud of the Royal British Charter. And people do use the title. In 26 July 1980 issue of Manoos weekly of Pune we find an advertisement -

With Best Compliments From -

Shri Rajshekhar B. Patil

B.E. (Elec), C.ENG (I), M.I.E.

Chartered Engineer.

(C) Relics of the Raj

The Daily Telegraph of 23 August 1983 reports -

Memories of the Raj live on in India's Tamil state.

A surprise awaits the visitor to the Old Madras presidency, modern Tamil Nadu: The southern extremity of the South Asian sub-continent is not ashamed of its British Colonial past, and the State's leaders are making no efforts to forget its history.

In Madras, statues of kings and queens, reminders of an era now fading in

memory of India's northern heartland, stand where they were placed during the heyday of the British Raj and are well looked after.

Old mansions and bungalows are not tumbling down in the city ....Under

an otherwise super-nationalistic party's reign they are in use and kept in all

their glory. Even the old bungalow occupied by Clive has been restored.

The preservation is true not only of Madras but also of such smaller cities

as Chingleput, Vellore, Madurai or Trichinopoly.

Note - Madrasis are following the example of our great leader Nehru. In 1955 Krushchev visited India. While going around Rashtrapati Bhavan (Presidential Palace) he asked Nehru "Why have the portraits of old British

Viceroys who remind you of slavery?" Nehru replied "You cannot wipe out history by removing these portraits". And a generation later we understand that the portraits are still there. Now we know why the Britishers love Nehru so much and why Churchill called him 'Light of Asia'.

Just compare this with what happened in other countries. When Rhodesia became independent in April 1980 Africans not only changed the name to Zimbabwe but their first act was to pull down the statue of Cecil Rhodes in Salisbury. Whom will the white man respect? Indians or Zimbabweans?

(D) Ghashiram Kotwal

Mudslinging on our great heroes has been continuously carried out by Britishers, Europeans and Americans for last 150 years. Their intentions are

clear enough. But it is astonishing how Indians still fall for it and what is

worst how they are delighted by it.

Let us take two examples of the mudslinging -

1) The infamous Tai Maharaj episode wasted six years of Lokmanya Tilak's life (1898-1904). The charge sheet against him included charges of forgery & fraud. At one time Tai Maharaj described in court an incident in which it was insinuated that Tilak had violated Tai Maharaj during their stay at Aurangabad Tilak felt grieved that a lady from a Sardar family should have stooped so low as to stain her character with her own tongue which even a prostitute would not do.

In the end Tilak's character was vindicated, but he had to spend about

30,000 Rs (at prices of 1904) from his own pocket (He had to pledge his insurance policy and house and press to raise money). The pressure, which these hardships must have exercised on his health and mind, was unimaginable. (Ref. Lokmanya Tilak by Dhanajay Keer 1969 edition p195).

2) Veer Savarkar was in London during 1906-1910. He had some British admirers. Margaret Lawrence may be one of them. Savarkar went to Paris in January 1910 for convalescence. On his return to London on 13 March 1910 he was arrested and later deported to Bombay where he was sentenced to 50 years hard labour. British Authorities spread a malicious rumour that Savarkar wanted to see his girl friend Margaret and was lured by her letter, otherwise why should he return to London knowing very well what the consequences would be?

Manohar Malgaonkar takes the rumour at face value and foolishly repeats them in his book "Men who killed Gandhi" 1979 pp.25/28 .So why did Savarkar return to London despite strong pleas from his friends? The answer is simple enough. Savarkar was preparing for an armed uprising in India. Though the situation became very serious indeed the volcanic eruption did not take place due to impatience, incompetence and indiscretion of certain key members. Many families were ruined by British reprisals.

Savarkar's elder brother Babarao was sentenced to transportation for life and was later subjected to electrical shocks, his younger brother was facing a trial,

Babarao's wife had to seek refuge in a crematorium, as people were so terrified. Life became intolerable for Savarkar's friends in London. He therefore felt it necessary to show that he was just as well prepared to face the hardships suffered by his friends. Such action was extremely foolish and unwise but he fell for emotions not reasoning. He said to himself, "I should not worry about who would carry on our work. I am not unique. I am not the only one. Someone else is bound to come forward". (If Shivaji had thought on similar lines Marathas would have never become free). For fuller explanation see "Five Stormy Years" by Harindra Srivastava, Allied Publications, New Delhi 1983 pages 207 to 217.

Britishers thus wanted to discredit Tilak and Savarkar in the eyes of Indians

so that they would not become sources of inspiration. And we must say that they did succeed in case of Savarkar but not in case of Tilak.

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GHASHIRAM KOTUAL is a Marathi drama based on malicious accusations made by British on the Maratha Chancellor Nana Phadnavis. It caused a furore/when it first appeared on stage in 1973. It was selected to represent the Indian theatre at the international gathering in Berlin in October 1980. Vasantrao Sathe the Minister for Information and Broadcasting and even Mr P. Narasinha Rao the Telgu speaking Foreign Minister protested. But Mrs Indira Gandhi overruled. What did the British papers say when the drama reached London?

No Pune intended

.... set in Pune at the end of the 18th century, the play shows the ruling class

under the Chancellor, Nana Phadnavis to be decadent and debauched. Ghashiram a hard-done by Brahmin rises to power as Nana's Chief of Police and instigates a reign of terror...

(Guardian 28 October 1980)

Tales of the despots from old Bombay

.... As much an opera or ballet as drama "Ghashiram Kotwal" is set in the 18th

century and tells with tart humour the story of a decadent city where the strait-

laced ruling class, together with the all-powerful and dignified Chancellor secretly frequent the red light district.

When the Chancellor attempts to seduce the beautiful daughter of a rascally

servant, this cunning fellow insists on being made chief of police in return for

his girl's favour.

(Daily Telegraph 30 October 1980)

What an exhibition at a time when Indians are regarded as good for nothing

loafers everywhere in the world; How did this drama arise?

Nana Phadnavis's contemporaries like Warren Hastings, William Palmer (Resident at Pune) and John Seeley - Secretary to the British Governor General, have all praised Nana. He died in 1800. Maratha Peshwa Bajirao II was defeated by the English in 1818. Mountstuart Elphinstone was the last Resident at Peshwa's court in Pune, John Briggs (later General Briggs) was his assistant who forged an autobiography of Nana and read it at the Royal Asiatic Society of London on 19 April 1828. It was published in their proceedings of 1830, but even Briggs admires Nana as a great hero.

Captain Archibald MacDonald wrote Nana's biography and even though it was

published by the American Mission in 1851 it makes no reference to Nana's autobiography. The 1927 edition of the book published by Humphrey Milford of London contains Nana's alleged autobiography. Ever since the days of Mahatma Phule there has been much anti-Brahmin feeling in Maharashtra. In 1863 one Moroba Kanhoba wrote a book entitled "Ghashiram Kotwal". Mr M.S. Dixit of Pune has recently (1981) proved it to be a thoroughly false document.

Knowing damn well that the theme of the drama is baseless, it has bad influence on the people and that it is insulting to a national hero like Nana, those who are trying to justify it are putting forward some fantastic arguments.

'Manoos' weekly of Pune has persistently supported the drama. When it first came on stage the editor wrote - "though the title is Ghashiram Kotwal it does not tell his story. (So why not use an appropriate title?) It is not, as suggested

currently in newspapers, a one-sided picture of Nana nor does it have any mudslinging on him. (Wonderful. Does it show the wit, cleverness & intelligence of Nana? No. It simply shows him to be a sex crazy man. So how is it not a one-sided picture of Nana? Don't ask such questions) During the downfall of any society people lose their moral values. In social history this decadence is very important. (24 Feb 1973)

Historian Setu Madhavrao Pagdi delivered a lecture in the famous Sarasbag in Pune on 21 January 1980. He explained the work of Nana Phadnavis and Mahadji Shinde. He said "These two were the giants ever produced by Maharashtra, and how do we remember and honour them today? By producing dramas like Ghashiram Kotwal! While watching that drama my blood was boiling every minute. During the interval I met a professor who remarked - what a chance did Nana have! I was absolutely furious.."

Commenting on Mr Pagdi's lecture Mr D.B. Mokashi a well-known Marathi author wrote. "It is true that many people like Mr Pagdi were hurt. But it also gave pleasure to many, like the pleasure of saying "What a chance did Nana have!” Some were delighted to see how the Brahmins were humiliated (Bramhananchi kashi jiravali ) Many actors who take part in this drama are themselves Brahmins, if they had known the truth about Nana, they would not have acted. I am sure they had quarrels with their parents. They would have had the satisfaction of having insulted the elderly as representatives of Nana's times..... As the time goes by Nana etc would not be regarded as historical characters (so why use the historical characters in the first place? Every generation has some randy, saucy men. Nana would be looked upon as one such man. (Manoos 9 Feb 1980). (Note - we know damn well that this does not happen. People who see such drama carry foolish impressions throughout their life).

Justifying sending of this drama to Berlin Festival, Mr Majgavnkar the editor of Manoos wrote, "Mr Tendulkar the author says that the drams is not a historical one at all!! (So why use historical characters like Nana and Ghashiram Kotwal etc? Why not have some imaginary names like Jawaharlal Nehru or M.K. Gandhi?)... In the near future lustfulness, corruption etc would become virtues. So what is all the fuss about? (Manoos 27 Sept 1980).

"This is art, not a history book" says the play's director Jabbar Patel, a Muslim, "People like Ghashiram are created by the politicians so that they can

kill their own enemies indirectly. It happens not only in India but throughout the world, so this becomes a universal play." (Guardian 28 October 1980)

(Note - Nana did not rely on a reign of terror to remain in power. After Raghoba Peshwa, who arranged a murder of his nephew Narayanrao, was deposed by the council of twelve (Barbhai) Ghashiram installed an excellent system of police and spies and made the Maratha state secure from the threat of English. True, in later days he misused his power and paid for it with his life). Before the show we are assured that the author, Vijay Tendulkar intended no disrespect to a historical character.

(Daily Telegraph 30 October 1980)

'Manoos’ carries a series called “[Shyamcha sansar] Shyam's family life". In

one of them we are told - When the Europeans go to performances of foreign dramas like Ghashiram Kotwal, surely they study Maratha history beforehand and know the truth. (Note - what an argument! If a French or Polish drama comes to your town, would you study French or Polish history? or would you be guided by what you read in the papers or bulletins?)

In the same series the author tells us of the story of an old Arab from Oman who went to India and married a young Muslim girl from Miraj. He seeks help from Shyam for letter writing and dealing with formalities to bring his wife to Oman. A Bengali colleague tells him that Ghashiram Kotwal was becoming popular in Europe. Shyam says to himself "What a life! We are gaining fame by showing a drama on a man of loose morals. When dirty old Nana married teenage girls or spoiled the life of Ghashiram's daughter how many people like me would have felt sad?" (Manoos 26 June 1982)

Mr Dattatreya Ganesh Godse, famous Maharashtrian painter and art critic has recently written a book of historical essays entitled "Samand-e-Talash “

One of them is 'Nana's autobiography'. Mr Godse shamelessly and without the slightest hesitation repeats all the false stories. It is much more disgusting to find him arguing that those who condemn the drama Ghashiram Kotwal should study Nana's autobiography.

(Manoos 5 June 1982)

Dramas like Ghashiram Kotwal have a lasting disastrous mental impact. Maharashtrians in England welcomed it with great enthusiasm when it came to London and the very same people are utterly reluctant to have any celebrations during the Veer Savarkar Birth centenary year!

British immigration officers were carrying out virginity tests on our women when Ghashiram came here. And what were the staunch supporters of Ghashiram doing in India? Nothing. Absolutely nothing. It did not make their blood boil. And now it is reported that British doctors are carrying out horrifying experiments on pregnant Indian women in Central Middlesex Hospital and St Mary's Hospital Medical School (See Asian Times of 18-24 November 1983). Is Mr Tendulkar now going to write a drama giving us the pleasure of seeing how our women were humiliated? or is he going to find something stimulating, thrilling, inspiring and exciting in the life of Nana? Does he know that though Nana was never a swordsman he did not flee from the battle of Panipat in 1761 until after Holkar and Shinde had deserted.

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Post script -

(from Newsletter No 16 of 16 February 1988)

In our newsletter 12 of 16 February 1984 we had criticised and exposed the mentality behind the Marathi drama "Ghashiram Kotwal" (The chief of police of Poona c. 1779). Dr Vijay Bedekar from Thane (Hindusthan) contacted various English newspapers and informed them of our criticism and most of them published it in September 1986. Free Press Journal of 22 September 1986 says – “Meanwhile, some shareholders of the Taj Group which sponsored the play's U.S. tour have written protest letters to the group's management and are planning to raise the issue (whether such plays should be promoted) at the general body meeting of the group on September 26.”

>> We understand that in fact the issue was raised and discussed and it was decided that it was wrong to sponsor this particular drama.