Larins
Sahib (Summary).
The drama
Larins Sahib (1968) revolves its plot on a specific event in India's colonial
past. First presented by Derryck Jefferies at the Bhulabhai Theatre in Bombay
in July 1969, the drama earned the Sultan Padamjee Award. The drama takes place
in 1840s Punjab, when the fate of the region was decided by two events: the
First Sikh War (1845) between Punjab's Khalsa and English and Maharaja Ranjeet
Singh's death in 1839. But to read the play in the well-researched
pre-independence Indian episode as a mere dramatic exercise would be a mistake.
The drama
examines how human nature changes during times of conflict and shows how it
might decline or become noble in response to such circumstances. In addition,
the historical events of the nineteenth century that are still in existence are
examined for similarities and observations regarding the social, political, and
economic conditions of Indian society after independence. Although these
parallels aren't brought up clearly, the play's overarching themes and motivations
capture them. Larins Sahib provides a thorough analysis of the time period
under consideration with its themes of power politics and history.
By
merging historical events into its narrative and thematic framework, the drama
recreates history. The play's historicity is connected to other contemporary
topics that are closely related and provide significant insight into the
evolution and persistence of culture, the pursuit of power by humans, and the
place of religion in human affairs. The characteristics of the 1840s and 1850s
historical period contain almost universal issues, such as power and politics,
the rise and fall of an individual, and the conflict between morality and
responsibility. Larins Sahib provides a post-colonial interpretation of history
through their mutuality of significance and interpenetrations within the
historical framework.
The play's action, set against the backdrop of political interest and chaos
following the death of King Ranjit Singh, recalls of the social and political
situation in India during the 1915–1916 period, when the nation was going
through a period of despair following the death of Pt. Jawaharlal Nehru, the
nation's first prime minister.
While
talking about the play, Gurcharan Das accepts: "We lived in the innocence
of Nehruvian age when we still had strong ideas. We believed in socialism,
democracy and the UN. We were filled with the excitement of building a nation.
Even though the dreams soared, Nehru's idealism left a next permanent mark on
us" (Das, TP 4).
The
statement that Lawrence makes in the play following Ranjit Singh's death
reflects the anxieties that people had immediately following the death of
Nehru, who united India with his magnetic personality and failed to leave a
worthy and capable successor in his wake. Larins Sahib expresses his
disapproval of politicians that exploit politics to further their own agendas
by creatively reconstructing the political situation of the current day. The
drama successfully establishes itself as a piece of current relevance, using
Larins as a metaphor for a liberal conscience destroyed by an excessive use in
power.
Lawrence stands himself as a liberal who, in contrast to other Englishmen, rejects India and Indians, especially in his early years. In contrast to other Englishmen in the play who buy into racial stereotypes and are unable to overcome ethnic prejudices, he is opposite. Based on his experiences, Lawrence rejects these classifications, finding them unpleasant and arrogant. He is a liberal who does not succumb to any kind of cultural or religious prejudice.
The play, in praising Lawrence as a liberal enthusiast, validates a significant
feature of Gurcharan Das's literature. Both in his private life and among
writers, Gurcharan Das has been and still is a strong supporter of liberal
principles.
He has been a great votary of liberal ideas like pluralism, tolerance, and
freedom not only in the economic and political life but also in the social and
religious one. He accepts: "Most of my life I have been a manager, so I
don't think of myself as a literary person. But I have a passion for the
humanities-history, philosophy, art-and a liberal temper that is skeptical of
easy and total answer”.
In all of his plays, his characters respect these ideals—sometimes by their
dialogue, sometimes through their concept. Henry Lawrence, who embodied liberal
humanism in his capacity to be open to new ideas, actively engage with variety,
and possess empathy, is honored in Gurcharan Das' drama Larins Sahib. He is not
like racists like Lumsden and Abbott who view Indians as dirty, subhuman
people. He chastises them for their misconceived notions about India and
Indians:
LAWERENCE: Undeceive yourselves, if you think by remaining in India you will
shoulder someone's burden and march into a hero's sunset. Rest assured, Mr.
Abbot, the Indian doesn't need anyone's shoulder to lean upon. He can do
without the Englishman, who as soon as he sets foot in India eternally pines
for London fogs and Surrey greens. Your mission to civilize 'the crafty Hindu'
will only result in his losing faith in the English, (Das, TP 58)
Lawrence draws harsh criticism from Lumsden because he is aware of other
people's religious beliefs. He promises Lumsden that his actions were unacceptable
and that, in spite of such insult, Indian people still believe in nonviolence
because of his escape from the mob lynching: "Fortunately Indians are
civilized people and don't resort to violence easily. In another land, we would
have been burnt alive" (Das, TP. 57).
He is not blind to the shortcomings of Indians despite his affection for them. He criticizes them for being too touchy and sensitive about certain things : "You Indians are the most touchy people in the world. Sometimes it's so difficult to talk to you. One's. always afraid of hurting you. You know Sher Singh... one has to be so careful with you" (Das, TP 66).
Lawrence opposes the sari because he believes that women should not be exploited for religious purposes. He believes that a woman is a human being as well, and that no one should be able to burn a woman for the sake of tradition. Two Brahmins witness a widow refusing to be burned alongside her husband's corpse while he is holding a darbar. They want the British resident's permission to murder her.Their justification gets its power from the continued custom of burning widows as a proof of their faithfulness:
FIRST BRAHMIN: Maharaj it's the custom of our land that a holy-wedded wife
perform sati on the pyre of her holy wedded husband.
SECOND
BRAHMIN: Yes, your Highness. It is custom. And this irreligious immoral women
refuses to abide by the custom by which her ancestors haveconducted themselves.
When Henry Lawrence orders to outlaw sati, one of the Brahmins protests:
"This is not the justice. A man has perfect right to do what he wants to
do with his wife" (Das, TP 52).
Lawrence adopts a humanist position and expresses dislike of the Company's non-interference policy in the affairs of indigenous people. Lawrence not only opposes the intolerance of conservatives but also genuinely cares for Punjab and its people, as evidenced by his friendship with Rani Jindan. He is idolized by Sher Singh, and their bond is built on respect for one another.
He genuinely wants to rebuild Punjab, and even though he copies Ranjit
Singh's mannerisms and chowgah wearing, he still firmly believes that people
should be governed well : "We want to build canals, bridges, roads. We
want to ensure as much justice as possible to each citizen. We want to prevent
the soldiers from interfering in your everyday affairs.
The play's main plot centers on the political strategy of self-centered leaders
who betray their nation in order to further their own agendas. in this manner.
Larins Sahib portrays a sharp picture of modern politicians by featuring
opportunists such as Lal Singh, who will stop at nothing to seize power.
Gurcharan Das focuses on Maharaja Ranjit Singh's character as the father of a
nation and his attempts to build Punjab into a nation of strength. Lawrence
looks forward to Ranjit Singh as a role model because of the respect he has
received from the public. Lawrence saw Ranjit Singh as the perfect monarch who
united the warring states of Punjab and continued to influence it even after
his death. He calls him "the greatest ruler Hindustan has known"
(Das, TP 39) who "still lives in the hearts of the people" (Das, TP
41). Lawrence's praise for Ranjit Singh is unqualified and he is not ready to
hear his criticism:
LAWRENCE: (Admonishing) don't speak like that about his highness. He was a
great man. We should be lucky if we can continue his work. (Das, TP 43)
By depicting Ranjit Singh and Lawrence's attempts to imitate him, the author
aims to convey his notion of a real monarch. In the end, it comes down to love
and respect. The reward of a leader and Gurcharan is the feeling that one
inspires in people via his work. Das sees it lacking in today's politicians who
don't seem to care about people, too preoccupied with their small-time power
struggles.
The drama portrays Rani Jindan as a devoted mother whose son Dalip Singh is the
center of her universe. Despite her reputation among British people as a
cunning and sour woman, the drama paints a more compassionate portrayal of her.
She is deceived by Lal Singh before the play starts, who discredits her by
having her sign the order for the troops to retire during the first Anglo-Sikh
war. Despite her complete knowledge of Lal Singh and Tej Singh's treachery, she
is forced by the British headquarters to keep them in the darbar. She
nevertheless has an independent temperament and an energetic disposition in
spite of these limitations.
LAL SINGH: (furious) The son of a
pig! I am going to burn the Residency tonight.
RANI: (calmly) No, my sparrow, I like our Resident. (More to herself) Yes, I
like him. He has something....
LAL SINGH: (Muttering) That's not surprising.
RANI: (Sharply) What do you mean?
LAL SINGH: (Appeasing) You know what I mean.
(She slaps him), (Das, TP 53)
Despite her creativity and interest in mysteries, she sincerely loves Lawrence.
She finds him to be kind and innocent in the play's opening scene. whom she
perceives as an aspect of hope for Punjab's survival. She is on the point of falling
in love with him, and as a sign of their friendship, she offers him a Kohinoor
diamond out of trust.
When she discovers that Lawrence has developed a strong ambition for political
power as a result of his obsession with her late husband, she does not run away
from her role as Lawrence's friend and lover. She openly informs him that his
change is a result of his desire for power:
RANI: God, now I understand your robes, your darbars, and your Angrez Badshah.
It all fits. And your obsession with my late husband. You are drunk, my friend.
Power's gone to your head. And you have forgotten your friends. (Das, TP 106)
There is great sorrow in her appeal to Lawrence to keep her and her kid
together. As a mother, she sees no future apart from her son, and she does
everything within her power to stop the British Government's attempts to drive
a wedge between them. She swears at Lawrence and the British out of frustration
: "I am the mother of the Punjab. I am the wife of the One-eyed Lion. You
won't dare! I am the Mother of the Khalsa. Touch me and you'll have mutiny on
your hands. Once I leave, a curse falls on the Angrez. And the first one to go
will be you, Larins" (Das, TP 98).
The play's conclusion reveals the true nature of her curse when the East India
Company's Court of Directors summarily sends Lawrence to Calcutta.
It has been rightly pointed out: "The flux in Indian society today
may be a parallel to the throes of change experienced in the late 1950s and 60s
when the war ended our age of innocence and our Nehruvian dream" (Rajan
1).
While
Larins Sahib stands for humanism and a need to look beyond compulsions of state
politics. Through their examination in various circumstances, Gurcharan Das
dramatizes the necessity of these principles in modern society and concludes
that they are essential as a counterbalance to the rise of conservatism and
fanaticism. He states that it is necessary to reexamine such dogmatic ideas
that impede the development of both the person and the country.
It has been rightly averred that "literature reflects not only the social
reality but also shapes the complex ways in which men and women organize
themselves their interpersonal relationships and their perception of the
socio-cultural reality" (Suneel 8).
In order to shape the political, economic, and social landscape of modern India, Gurcharan Das explores the development of various human connections in his plays. Using the human relationship pattern that recurs in all three plays, he paints a complete picture of Indian society. Men engage in social interactions and build relationships with one another since they are social animals.
They reveal their feelings, priorities, tastes, and opinions about the society
they live in as well as about themselves through their own relationship with
one another. As a result, the author mirrors Indian society by having his
characters interact and build relationships, which exposes their ideologies and
thoughts. His plays depict a nuanced spectrum of interactions between mothers
and sons as well as between husband and wife. Gurcharan Das reflects the
ambience of Indian society through an exploration of these human relationships the
lion.
LAWRENCE: (Excited) yes, yes just as it was in the days of the lion. We will
make it rich and happy. We will build, build roads, canals and the land will
sing with joy. (Das, TP 81)
When she discovers that Lawrence has developed a strong ambition for political
power as a result of his obsession with her late husband, she does not run away
from her role as Lawrence's friend and lover. She openly informs him that his
change is a result of his desire for power :
RANI: God, now I understand your robes, your darbars, and your Angrez Badshah.
It all fits. And your obsession with my late husband. You are drunk, my friend.
Power's gone to your head. And you have forgotten your friends. (Das, TP 106)
There is great pathos in her plea to Lawrence to keep her and her kid together.
As a mother, she sees no future apart from her son, and she does everything
within her power to thwart the British Government's attempts to drive a wedge
between them.
In her frustration, she curses the British and Lawrence: "I am the
mother of the Punjab. I am the wife of the One-eyed Lion. You won't dare! I am
the Mother of the Khalsa. Touch me and you'll have mutiny on your hands. Once I
leave, a curse falls on the Angrez. And the first one to go will be you,
Larins" (Das, TP 98). The ending of the play brings out the truth of her
curse when Lawrence is unceremoniously packed off to Calcutta by the Court of
Directors of the East India Company.
It has been rightly averred that "literature reflects not only the social
reality but also shapes the complex ways in which men and women organize
themselves their interpersonal relationships and their perception of the
socio-cultural reality" (Suneel 8).
In order to shape the political, economic, and social landscape of modern
India, Gurcharan Das explores the development of various human connections in
his plays. Using the human relationship pattern that recurs in all three plays,
he paints a complete picture of Indian society. Men engage in social
interactions and build relationships with one another since they are social
animals. They divulge their feelings, priorities, tastes, and opinions about
the society they live in as well as about themselves through their own
relationship with one another.
Even though Gurcharan Das explores a wide range of subjects in his plays, including power and ensuing corruption, human desire and its transcendence, and economic liberty, all of these themes are intended to highlight different aspects of Indian society. While each of his plays may be structured around a distinct concept to investigate, they are all synthesized with one another, much like the rivers in an ecosystem.
Even though his plays follow a thematic framework to depict modern Indian society, each play explores a different issue in a unique way. While there are certain common themes among them, they are also explored through well considered temporal and geographical settings in various historical periods. His plays all, in a sense, depict distinct facets of the post-independence India that is changing today.
His perspective has a unique depth due to his awareness of Indian life in the present as well as its continuation from the Vedic era. This vision is a composite perspective of a maturing civilization in its forward march towards a comprehensive and broad based life of happiness and justice for everyone, shaped by an awareness of both its antiquity and the present.
Thus, a framework of Indianness enters Gurcharan Das's dramatic works,
providing unity and coherence through characterization as well as thematic that
underlies. The three plays' beauty and appeal come from their ability to strike
a balance between true to history and fictitious depictions.
Furthermore, pseudo-nationalism and self-obsessed regionalism are never the
foundation of Das' perspective of India. He takes care to balance the demands
of social determinism with the demands of individualism. He is careful
nevertheless, to avoid the traps of excessive individualism and to recognize
the importance of interpersonal ties and interdependence.
