A blog dedicated to philosophy, history, politics, literature
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Thursday, June 30, 2022
On Syama Prasad Mookerjee’s Movement for Kashmir
On India’s Disastrous Foreign Policy in the 1950s
Wednesday, June 29, 2022
On Nehru’s Mission to Propagate Secularism
Ramachandra Guha Forgets Netaji
Tuesday, June 28, 2022
A Note on Ramachandra Guha’s History of Independent India
Monday, June 27, 2022
When Did Asoka Convert to Buddhism?
Sunday, June 26, 2022
The Principle of Karma
Saturday, June 25, 2022
From Powerless Proles to Powerful Proletariat
Rewriting History from the Hindu Point of View
Friday, June 24, 2022
Monotheism, Tyranny, and Warfare
Nehru on Kashmir’s Conversion
Thursday, June 23, 2022
The West's Capitalist Corporation: Military Pvt. Ltd.
Wednesday, June 22, 2022
Hastings on the Marathas
Tuesday, June 21, 2022
Three Experiments of Mixing Religion and Politics
Monday, June 20, 2022
India’s 2500-Year-Long Tradition of Ahimsa
Sunday, June 19, 2022
The Conversion of Kamala Das
Friday, June 17, 2022
The Bias of Empire: A Critical Appraisal of William Dalrymple’s The Last Mughal
In The Last Mughal, William Dalrymple constructs a vision of nineteenth-century India in which cultural and political vitality is almost entirely monopolized by the Mughal court, while the Hindu population, despite being the demographic majority and the principal force behind the 1857 revolt, is relegated to the margins of historical significance. His narrative gives the impression that India’s pre-colonial past was the domain of Islamic rulers alone, with Hindu agency reduced to either silence or stereotype.
This interpretive slant is nowhere more evident than in Dalrymple’s hagiographic treatment of Bahadur Shah Zafar, the titular “last Mughal.” Rather than offering a critical account grounded in historical rigor, Dalrymple indulges in lavish, near-poetic praise for a figure whose actual influence during his reign was tenuous at best. In the introduction to the book, Dalrymple writes:
“[Zafar] succeeded in creating around him in Delhi a court of great brilliance. Personally, he was one of the most talented, tolerant and likable of his dynasty: a skilled calligrapher, a profound writer on Sufism, a discriminating patron of painters of miniatures, and an inspired creator of gardens and an amateur architect...”
Dalrymple continues, extolling Zafar as a “very serious mystical poet” who composed verse not only in Urdu and Persian, but also in Braj Bhasha and Punjabi. He further declares that under Zafar’s patronage there occurred “arguably the greatest literary renaissance in modern Indian history.”
Such effusive praise borders on romantic myth-making. The reality is far less luminous. Bahadur Shah Zafar, though an aesthete of modest talent, lived the greater part of his life as a powerless figurehead confined to the Red Fort. An opium addict by his own admission, Zafar played no role in military or administrative matters. He neither governed nor defended his people, and certainly did not lead the Revolt of 1857. To present him as the symbolic fulcrum of the uprising is, at best, a historical distortion, and at worst, a deliberate attempt to recast a pan-Indian struggle as a Mughal-led movement.
Dalrymple’s portrayal of the 1857 Revolt further reveals his selective emphasis. While dedicating hundreds of pages to the internal affairs of the Mughal court, he all but ignores or trivializes the contributions of key Hindu leaders—Rani Lakshmibai, Nana Saheb, Kunwar Singh, Tantia Tope, and Amar Singh—who were instrumental in leading the revolt across vast regions of northern and central India. These figures, where mentioned at all, are relegated to the footnotes of history. Meanwhile, the sepoys—many of them Hindu—are described with palpable disdain as “a large undisciplined army of boorish and violent peasants from Bihar and eastern Uttar Pradesh.” Mangal Pandey, whose act of defiance triggered the mutiny, is summarily dismissed as irrelevant.
The question must be asked: why does Dalrymple reserve sympathy and admiration for the declining Mughal aristocracy, but not for the Hindu resistance that formed the backbone of the anti-colonial revolt? Why are the poetic talents of Zafar given such attention, while the courage and leadership of figures like Lakshmibai and Tantia Tope are ignored?
This imbalance extends to Dalrymple’s broader interpretation of Indian history and identity. In Chapter 12, he refers to Agra as “the old Mughal city,” despite its ancient pre-Islamic origins, including references in the Mahabharata. He laments that in contemporary Agra, statues of Indian heroes such as Shivaji, Rani of Jhansi, and Subhas Chandra Bose have replaced those of Mughal emperors:
“Today, if you visit the old Mughal city of Agra... note how the roundabouts are full of statues of the Rani of Jhansi, Shivaji and even Subhas Chandra Bose; but not one image of any Mughal emperor has been erected anywhere in the city since independence.”
His lament reveals a nostalgic attachment to imperial symbols at the expense of nationalist icons. That only Mughal rulers are called “Great” in his work speaks volumes about his underlying framework.
Dalrymple also wades into the politically charged waters of the Ayodhya dispute, calling the destruction of the Babri Masjid in 1992 a result of colonial propaganda, as though the well-documented destruction of Hindu temples by medieval Islamic rulers were a fabrication. He writes:
“For many Indians today, rightly or wrongly, the Mughals are still perceived... as sensual, decadent, temple-destroying invaders—something that was forcefully and depressingly demonstrated by the whole episode of the demolition of the Baburi Masjid at Ayodhya in 1992.”
But the claim that Mughal iconoclasm is a colonial myth is untenable. The destruction of thousands of temples across India is not an invention of British propaganda but a matter of historical record, found in Persian chronicles, inscriptions, and even court documents of the time.
At its core, The Last Mughal is a work of imperial nostalgia. It mourns the decline of a dynasty that had long ceased to be politically relevant and paints a sepia-toned picture of a lost Indo-Islamic cultural order. But it does so at the cost of marginalizing the vast and complex civilizational contributions of Hindu India. The effect is not merely one of imbalance—it is one of historical erasure.
Dalrymple writes not as a dispassionate chronicler of the past, but as a modern bard of empire—romanticizing the Mughal court while dismissing the Hindu majority as either uncultured or violent. In this regard, he does not stand outside the colonial tradition; he continues it. The Last Mughal, though praised for its narrative flair, fails as a serious work of history. It is, in the end, a literary tribute masquerading as scholarship—an ode not to India, but to an empire that never truly represented it.
Thursday, June 16, 2022
The British Crown’s Purchase of India
Wednesday, June 15, 2022
Famines and Wars: The End of British Rule in India
The Feringhee Disease in India
Tuesday, June 14, 2022
India’s Independence and the British Empire’s End
Monday, June 13, 2022
How the British Created Famines in India
The Neverending Kali Yuga
Sunday, June 12, 2022
India’s Contribution to Britain’s First World War
Indian Money for Britain’s African Adventure
Saturday, June 11, 2022
The British Empire: The Maker of Famines in India
Indian Money for British Wars
Friday, June 10, 2022
On the Economic Destruction Caused by the British and Islamic Regimes
Thursday, June 9, 2022
Empire and Opportunism: Edmund Burke’s Indictment of East India Company’s Islamic Alliances
In the 1770s, Edmund Burke—parliamentarian, philosopher, and one of the most eloquent critics of imperial excess—voiced serious concerns about the East India Company’s political and military entanglements in the Indian subcontinent. Far from being a crusading agent of British order, the Company, in Burke’s view, had become a mercenary force, lending its formidable military strength to local despots in pursuit of land, wealth, and influence.
In 1779, Burke collaborated with his cousin and confidant William Burke to publish the now largely forgotten but once incendiary pamphlet An Inquiry into the Policy of Making Conquests for the Mahometans. This text presented a searing critique of the Company’s complicity in the campaigns of Muhammad Ali Khan Wallajah, the Nawab of Arcot. Rather than advancing good governance, the British enterprise in India was, according to Burke, installing and supporting the “most degenerate forms of government” upon the Indian people. The Nawab’s campaigns, which devastated the Carnatic region, served not only to enrich his own house and the Company’s shareholders, but also created the very conditions in which the tyrant of Mysore, Hyder Ali, would rise.
In a landmark parliamentary speech delivered in February 1785—The Speech on the Nabob of Arcot’s Debts—Burke presented a harrowing picture of Hyder Ali’s march through the Carnatic. His words, suffused with moral outrage, remain among the most haunting indictments of colonial warfare in the English language:
“Then ensued a scene of woe, the like of which no eye had seen, no heart conceived, and which no tongue can adequately tell. All the horrors of war before known or heard of were mercy to that new havoc. A storm of universal fire blasted every field, consumed every house, destroyed every temple... fathers torn from children, husbands from wives... swept into captivity in an unknown and hostile land… One dead, uniform silence reigned over the whole region.”
Burke did not attribute this catastrophe solely to Hyder Ali. He was unequivocal in assigning responsibility to the East India Company, accusing it of being the author of these evils. The Company's deployment of 10 out of its 21 Madras battalions in defense of the Nawab of Arcot, he argued, made its soldiers as culpable in the destruction of the Carnatic as the armies of Hyder Ali and his “more ferocious son,” Tipu Sultan.
Burke's indictment was not abstract rhetoric. He carefully traced the material incentives behind the Company’s militarism. In exchange for its support, the Nawab of Arcot granted the British lucrative jagirs—land revenue assignments that bolstered the Company’s growing fiscal and territorial dominance. Yet this alliance, like so many others in the colonial theater, was ultimately expendable.
After Tipu Sultan's death at the Battle of Seringapatam in May 1799—an event made possible with the support of the Nawab’s troops—the British turned against their erstwhile ally. Wallajah, the Nawab who had once empowered the Company, had died in 1795, and his son, Umdat ul-Umara, had ascended the throne. The British accused Umdat ul-Umara of secretly aiding Tipu Sultan and demanded the surrender of his kingdom. When he refused, he was reportedly poisoned by agents of the East India Company—a grim reminder of how quickly alliances were discarded once they ceased to serve imperial interest. With his death, the British assumed full control of the Carnatic.
This history, so clearly documented in Burke’s speeches and pamphlets, poses a direct challenge to the popular narrative that the East India Company and Islamic rulers were perpetually in opposition. The truth is more nuanced—and more cynical. The Company frequently aligned itself with regional Islamic powers when it was advantageous to do so, only to betray them when they had outlived their usefulness.
And yet, in The Anarchy, William Dalrymple omits this critical aspect of the Company’s operations. Though he quotes Burke extensively, Dalrymple notably excludes Burke’s charge that the Company was colluding with Islamic regimes. Instead, he constructs a binary opposition between rapacious British commerce and an idealized Islamic nobility, presenting the two as moral antagonists. This framing, while rhetorically potent, ignores the long and opportunistic entanglement between the Company and Indian Muslim rulers like the Nawab of Arcot.
Dalrymple’s stylized prose and archival detail have earned him a large readership, but The Anarchy falters where it matters most: in confronting the full complexity of colonial complicity. By downplaying the Company’s tactical alliances with Islamic warlords and omitting Burke’s sharpest critiques, the book sacrifices historical fidelity for narrative elegance.
To remember Burke’s words in their entirety is to recall that empire did not unfold along neat lines of civilizational conflict—it thrived in murky corridors of convenience and betrayal. The East India Company was not merely the adversary of native kings; it was their co-conspirator, executioner, and eventual heir.
Wednesday, June 8, 2022
The Burden of History
Tuesday, June 7, 2022
Historiography or Hagiography? A Critique of William Dalrymple’s Portrayal of Shivaji and Nader Shah
Dalrymple refers to Shivaji as a “Maratha Hindu warlord,” a label that carries the connotation of a violent, unprincipled strongman—an archetype commonly associated with chaos and personal ambition rather than political legitimacy or moral vision. In stark contrast, Nader Shah is described as a “tough, ruthless, and efficient figure” possessed of “remarkable military talents.” While the former is dismissed with the Mughal epithet of a “desert rat,” the latter is eulogized as a “great king” who entered India at the helm of 80,000 well-disciplined soldiers. The disparity is not merely semantic—it is ideological.
The term “warlord,” as used in historical literature, is typically reserved for those who raise private armies to conquer, plunder, and terrorize. Yet there is no historical evidence—certainly none presented by Dalrymple—that justifies its use for Shivaji. A product of Indian soil, Shivaji waged defensive wars against an imperial force that sought to annihilate indigenous polities and religious traditions. He never set foot beyond the Indian subcontinent as a conqueror, nor did he command his troops to commit atrocities on civilian populations. Indeed, most serious historians agree that Shivaji was a liberator, not a marauder.
Nader Shah, by contrast, epitomized the quintessential plundering invader. In 1737–38, his troops unleashed unspeakable violence in Delhi, massacring between 20,000 to 30,000 civilians and abducting tens of thousands of women and children into slavery. The estimated value of the loot he carried back to Persia—by today’s standards—approaches $120 billion. Yet Dalrymple’s portrayal of this Persian conqueror borders on reverential. Nader’s military prowess is extolled; his savage crimes are glossed over.
The inconsistencies grow more conspicuous when we examine Dalrymple’s treatment of class and social mobility. In an apparent attempt to undermine the Marathas, he quotes a Muslim chronicler who sneers at the humble origins of Shivaji’s soldiers—“husbandmen, carpenters, and shopkeepers.” But Nader Shah’s low birth elicits no such disdain. Instead, Dalrymple favorably cites a French Jesuit who praises Nader’s kingly attributes despite his shepherd ancestry: “Nature had given him all the qualities that make a hero and even some of those that make a great king.” Why, then, is peasant lineage admirable in Persia but contemptible in Maharashtra?
Such double standards permeate the book. Dalrymple routinely cites hostile sources to malign the Marathas, including a passage describing them as “slayers of pregnant women and infants, of Brahmans and the poor.” While no serious historian would deny that the Maratha military campaign in Bengal was destructive—as was nearly every eighteenth-century war—the uncritical use of such invective, especially without contextual counterbalance, suggests an intent to vilify rather than understand.
Meanwhile, Dalrymple lavishes adulation on Tipu Sultan, portraying him not only as a capable ruler and military strategist but as a figure of physical allure. He quotes an English observer who gushes over Tipu’s appearance: “uncommonly well-made… arms large and muscular… large animated black eyes.” It is a strangely romantic description, and one wonders why no Maratha leader is afforded even a modicum of similar admiration.
Tipu Sultan is described as “daring,” “innovative,” and “methodical,” with notable achievements on the battlefield. Yet Dalrymple omits crucial facts: from 1762 to 1787, the Marathas defeated both Tipu and his father Hyder Ali in every major encounter. These defeats were so thorough that Tipu and Hyder were forced to pay regular tribute to the Marathas. On at least five occasions, the Marathas could have executed them but refrained, opting instead for financial settlements—a testament to their restraint, not weakness. Tipu’s final downfall came not at the hands of Indian powers but under the ruthless assault of the British East India Company in 1799.
It is important to note that The Anarchy purports to be a history of the East India Company, not of the Marathas. Yet Dalrymple devotes considerable energy to painting the Marathas as anarchic forces, suggesting that they too contributed to the unraveling of Indian polity. While it is true that the eighteenth century was marked by fractured sovereignties and internecine warfare, Dalrymple’s selective narration is troubling. He treats Islamic rulers with generous nuance and the British with grudging respect, but the Hindu resistance—epitomized by Shivaji and the Marathas—is depicted with unrelenting cynicism.
A glaring feature of this imbalance is Dalrymple’s near-total silence on the civilizational context of Hindu India prior to the Islamic invasions. The rich traditions of Hindu and Buddhist thought, art, governance, and urban life are barely acknowledged. Instead, the book conveys the impression that India was a perpetually fragmented land, over which Islamic and European powers justifiably asserted dominance. This erasure of historical continuity amounts to a historiographical sleight of hand.
Dalrymple, for all his literary flair and archival diligence, is not above the ideological temptations of the present. In The Anarchy, he writes not as a neutral historian, but as a partisan chronicler with a discernible bias against Hindu civilizational narratives. His work echoes the Mughal court historians who exalted imperial power while denigrating local resistance as “banditry” and “rebellion.”
In sum, The Anarchy is a flawed book—not because of its literary shortcomings, but because of its historical selectivity and ideological undertones. Dalrymple’s prose may be elegant, but his interpretation is marred by partiality. A truly honest account of India’s past must rise above inherited prejudices and colonial templates. On that count, The Anarchy falls short.