Part 8

A KONKAN LEGEND.

Legend and tradition have rendered many a spot in India sacrosanct for all time; and to no tract perhaps have such traditions clung with greater tenacity than to the western littoral which in the dawn of the centuries watched the traders of the ancient world sail down from the horizon to barter in its ports. As with Gujarat and the Coast of Kathiawar, so with the Konkan it is a broken tale of strange arrivals, strange building, strange trafficking in human and inanimate freight that greets the student of ancient history and bewilders the ethnologist. The Konkan, in which in earliest days "the beasts with man divided empire claimed," and which itself is dowered with a legendary origin not wholly dissimilar in kind from the story of Rameses III and his naval conquest, offers a fair sample of these semi-historical myths in the tale of the arrival of the Chitpavans at Chiplun in Ratnagiri. For, so runs the tale, on a day long buried in the abyss of Time it chanced that a terrific storm gathered over the western waters; and as night drew on the sky, black with serried ranks of clouds, burst into sharp jets of fire, the rain poured forth in torrents unquenchable, and the shriek of a mighty whirlwind, mingling with the deep echoes of Indra's thunder, drowned even the roar of the storm-lashed seas. Among the ships abroad on that night was one of strange device with high peaked prow, manned by a crew of fair-skinned and blue-eyed men, which was forging its way from a northern port to some fair city of Southern India; and when the storm struck her, she was not many miles from what we now call the Ratnagiri coast. Bravely did she battle with the tempest; bravely did her men essay to keep her on her course, bringing to play their hereditary knowledge of sea-craft, their innate dexterity of brain. But all their scheming, all their courage proved fruitless. As a bridegroom of old time scattering the bridal procession by the might of a powerful right arm, the sea swept away her protectors and carried her, lone and defenceless, on to the surge-beaten shore. And when morning broke Surya, rising red above the eastern hills, watched the hungry waves cast up beside her fourteen white corpses, the remnants of her crew--silent suppliants for the last great rites which open to man the passage into the next world.

Now at the ebb of the tide the dark people that dwelt upon the marge of the sea fared shorewards and found the blue-eyed mariners lying dead beside their vessel; and they, marvelling greatly what manner of men these might have been, took counsel among themselves and decided to bestow upon them the last rites of the dead. So they built a mighty funeral pyre for them with logs of resinous wood hewn in the dark forest that stretched inland, and they fortified the souls of the dead seamen with prayer and lamentation. But lo! a miracle: for as the flames hissed upwards, purging the bodies of all earthly taint, life returned to them by the grace of Parashurama; and they rose one and all from the pyre and praised Him of the Axe, in that he had raised them from the dead and made them truly "Chitta-Pavana" or the "Pyre Purified." And they dwelt henceforth in the land of the arrow of their Deliverer and were at peace, forgetting their former home and their drear wandering over the pathless sea, and taking perchance unto themselves wives from among the ancient holders of the soil. Now the place where they abode is called Chittapolana or Chiplun unto this day.

* * * * *

And it came to pass in the fulness of time, as the Sahyadri-khand tells, that Parashurama called all Brahmans to a great festival in the new land which he had created between the mountains and the sea. But the twice-born hearkened not to his words; whereas the God waxing wroth determined to create new Brahmans who would not turn a deaf ear to his counsel. Revolving this decision in his heart he walked down to the shore, and there in the seaward-gazing burning-ground he met a stranger-people, white-skinned, blue-eyed, and fair to look upon, and asked them who they were and whence they came. "Fishermen (or hunters) are we," they answered, "and dwell upon the seashore, sixty families of us in all." And the God was pleased with them and raising them to the rank of Brahmans, divided them into fourteen "Gotras," and made them a solemn promise that should they ever call him to mind in any real emergency he would come to their assistance. So they dwelt for many a day, waxing by the favour of God both numerous and learned, until by ill-hap they hearkened into evil counsel and called upon the God without just reason. And He, when he learned what they had done, was exceeding wroth and cursed them, dooming them to sorrow and to the service of other men so long as the sun and moon should endure. Thus the Chitpavans gained their Brahmanhood, but lost their right to superiority in that they flouted the promise of their God.

Such are the legends, popular and Puranic, of the coming of the Chitpavans to Western India. That some historic truth lies below the garbled tale of shipwreck and resurrection is partly proved by the physical traits of their descendants,--of those men, in fact, whose immediate ancestors, employed at first as messengers or spies of Maratha chieftains, by innate cleverness, tact, and faculty for management gradually welded together the loose Maratha confederacy and became directors of the internal and external politics of the Peshwa's dominions. For to this day the true Chitpavan perserves the fair skin, the strange grey eyes, the aspect of refined strength and intelligence, which must have characterized the shipwrecked mariners of old fable and marked them out in later years as strangers in a strange land. But whence came they, these foreign immigrants, who after long sojourn in the country of their adoption moved upwards to the Deccan and stood within the shadow of the Peshwa's throne? Much has been written of their origin, much that is but empty theory: but, as 'Historicus' has remarked in the columns of a local journal, the lesson to be learned from their home dialect and from their strange surnames,--Gogte, Lele, Karve, Gadre, Hingne and so on,--is that the Chitpavan Brahmans of Western India came in legendary ages from Gedrosia, Kirman and the Makran coast, and that prior to their domicile in those latitudes they probably formed part of the population of ancient Egypt or Africa. That they were once a seafaring and fishing people is proved by the large number of words of oceanic origin which still characterize their home-speech, while according to the authority above mentioned the "Chandrakant" which they recognize is not the sweating crystal of Northern India and ancient Sanskrit lore, but a fossil coral found upon the Makran coast. Forty years ago Rao Saheb V. N. Mandlik remarked that "the ancestors of the tribe probably came by ships either from some other port in India or from the opposite coast of Africa;" and in these later days his theory is corroborated by General Haig, who traces them back to the great marts on the Indus and thence still further back to the Persian Gulf and Egypt. Why or at what date they left the famous country of the Pharaohs, none can say: but that these white-skinned Brahmans are descendants of such people as the Berbers, who belonged of right to the European races, seems the most plausible theory of their origin yet put forward, and serves as an additional proof of the enormous influence exercised upon posterity by the famous country of the Nile.

Thus perhaps the legend of storm and shipwreck is not false, but records in poetic diction the arrival on these shores of men who presumably had in some degree inherited the genius of the most famous and most civilized country of prehistoric ages, and who had by long trafficking in dangerous waters and by the hardships of long migration acquired that self-reliance and love of mastery which has been bequeathed almost unchanged to their Brahmanised descendants. The Chitpavans were indeed the children of the storm, and something of the spirit of the storm lives in them still. Some trace is theirs of the old obstinacy which taught those pale ancestors to fight against insuperable forces until they were cast naked and broken upon the seashore. And peradventure the secret lesson of the ancient folk-tale is this, that the God of the Axe, despite the curse, is still at hand to help them along the path to new birth, provided always that their cause is fair, that they invoke not his aid for trivial or unjust ends, and that they have been truly purified in the pyres of affliction.

XV.

NUR JAN.

"The singer only sang the Joy of Life, For all too well, alas! the singer knew, How hard the daily toil, how keen the strife, How salt the falling tear, the joys how few."

"Nay, Saheb, I accept no money for my songs from you and your friend; for you have taken a kindly interest in me and my past history, and have shewn me the respect which my birth warrants, but which alas! my occupation hath made forfeit in the eyes of the world. But,--if you have found satisfaction in my singing, then write somewhat of me and of my Mimi to the paper, even as you did of Imtiazan, that thus your people--the people who know not the inner life of India may learn that I was not born amid the saringis and the bells, and that I, the singer, hide within my heart a life-long regret."

So she spake, seated on the clean white floor-cloth of the brightly-lighted "diwankhana," like some delicate flower cradled on a crystal lake. We had seen her once before at the house of an Indian friend, who had hospitably invited a company to witness her songs and dances; we had heard her chant the subtle melodies of Hindustan and even old English roundelays for the special delectation of the English guests; we had remarked her delicate hands, the great dark eyes, the dainty profile, the little ivory feet, and above all the gentle voice and courteous bearing; and we realized that Nur Jan had not been bred to this uncurtained life, but must once have known the care, affection and the gentle training of a patrician home.

By what caprice of evil fortune had she come to this, hiring out her voice and her nimble feet to enhance the pleasure of a chance entertainment, far from her own people and from her northern Indian home? What secret lay in the song of the frail maiden on the banks of the Jamna, in the earnest request she made to us not to mention the name of dead Royalty before her attendant-musicians? The mystery remained unsolved for that evening; and it was not till some weeks later that the chances of an official enquiry brought us face to face again. But this time the ill-starred dancing-skirt and bells had been locked away; and in their stead we saw the silken jacket, the spangled pale-blue sari, covered by a diaphanous black veil, like a thin cloud half-veiling the summer heavens, the necklace of pearls round the olive pillar of her throat, and above them the calm face and the wealth of dark hair that scorned all artificial adornment. There she sat in her own house, singing to two rich Arabs and a subordinate agent of one of the greatest rulers of Asia, while behind her Mimi, aged two years,--the legacy of a dead affection, crooned and tried to clap her small hands in rythm with her mother's song. And in the pauses of her singing, while the musicians tightened their bows and the silver "pan-box" was passed round to her Indian-guests, she lifted a little way, a very little way the curtain of the past.

"Yea, Saheb, you have rightly spoken. I come of a good family, and as a child I was sent to school in Calcutta and learned your English tongue. When I grew to girlhood I determined to study medicine and serve the women of my faith as a doctor. But barely had I commenced the preliminary lessons of compounding when the trouble came upon our house, and my sister and I were brought away from the old home to Bombay and bidden to find the wherewithal to support those to whom we owed respect and affection. Saheb, with us the word of near relations is law, and their support a sacred duty. What could we, gently-bred Mahomedan girls, do in a strange city? We had always liked singing and had taken lessons in our home; and it seemed that herein lay the only chance of supporting ourselves and others. Therefore, not without hesitation, not without tears, we bade adieu to the 'pardah' of our people and cast the pearls of our singing before the public. Thus has it been since that day. My sister by good-hap has married well and regained the shelter of the curtain: but I am still unwed and must sing until the end comes."

"How can I seek help of my grandsire? Have I not disgraced his name by adopting this life? And were I mean enough to ask his favour, would he not first insist that I become once more 'pardahnashin'? I cannot live again behind the screen, for too long have I been independent. The filly that has once run free cares not afterwards for the stall and bridle. It has been an evil mistake, Saheb, but one not of my making. I sometimes loathe the lights, the tinsel, the bells, aye even the old songs; for they remind me of what I might have been, but for another's fault, and, of what I am. You ask of Mimi's future? So long as I live, she never shall play a part in this work. Mated with a good man of mine own faith she will never know regret. That is my great wish, Saheb. The issue lies with Allah."

So the tale ran on with its accompaniment of song, its suggestion of regret. Once in the middle of a ballad a funeral passes in the street below. The mourner's chant sounds above the bourdon of the tom-tom, the wail of the saringis. "Hush, hush" cries Nur Jan, "let the dead pass in peace. It is not meet that the song of the dancing-girl should be heard upon the final journey." One more refrain, one more question on the mystery of her birth, and we ask permission to depart, offering at the same time some small token of our approval of her songs, to which she replies in the words that commence this chapter. We catch a last glimpse of her, bidding us good-bye in the gentle manner that tells its own tale, and of Mimi crooning to herself and trying to push a much-crumpled playing-card,--the Queen of Hearts,--into the cinglet of her small pyjamas.

XVI.

GOVERNOR AND KOLI.

A FISHERMAN'S LEGEND.

A friend has supplied me with the following quaint history of a well-known Marathi ballad, which is widely chanted by the lower classes in and around Bombay. Composed originally as a song of seed-time, it has now lost its primary significance and is sung by men at their work or by mothers hushing their children in the dark alleys of the city. The verse runs thus:--

"Nakhwa Koli jat bholi, Ghara madhye dravya mahamar, Topiwalyane hukum kela, Batliwalyachya barabar."

which may be rudely interpreted as follows:--

"Seaman Koli of simple mould Hath in his house great store of gold Lo! at the order of Topiwala Koli is peer of Batliwala"!

Now the word "Topiwala" means an Englishman; and "Batliwala" is a reference to the first Parsi Baronet, Sir Jamsetji Jeejeebhoy: albeit the word is often used as a synonym for "millionaire" in much the same way as "Shankershet" has crept into Marathi parlance as the equivalent of "rich and prosperous."

The story, which the Kolis relate with pride, refers to the great wealth of Zuran Patel, the ancestor of Mahadev Dharma Patel who at this moment is the headman and leader of the Christian Kolis of Bombay.

That Zuran Patel was a rich man can be proved from the ancient documents relating to the properties recently acquired by the Improvement Trust in and around Mandvi. For his name appears as chief owner in many of them; and it seems clear that the spoils which he gathered from the sea formed the basis of a goodly heritage upon dry land. He was an intimate friend of a certain Parsi millionaire, whom the composer of the ballad has supposed to be Sir Jamserji Jeejeebhoy, but who was more probably a member of the great family of Wadia,--the original ship-builders and dock-masters of the East India Company.

It chanced one day that the Governor of Bombay (perhaps Lord Falkland or Lord Elphinstone) wandered into Mandvi Koliwada and came suddenly upon the Parsi and the Koli Patel sitting in converse with one another. Up rose the Parsi millionaire and made obeisance; but the Koli quite indifferent and not recognising the solitary "Topiwala," remained in his seat. His Excellency's curiosity was aroused; and asking the Parsi the name of his scantily-clad comrade, he was informed that the man was a rich fisherman, who from time to time was accustomed to spread out his piles of gold and silver in the street to dry. "And" added the Parsi, "so simple and guileless is he that the people walk over the glittering heap with wax on their feet, thus robbing him in open daylight; and yet he does nought, believing that the pile of wealth must shrink even as his piles of fish shrink, when placed in the sun to dry." Interested in the man's personality, the Governor asked the Parsi to introduce the Patel to him, and enquired whether he would grant some portion of his wealth to Government. "Yes, as much as the Government may desire" was the ready answer. "But" quoth his Excellency, "what will you ask of Government in return?" "Only this," answered the Koli, "that Government will grant me the exclusive privilege of roofing my house with silver tiles." After some little discussion, a compromise was effected, and Zuran Patel received permission, as a special mark of favour, to place a few copper tiles above his house.

The house in Dongri Street, where Mahadev Dharma Patel now resides, is reputed to be the identical house upon which the copper tiles were once fixed. But many alterations have taken place, and the tiles have disappeared. For many years, so runs the tale, they were preserved as a sort of family escutcheon, being taken off the roof and fixed in a conspicuous position in the wall. Perhaps they were stolen, perhaps they were worn away by constant polishing, who can say? They have passed beyond the realm of fact to that of legend. Suffice it to say that the Kolis firmly believe the whole story, and add that Zuran Patel's house was the only real strong-house in Bombay at that epoch, the walls being built upon a framework of iron girders and the cellar, containing the piles of silver, being stouter than a modern safe. It seems not improbable that the old cellars of Mandvi Kolivada were originally the colouring-ponds of the fishermen, which, as building progressed and crowding set in, were enclosed with tiles and brick and mortar and utilised as store-rooms.