Published online by Cambridge University Press: 12 March 2013
This paper makes a case for exploring the cultural facets of Mughal rule as well as for a stronger engagement with sources in vernacular languages for the writing of Mughal history. Bengal's regional tradition of goddess worship is used to explore the cultural dimensions of Mughal rule in that region as well as the idioms in which Bengali regional perceptions of Mughal rule were articulated. Mangalkavya narratives—a quintessentially Bengali literary genre—are studied to highlight shifting perceptions of the Mughals from the late sixteenth century to the eighteenth century. During the period of the Mughal conquest of Bengal, the imperial military machine was represented as a monster whom the goddess Chandi, symbolizing Bengal's regional culture, had to vanquish. By the eighteenth century, when their rule had become much more regularized, the Mughals were depicted as recognizing aspects of Bengal's regional culture by capitulating in the end to the goddess and becoming her devotees. This paper also studies the relationship of the Mughal regime with Bengal's popular cultural celebration—the annual Durga puja—and explores its implications for the public performance of religion and for community formation during the early modern period.
Earlier versions of this paper were presented at the South Asia Seminar series at Yale University in 2009 and at the Annual conference of the Asian Studies Association at Philadelphia in 2010. I am grateful to audiences at both places for suggestions and comments. I would also like to thank Rajarshi Ghosh and Utsa Ray for making available a hard to find copy of Dwija Madhava Rachita Mangalchandir Geet and to Madhuri Desai for patiently listening to preliminary ideas about the paper. Mrinalini Sinha, Muzaffar Alam, Richard Eaton and Sanjay Subrahmanyam offered much-needed support and finally, I owe a sincere vote of thanks to the editor of this journal.
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54 Ibid., p. 19.
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63 Well-known Bengali narratives of the sixteenth century and beyond attest to use of the term ‘Mughal’ rather than ‘Mongol’. See for example, Kabikankan Mukundaram Chakrabarty's ‘Chandimangala’, probably of the late sixteenth century, and Bharatchandra Roy's ‘Annadamangala’ of the mid eighteenth century.
64 The well-known ‘Ramacharita’ of Sandhyakara Nandy, composed in Bengal during the Pala period was, for instance, entirely in slesha. See Shastri, Haraprasada (ed.), revised with English translation and notes by Basak, Radhagovinda, Ramacharita of Sandhyakaranandin, Asiatic Society, Calcutta, 1969Google Scholar. For the legacy of Sanksrit literary conventions on Mangalkavyas, see, A. Bhattacharya, Bangla Mangalkavyer Itihasa; also see Chatterjee, Kumkum, The Cultures of History in Early Modern India, Oxford University Press, Delhi, 2009, pp. 91–92CrossRefGoogle Scholar; for the exchange via double entendre between the goddess and the boatman, see, ‘Annadamangala’, pp. 156–160 in Brojendranath Bandyopadhyaya and Sajanikanta Das (eds), Bharatchandra Granthabali, Bangiya Sahitya Parishat, Calcutta, 1369 B.S. For the importance and use of slesha in Indic literature see, Bronner, Yigal, Extreme Poetry: The South Asian Movement of Simultaneous Narration, Columbia University Press, New York, 2010.CrossRefGoogle Scholar
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81 Ibid.
82 For a discussion of the general character of the Mangalkavya genre, see A. Bhattacharya, Bangla Mangalkavyer Itihasa; Curley, David L., Poetry and History. Bengali Mangal-kabya and Social Change in Pre-Colonial Bengal, New Delhi, Chronicle Books, 2008.Google Scholar
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85 ‘Annadamangala’, pp. 156–160. The description of this trip in the Annadamangal constitutes one of the best-known passages of Bengali literature.
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95 Ramacharitam of Sandhyakaranandin, Chapter 3, verse 25B.
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97 Ibid.
98 Ibid. There are plenty of scattered references to this feature.
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