The Indian Trilogy Quotes

“Because of industrialization, and the green revolution in the rural areas, a new class of nouveau-riche persons are emerging, and these people are being exposed for the first time to university education, comfortable urban life, stylish living, and western influences – materialistic comforts. During this transition period, we are slowly cutting from the moral ethos of our grandfathers, and at the same time we don’t have the westerner’s idea of discipline and social justice. At the moment things are chaotic here.”
― V.S. Naipaul, The Indian Trilogy

“With or without the Chinese, Calcutta was dead. Partition had deprived it of half its hinterland and burdened it with a vast dispirited refugee population. Even Nature had turned: the Hooghly was silting up. But Calcutta’s death was also of the heart. With its thin glitter, its filth and overpopulation, its tainted money, its exhaustion, it held the total Indian tragedy and the terrible British failure. Here the Indo-British encounter had at one time promised to be fruitful. Here the Indian renaissance had begun: so many of the great names of Indian reform are Bengali. But it was here, too, that the encounter had ended in mutual recoil. The cross-fertilization had not occurred, and Indian energy had turned sour. Once Bengal led India, in ideas and idealism; now, just forty years later, Calcutta, even to Indians, was a word of terror, conveying crowds, cholera and corruption. Its aesthetic impulses had not faded – there was an appealing sensibility in every Bengali souvenir, every over-exploited refugee ‘craft’ – but they, pathetically, threw into relief the greater decay. Calcutta had no leaders now, and apart from Ray, the film director, and Janah, the photographer, had no great names. It had withdrawn from the Indian experiment, as area after area of India was withdrawing, individual after individual. The British, who had built Calcutta, had ever been withdrawn from their creation; and they survived. Their business houses still flourished in Chownringhee; and to the Indians, products of the dead Indian renaissance, who now sat in some of the air-conditioned offices, Independence had meant no more than this: the opportunity to withdraw, British-like, from India. What then was the India that was left, for which one felt such concern? Was it no more than a word, an idea?”
― V.S. Naipaul, The Indian Trilogy

“Rama rajya, Rama’s rule or kingdom – it was the highest Hindu praise: Rama the hero of one of the two great Hindu epics, the embodiment of goodness, universally loved, the man who in any situation could be relied upon to do the right thing, the religious thing, the wise thing, a figure at once human and divine: to be ruled by Rama’s law was to know bliss.”
― V.S. Naipaul, The Indian Trilogy

“on the other side of Howrah Bridge which, if one could ignore the stalls and rickshaws and white-clad hurrying crowds, was at first like another Birmingham; and then, in the centre, at dusk, was like London, with the misty, tree-blobbed Maidan as Hyde Park, Chowringhee as a mixture of Oxford Street, Park Lane and Bayswater Road, with neon invitations, fuzzy in the mist, to bars, coffee-houses and air travel, and the Hooghly a muddier, grander Thames, not far away. On a high floodlit platform in the Maidan, General Cariappa, the former commander-in-chief, erect, dark-suited, was addressing a small, relaxed crowd in Sandhurst-accented Hindustani on the Chinese attack. Around and about the prowed, battleship-grey Calcutta trams, bulging at exits and entrances with men in white, tanked away at less than ten miles an hour. Here, unexpectedly and for the first time in India, one was in a big city, the recognizable metropolis, with street names – Elgin, Lindsay, Allenby – oddly unrelated to the people who thronged them: incongruity that deepened as the mist thickened to smog and as, driving out to the suburbs, one saw the chimneys smoking among the palm trees.”
― V.S. Naipaul, The Indian Trilogy