A Psychogeographical Perspective: A
Study of Urban Environment in Twilight in Delhi by Ahmed Ali
Shivani,
Ph.D. Research
Scholar,
Dept. of English
and Modern European Languages,
University of
Lucknow, Lucknow,
Uttar Pradesh,
India.
Abstract: Our
environments are live examples of how human race has evolved within the
complicated web of urban settings. Over the history of its existence, Delhi, a
city of great historical and cultural significance, has experienced significant
changes. This paper will examine Delhi from a socio-cultural perspective using
a variety of historical, literary, and psychogeographical perspectives. It is
an interdisciplinary study that focuses on how the city ultimately affects its
residents, emphasizing the connection between the physical environment of the
city and the socio-cultural and political goals of its residents. This work Twilight in Delhi by Ahmed Ali,
portrays characters who are trying to deal with the challenges as well as
accomplishments of urban life while using the dynamic fabric of the Delhi as a
canvas to explore human nature and emotions. Readers from every sphere of life
will find literature located in the urban canvas to be both relatable and
compelling due to its rich tapestry of human experiences. People are alienated
by contemporary metropolitan settings that were created to further capitalist
goals, which led them to acquiesce in the prevailing social structure. By
encouraging people to actively participate their surroundings and critically
interact with the areas they occupy, psychogeography attempts to counter this.
Additionally, it presents a link to connect the objective and the material,
i.e., the geographical setting with the persons' subjective and emotional
behaviour.
Keywords: Psychogeography, Literature, Urban,
Environment, Geography
Introduction
Ahmed Ali, novelist, poet, critic, diplomat and scholar was born in
Delhi in 1910. He studied at universities in Lucknow and in Aligarh. From 1932
to 1946, he taught at the Universities of Lucknow, Allahabad and Agra before
joining the Bengal Senior Educational Service as a professor and head of
department at Presidency College, Calcutta from 1944 to 1947. He delivered
numerous lectures across the United States while serving as a distinguished visiting
professor at Michigan State University in 1975 and as a Fullbright Visiting
Professor of English and History at the universities of Southern Illinois and
Western Kentucky in 1978–79. When Angarey was published in Urdu in 1932,
Ali rose to fame. He was a pioneer of the modern Urdu short story and
co-founder of the All-Indian Progressive Writers’ Movement and Association. He
created embassies in China and Morocco while residing in Pakistan following the
division of the Indian subcontinent. Concerns about the unfairness of colonial
rulers and the deterioration of Muslim culture were expressed in his works. His
writing voiced over the decline of Muslim culture and the injustice done by
colonial power as it can be witnessed in his Twilight in Delhi.
The Idea of
Psychogeography
Guy Debord, a French thinker and
part of the Situationist International group of avant-garde European artists,
intellectuals, and political theorists, is credited with coining the term
"psychogeography," which became famous in Paris in the 1950s. The
group was active from the late 1950s to the early 1970s. Guy Debord led the
tiny group of European authors and artists who created it in 1957. The
Situationist International aimed to oppose and criticise society's consumerist
perspective, which was progressively separating individuals from their
environment. However, internal disputes and confrontations among its members
led to the Situationist International's collapse in 1972. The organisation
aimed to critique the alienating effects of contemporary
capitalist society as well as the dominant social order. Under Guy
Debord's direction, the Situationist International produced several significant
declarations and writings that clarified and developed crucial ideas, including
psychogeography, the “derive”, and “detournement”.
Debord defined Psychogeography as
“the study of the specific effects of the geographical environment, consciously
organized or not, on the emotions and behaviour of individuals” (Coverley 10).
Among the various ideas, psychogeography is the one to understand urban life.
It is the contemplation of how people's feelings, actions, and perceptions are
influenced by their physical surroundings. The Situationists held that
contemporary urban phenomena, which have been designed to fulfill capitalist
objectives, alienated people and led them to participate in the prevailing
social structure. By encouraging people to consciously participate in their
surroundings and critically interact with the areas they occupy. “The twentieth
century city dwellers were extremely ambitious and thus were venturing out into
the city only when they left for work and on their way back” (Knabb 56).
Consequently, there was no artistic and aesthetic interaction between the city
and its people. Everyone was too preoccupied with the act of consuming and
earning money to be interested in seeing and experiencing the city. People's
interactions with the metropolitan environment changed as an output of their
focus on their personal and professional goals. People felt cut off and
alienated from the city as a consequence of this limited concentration on
consuming and making money.
At this point, the introduction of
Psychogeography, as a theoretical concept, serves as a fundamental point that
lays emphasis on “spatial experiences in relation to social, physical,
historical, psychological, and geographical dimensions of everyday life. With
its roots in theories of new urbanism, psychogeography indicates the impact of
urban space on and its significance for individuals who set out to experience
the city” (Loffler 6). People were encouraged to stray from established paths
and participate in unplanned exploration and understanding of the urban
environment through activities like the dérive, which placed the individual at the
centre of the urban experience.
It recognizes the variety of
viewpoints and empowers people to express their own impressions and
interpretations of the city. People are inspired to consciously interact with
their surroundings through psychogeographical activities, transforming from
passive consumers to active participants. People may develop a sense of
ownership and responsibility for the city as a result of this active
involvement, which may encourage them to take part in community-based projects
and shape their urban environment.
Concept
of Dérive (drifting) and the Flâneur
Drifting is one of the key characteristics
of psychogeography. Drifting was developed as a method for bringing critical
awareness to the act of strolling through urban streets. It enabled the drifter to recognize the
emotional and physical impacts that the environment had on them. Debord
introduced the idea of "drifting," or free and unplanned but not
aimless wandering or strolling through the landscape, which allows one to be
drawn both consciously and unconsciously towards those locations and sections
that enhance one's experience and comprehension of city spaces and places. He
outlined:
One of the basic
situationist practices is the derive (drifting), a technique of rapid passage through
varied ambiances. Derives involve playful constructive behaviour and awareness
of psychogeographical effects, and are thus quite different from the classic
notions of a journey or stroll. In a derive, one or more individuals during a
certain period drop their relations, their work and leisure activities and all
other usual motives for movement and action, and let themselves be drawn by the
attractions of the terrain and the encounters they find there. (Debord 62)
The flâneur is
frequently depicted as a detached, perceptive observer who casually walks
through parks, public areas, and city streets, appearing aimless but
inquisitive about the world around them. This figure is linked to the
19th-century rise of cities, urbanization, and modernism. The word
"flâneur," which comes from French literature, describes a leisurely
wanderer or urban stroller who usually strolls through a city's streets to
observe its atmosphere. In the 19th century, the idea became well-known,
particularly in the works of French poet Charles Baudelaire’s The Painter of
Modern Life (1863), and later in the works of other thinkers, such as
Walter Benjamin’s The Arcades Project (1982).The flaneur, thus, “is a
composite figure – vagrant, detective, explorer, dandy, and stroller – yet,
within these many and contradictory roles, his predominant characteristic is
the way in which he makes the street his home and this is his true legacy to
psychogeography” (Coverley 65). The walker's unfiltered connection with the
metropolis has the potential to create an intense engagement in which the
person actively shapes their perception of the physical environment. The
pedestrian moves through the city as an active agent, interacting with the
physical environment in a dynamic and embodied manner rather than just as a
passive observer.
In his
influential work The Practice of Everyday Life, (1980) Michel de Certeau
presents the idea of "pedestrian speech acts" (99) to characterize
the various interactions and behaviours of city pedestrians. He asserts that
walking is a performative act that connects the city in subjective ways,
enabling each walker to craft their own distinct urban narrative rather than
merely being a straightforward means of transportation. Iain Sinclair, one of
Britain’s most popular contemporary writers of psychogeography, is also of the
view that the city is best experienced by walking through it. One could
encounter, “Walking is the best way to explore and exploit the city; the
changes, shifts, breaks in the cloud helmet, movement of light on water.
Drifting purposefully is the recommended mode, trampling asphalted earth in
alert reverie, allowing the fiction of and underlying pattern to assert itself”
(Sinclair 4).
Critical
discourses about architecture and urban planning also had an impact on
psychogeography. Thinkers like Lewis Mumford and Henri Lefebvre, through their
respective works What is a City? (1937) and The Production of Space
(1974) advanced theories of how urban settings affect social interactions and
human behaviours.
Adopting the
lens of Psychogeography
The examination
of the notion of space in the city and how people interact with the city inside
it are the two main focuses of this study project. As a result, the question
becomes both a socio-cultural study of the association between the individual
and the city and a n analysis of the city area. A psychogeographical
exploration of the city space will be made possible by the
narrative chosen to examine the city and the lifestyles that flourish
there. However, this research examines the multidimensional urban experience as
a tool for social and cultural understanding of people, places, and spaces
rather than limiting the city to a descriptive term.
The application
of literary psychogeography, which enables both the writer and the reader of
the city to map the city through literature, emerged as a result of this
narrative’s psychogeographical reading of Delhi, which also integrates the city
together in subjective ways that allow exploration into the concepts of people
and spaces. Eric Prieto mentions “literature provides a precious resource for
geographers because of its ability to document in the most intimate,
innovative, and detailed ways the personality of a place” (9). Additionally,
literary works such as novels, poems, plays, short stories, autobiographies,
and travelogues are essential tool for documenting and narrating a
geographical space that profoundly reflects the experiences, sensibilities, and
preferences of the people and ethnic groups living in that particular urban
area.
Psychogeography
in literature, also known as literary psychogeography, is any writing that
successfully captures the effect of a specific area of a city or landscape on
the human mind or a person's projection of inner feelings and reactions onto
the external environment. By applying a psychogeographical perspective to the
selected literary narratives, the research is able to see the city as a
discourse, a means by which the city communicates with its residents and their
responses to it through living there, moving through it, responding to it, and
making sense of it. Roland Barthes in Semiology and the Urban mentions,
“He who moves about the city (what we all are), is a kind of a reader, who
following his movements, appropriates fragments” (168).
Psychogeographical Representation of Delhi
The Delhi of the early 20th
century, when the city was undergoing significant structural, social, and
political transformations, is depicted in Ahmed Ali's Twilight in Delhi (1940).
It is an attempt to recreate the atmosphere of Old Delhi, which was once alive
with intellectual, social, and cultural knowledge and where a variety of
languages, ethnic backgrounds, and religions did not act as catalysts for bias
and prejudice. Ali's work aims to highlight Delhi's vibrant pre-partition
lifestyle while also considering and reflecting on all the significant changes
the city was undergoing. The novel's tone seems to be one of lamenting the loss
of the customs that, at one point in time, defined Old Delhi. Ali begins the book
with a passage by Bahadur Shah Zafar that has the quality of an elegy and
expresses a regret or mourning for the passing of long-standing traditions,
customs, manners, and behaviors, “Delhi was once a paradise, such peace had
abided here; But they have ravished its name and pride, remain now ruins and
care” (Ali 1). These lines, which serve as the novel's title page epigraph,
clearly highlight the harm that the British Raj caused to India. These lines'
powerful melancholy establishes the tone of the book, which goes on to convey
the pain, grief, and discontent that followed the destruction of the previous
way of life.
The novel's description of a bygone
age, which is frequently set against Delhi's historical backdrop, gives rise to
an elegiac tone. The story intertwines the lives of people from a bygone era,
one that was more rooted in customs, cultural standards, and a feeling of
belonging. As the story progresses, the erosion of those treasured customs and
ideals becomes apparent, as does the difference between the past and the
present. “The title of the novel itself can serve as a poignant representation
of this elegiac sentiment. If the title, Twilight in Delhi, denotes a
time of fading light and approaching darkness, it can symbolize the decline of those
cherished customs and ways of life” (Riaz 97). Here, the twilight represents
the transition from one era to another, from the old to the new, when cherished
customs are progressively overshadowed by the shifts brought about by
modernity, colonization, or political unrest. The author skilfully conveys the
regret and melancholy that result from the breakdown of long-standing customs
and the alteration of cultural standards in the work, capturing the spirit of
that waning dusk. By doing this, the story transforms into an elegy, a poignant
mourn for what has been lost, and a monument to the resilience of memory and
the human spirit in the face of adversity. The protagonist, Mir Nihal, plays a
pivotal role as a lens through which the decline of Mughal culture and the
changing landscape of the medieval, imperial metropolis are vividly depicted.
Mir Nihal provides readers with an engrossing depiction of the grandeur of a
bygone age by embodying the customs, values, and ways of life of the Mughal
Empire as a representation of the old Muslim aristocracy:
But the city of
Delhi, built hundreds of years ago, fought for, died for, coveted and desired,
built, destroyed and rebuilt, for five and six and seven times, mourned and
sung, raped and conquered, yet whole and alive, lies indifferent in the arms of
sleep. It was the city of kings and monarchs, of poets and story tellers,
courtiers and nobles. But no king lives here today, and the poets are feeling
the lack of patronage; and the old inhabitants, though still alive, have lost
their pride and grandeur under a foreign yoke. Yet the city stands still
intact, as do many more forts and tombs and monuments, remnants and reminders
of Old Delhi(s), holding onto life with a tenacity and purpose which is beyond
comprehension and belief. (Ali 4)
Through Mir Nihal's eyes, the book gave
readers a glimpse into Delhi's past as a bustling hub of Mughal politics and
culture, along with evolving phenomena of adopting new customs. As the
narrative develops, readers see how colonial control and the ensuring of
British influence steadily undermine the traditional ways of life. Mir Nihal's
journey becomes a metaphor for the declining glory of Delhi's past, mirroring
the change in society and culture which took place at that time. The possibility
of the foreign British authority taking over this renowned city and
establishing New Delhi, India's eighth city, as its capital, is combined with
the city's gradual decline. During King George's coronation durbar in December
1911, the decision to build New Delhi was made, although it came at a
significant cost:
When Chandni
Chowk, the main thoroughfare of the old city, was modernised and widened for
the Durbar and the new city by destroying the old peepal trees that had
sheltered generations of the city’s inhabitants, modernity did indeed come to
Delhi. At that time the Delhi of the Mughal past began to give way to the
twentieth century at the expense of the city’s identity, uniqueness, and sense
of continuity. However, many of its inhabitants hoped and a few predicted that
British might in India was also entering its twilight years. (Ali 139)
Mir Nihal and
his family was struggling to accept these changes because they understood that
their lives will change along with the city's significant changes. These
fictional characters were more driven to create their own or others' identities
from the city, and their identities were increasingly manufactured by the urban
environment. Mir Nihal provides moving observations on the culmination of the
old order and the commencing of a new period marked by modernization,
westernization, and a changed social fabric as a spectator of history in the
making. He becomes a representation of the yearning for the lost splendour of
the Mughal era, grieving the Mughal culture's downfall and the deterioration of
ancient values in the face ofswiftchange. The work explores the collision of
civilizations and the quest for identity in a changing world from Mir Nihal's
point of view. His internal struggles and external obstacles highlight the
difficulties of managing a society in transition by reflecting the difficulties
the Muslim community in Delhi encountered at the time. His persona functions as
an allegorical figure, symbolizing the general downfall of their life along the
loss of Mughal culture. He has been potent vehicle for the novel's examination
of historical and cultural matters because readers can relate to his feelings,
hardships, and thoughts on the evolving city and culture. In this way, Ali
highlights the intricate process of the city constantly being in a state of
flux by outlining how life inside the city and outside the city were both
dependent on one another and will continue to change and go on continuously
with the passage of time. This is especially true for a city like Delhi, that
has consistently experienced a number of long-lasting, significant changes
since its founding, giving this urban area a rich, complex, and convoluted
historical history. Delhi's historical, cultural, and symbolic significance are
highlighted in the book and serve as the backdrop for the downfall narrative.
The mohalla and its residents act as a microcosm of the city, mirroring its
shifting social dynamics and geography. As the story develops, readers see how
the greater historical and cultural changes in Delhi are closely related to the
fortunes of the Mohalla people, particularly Mir Nihal's family. Ali humanizes
the historical setting by emphasizing the Mohalla people and Mir Nihal's
family, bringing to life the effects of more significant societal shifts on
people's lives.
The
novel examines the challenges of navigating a changing urban environment
while adhering to cultural customs and beliefs through their relationships and
experiences. Mir Nihal's family's decline and Delhi's greater Mughal cultural
decline are intertwined, highlighting the difficulties the community
experienced as a whole during a period of profound change. As the
novel progresses, Ali deftly conveys the complex history and culture of
Delhi, offering readers an engrossing tale that blends intimate tales with more
general historical currents. Askari in his essay A Novel by Ahmed Ali
(1949) notes that “Ali’s novel is not a story of a few individuals alone, but
of a people, a city, a particular culture, a period of history. his theme is
not confined to a few characters and their biographies, but to an entire city. This
is a collective novel whose hero is the city of Delhi” (31). With historic
structures like the Red Fort and Jama Masjid showcasing its grandeur and cultural
legacy, Old Delhi stood as a monument to millennia of history. The city's
landscape had been adorned with elaborate facades and intricate ornamentation
due to its architectural magnificence, which was a blend of Mughal, Persian,
and Indian influences. Old Delhi flourished as a cultural melting pot,
encouraging a lively coexistence of Muslims, Sikhs, Hindus, and others, where
common customs and festivities constructed within the community. Vibrant
bazaars filled the winding lanes, releasing the scent of spices and the colour
of fabrics. The citizens' lives were enhanced by the tight-knit mohallas, which
fostered a sense of belonging and community. The city's character was enhanced
by its traditional crafts, culinary delights, and classical arts. Old Delhi
shown a profound regard for its history by conserving historic buildings and
customs. The city's spirit persevered in the face of difficulties, embracing
its fundamental identity while adjusting to change. The story of this city is
not only found in written, documented form but also in the form of monuments
and stones that have endured the city's numerous shades for a very long time.
The historical narratives of Delhi's journey are still inscribed on the
exquisite buildings and significant monuments. Swapna Liddle in Chandni
Chowk: The Mughal City of Delhi (2017) she mentions:
Although
Shahjahanabad has been subsumed under the enormous spread of cosmopolitan
Delhi, it has an identity that still is distinct. She points out that despite
going through colossal changes and modifications Old Delhi is still a living
city. It is still a thriving place with people inhabiting it. The lives of
these occupants have transformed over the centuries but the city’s market
places, lanes and homes continue to retain a historical aura even in the
present-day space and time. (5)
Ali's central
character, Mir Nihal explores, walks, and watches the shifting landscape
of the ancient Mughal city—which is beyond of his control—through these same
streets and marketplaces. Because he is passively seeing the demise of the
former conventions and the exposure of the new ways of life, his mapping of the
city throughout the story evokes feelings of nostalgia, anguish, and regret.
Mir Nihal finds traces of the once-thriving Mughal civilization in the ruins of
a bygone era throughout his travels. The following lines point out the loss of
the past grandeur celebrated by the city of Delhi:
Treacherous
games have been played under its skies, and its earth has tasted the blood of
kings. But still it is the jewel of the eye of the world, still it is the
centre of attraction. Yet gone is its glory and departed are those from whom it
got the breath of life. Where are the Kauravs and Pandavas? Where are the
Khiljis and the Saiyyeds? Where are Babur and Humayun and Jahangir? Where is
Shah Jahan who built the city where it stands today? And where is Bahadur Shah,
the tragic poet, and the last of that noble line? Gone they are and dead
beneath the all embracing earth. Only some monuments remain to tell its sad
story and to remind us of the glory and splendour – a Qutub Minar or a
Humayun’s Tomb, the Old Fort or the Jama Mosque, and a few sad verses to mourn
their loss and sing the tale of mutability.” (4)
His sentiments
of regret and nostalgia are heightened by his sense of powerlessness in the
face of this change. The story depicts these people' struggle since they are
torn between the appeal of the new and reminiscence for the past. The contrast
between the old and modern lifestyles draws attention to how difficult it is to
change society. The representation of a city struggling with its past and the
unrelenting passage of time is captured by Ali's skilful depiction of Mir
Nihal's emotional journey. Twilight in Delhi is a timeless examination
of the human condition within the always changing metropolitan context because
of Mir Nihal's sentimental insights and passive observations, which serve as a
moving reminder of the transience of existence and the inevitability of change.
Mir Nihal recalls how the aristocratic lifestyle, which previously included
expert pursuits like kite and pigeon flying, is now disappearing as a result of
outside influences. He observes how the lively areas of the old city, such as
“nukkads’’ (street corners) and “chaupals” (public squares), used to be a hive
of creativity where people actively participated in pigeon flying competitions,
passionately engaged in fruitful discussions, exchanged couplets, and immersed
themselves in poetry conversations. The novel laments the passing of this vibrant
socio-cultural environment and the tight-knit community life that Delhi
formerly treasured before partition. Ahmed Ali depicts the Mughal culture's
downfall and their reaction to being victimized by imperialism through the
protagonist and his family. In addition to enable the present study to explore
Delhi's historical background, a psychogeographical interpretation of the work
has been helpful in revealing the varied experiences of Dilliwallahs, who were
in a state of flux due to the city's fast transformations in the early 20th
century.
Due to their
obsession with traveling back and forth in time, Delhi's literary and
psychogeographical mappings actively deal with memory and nostalgia. It
exhibits this oscillation between the past and the present since an analysis of
a city like Delhi would be incomplete without delving into its past and the
events it has experienced. The journey is made intriguing by literary
psychogeography because of its fluidity and ability to show readers the city
space as it was in both the past and the present. These stories heavily rely on
memory and nostalgia because they highlight the emotional ties that people and
communities have to their past. A sense of nostalgia is evoked by the
characters, settings, and cultural features, representing the yearning for the
earlier eras when the city was defined by distinct conventions, values, and
lifestyles. The stories emphasize the similarities and differences in the urban
environment by contrasting historical events with modern environments. They
provide a comprehensive examination of how the city's identity is still shaped
by the past and how it coexists with the dynamic changes of the present. The
literary psychogeographical method offers a potent lens through which the city
can be perceived as a living entity, flowing with the vitality of the present
while embodying the spirit of its past. It allows readers to actively interact
with the city as a synthesis of memories, stories, and real-life experiences
rather than just as a physical location.
Conclusion
By using an interdisciplinary
approach and conducting a parallel reading of Delhi through the dimensions of
literature, history, and psychogeography, the research project explores the
literary representations of Delhi created during the twentieth century. The
study attempted to understand the intricate relationship between the city and
its diversified population. Concurrently, the study aims to provide a
perceptive analysis of the actual experiences of people living in Delhi's urban
environment. The paper covers fundamental ideas related to Debord's concept of
psychogeography, such as the practice of "walking" and the derivation
(drifting). He thought that walking was the only way that the city's
multisensory aspects are accessible to its residents. The study then looks at
the chosen stories in which people try to make sense of it by wandering and
roaming across Delhi's streets and pavements. In Twilight in Delhi, for
example, Mir Nihal only interacts more intimately with Shahjahanabad when he
walks around the city. The smells, sounds, tastes, and textures of the city are
encountered by the protagonist as he moves through Delhi's
streets, connecting them to the city's sensory senses. They are only made aware
of the city's complexity when they actively interact with it through
psychogeographical activities like "walking."
They would also engage with neighbours and neighbourhood members during this
process, as well as go to social events. The research gains insight into the
viewpoints and lived experiences of the people that comprise Delhi's fabric by
examining these social processes and interactions.
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