A Firangi’s Love for an Indian: Khan Mahboob Tarzi’s Novel, Aghaaze Seher

Khan Mahboob Tarzi (d.1960) was a prolific but little-known Urdu writer from Lucknow, who considered writing to be a form of prayer. It is no wonder then that he wrote more than a hundred novels on history, politics, romance and even what seems to be the earliest science fiction work in Urdu. His novel Aghaaze Seher, translated as The Break of Dawn, is one such historical romance fiction set around the 1857 War of Independence.

Ostensibly a short romance novel, it traces the love story of an Indian mutineer with an English girl. Alice and Riyaz meet when the latter, a young soldier in the army of the local Raja, saves their group from fellow mutineers. They come across each other again and thus begins their romance. Their tale is quite evidently Tarzi’s fantasy; he has taken ample liberties with Alice’s character and her behaviour to make her the object of great appeal. In fact, Alice is an Englishwoman who has completely adopted India as her own.

Alice leaned forward and kissed Riyaz’s hands. He got flustered and nervous.

Alice let go of his hand and said, “We are only alive because of you. May god reward and bless you for this.” She spoke in fluent Urdu.

Alice speaks fluent Urdu, talks of God often, dresses in shalwar qameez and dupattas, and espouses Indian values, so much so that she shifts loyalties in support of the Indians and eventually becomes an informant for the rebels. At many points throughout the text her loyalty is proven.

“I thought no one would be here before 4 o’clock. It looks like the guard has been doubled.”

“So it should be. I am a very dangerous mutineer!”

“Don’t worry. I shall take you safely outside the Residency walls right now!”

“Ms. Alice, I implore you. Leave me to my fate.”

“I am going to go, get an Indian soldier’s uniform. You put it on and leave this place.” Without waiting for an answer, she left the room and returned with a small bundle. As she gave it to Riyaz, she said, “There is a pistol in this and outside you will find a rifle too.”

“Ms. Alice, how can I ever thank you enough?” Riyaz said as he stared at her luminous face.

“There is no need to thank me, but promise that you will never forget me.”

“Ms. Alice!” Riyaz spluttered, overcome with emotion.

“M M M… Mr. Riyaz,” exclaimed Alice as the words got lost in the darkness.

The dialogue of the novel is visual, its scenes cinematic and reminiscent of many Hindi films. Alice is characterised as the ideal partner and daughter-in-law, as is visible in her interactions with Riyaz’s family.

She was completely silent, wearing Awadhi clothes. Riyaz’s sister asked him, “Do you recognise this lady?”

“She is such a wonderful girl,” Riyaz’s mother said as she placed her hands on Alice’s shoulders. “In just a few days, she has won our hearts, even though…”

“Ammi, please don’t say this,” interrupted Alice. “I have forsaken my people for good and if I wanted to remain with them, I wouldn’t have come here…”

Interestingly, the translator has kept many of the original Urdu words without translation but with ample footnotes. These give a sense of the novel’s rootedness in a specific time and space – the world of 19th century Awadh. Other than details of the conflict, the novel also documents rituals and practices, such as the custom to have different kitchens for Hindus and Muslims to ensure dietary restrictions weren’t contravened.

The Mukhya said, “The Raja is a truly generous man. Recently between Mahmudabad and Lucknow, in six different towns, he ordered bawarchikhanas to be put up for the Muslims and bhandaras for his Hindu men.”

These tidbits, along with the fantastic, near-impossible love story, makes this novel an interesting read.

You can read an excerpt here and find the full translation here.