Jewel in the Crown (Scott)

The Jewel in the Crown: The Raj Quartet: I
Paul Scott, 1966
University of Chicago Press
462 pp.
ISBN-13: 9780226743400


Summary
"The Raj Quartet," Paul Scott's epic study of British India in its final years, has no equal. Tolstoyan in scope and Proustian in detail but completely individual in effect, it records the encounter between East and West through the experiences of a dozen people caught up in the upheavals of the Second World War and the growing campaign for Indian independence from Britain.

The first novel, The Jewel in the Crown, describes the doomed love between an English girl and an Indian boy, Daphne Manners and Hari Kumar. This affair touches the lives of other characters in three subsequent volumes, most of them unknown to Hari and Daphne but involved in the larger social and political conflicts which destroy the lovers. In The Day of the Scorpion, Ronald Merrick, a sadistic policeman who arrested and prosecuted Hari, insinuates himself into an aristocratic British family as World War II escalates.

On occasions unsparing in its study of personal dramas and racial differences, the "Raj Quartet" is at all times profoundly humane, not least in the author’s capacity to identify with a huge range of characters. It is also illuminated by delicate social comedy and wonderful evocations of the Indian scene, all narrated in luminous prose. (From the publisher.)

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Author Bio
• Birth—March 25, 1920
• Where—Southgate (north London), England, UK
• Death—March 1, 1978
• Where—London, Englan
• Awards—Booker Prize—1971, 1977

Paul Mark Scott was a British novelist, playwright, and poet, best known for his monumental tetralogy "The Raj Quartet." His novel Staying On won the Booker Prize for 1977.

Paul Scott was born in Southgate, north London, the younger of two sons. His father, Thomas (1870-1958), was a Yorkshireman who moved to London in the 1920s and was a commercial artist specialising in furs and lingerie. His mother, Frances, née Mark (1886-1969) was the daughter of a labourer from south London, socially inferior to her husband but with artistic and social ambitions. In later life Scott differentiated between his mother’s creative drive and his father’s down-to-earth practicality.

He was educated at Winchmore Hill Collegiate School (a private school) but was forced to leave suddenly, and without any qualifications, when 14, at a time that his father’s business was in severe financial difficulty. He worked as an accounts clerk for CT Payne and took evening classes in bookkeeping. He started writing poetry in his spare time. It was in this environment that he came to understand the rigid social divisions of suburban London, so that when he went to British India he had an instinctive familiarity with the interactions of caste and class in an imperial colony.

He was called up (conscripted) in to the army as a private in early 1940 near the start of World War II and was assigned to Intelligence Corps. He met and married his wife, Penny, née Avery, in Torquay in 1941.

In 1943 he was posted as an Officer Cadet to India, where he was commissioned. He ended the war as a Captain in the Indian Army Service Corps organizing logistics for the Fourteenth Army’s reconquest of Burma, which had fallen to the Japanese in 1942. Despite being initially appalled by the attitudes of the British, the heat and dust, the disease and poverty and the sheer numbers of people, he, like so many others, fell deeply in love with India.

After demobilisation in 1946 he was employed as an accountant for two small publishing houses and remained until 1950. His two daughters (Carol and Sally) were born in 1947 and 1948. In 1950 Scott moved to the literary agent Pearn, Pollinger & Higham (later to be split into Pollinger Limited and David Higham Associates) and subsequently became a director. Whilst there he was responsible for representing Arthur C Clarke, Morris West, M M Kaye, Elizabeth David, Mervyn Peake, and Muriel Spark, amongst others.

Scott published a collection of three religious poems under the title I, Gerontius in 1941, but his writing career began in earnest with his first novel Johnny Sahib in 1952; despite seventeen rejections it met with modest success. He continued to work as a literary agent to support his family, but managed to publish regularly. The Alien Sky (US title, Six Days in Marapore) appeared in 1953, and was followed by A Male Child (1956), The Mark of the Warrior (1958), and The Chinese Love Pavilion (1960). He also wrote two radio-plays for the BBC, Lines of Communication (1952) and Sahibs and Memsahibs (1958). All the novels were respectfully received though selling only moderately, but in 1960 Scott decided to try to earn a living as a full time author, and resigned from his literary agency.

More
His novels persistently draw on his experiences of India and service in the armed forces with strong subtexts of uneasy relationships between male friends or brothers; both the social privilege and the oppressive class and racial stratifications of empire are represented, and novel by novel the canvas broadens. The Alien Sky remains the principal fictional exploration of a very light-skinned Eurasian (mixed race, British-Indian) woman who has married a white man by pretending to be white; A Male Child is set principally in London and deals with the domestic effects of losing a family member to imperial service; and The Chinese Love Pavilion, after an Indian opening, is largely concerned with events in Malaya under Japanese occupation.

In retrospect these novels can be seen as studies towards "The Raj Quartet," and one of its minor characters appears by name in The Birds of Paradise (1962), but the lack of commercial success forced Scott to broaden his range. His next two novels, The Bender (1963), a satirical comedy, and The Corrida at San Feliu (1964), comprising multiple linked texts and drawing extensively on family holidays to the Costa Brava, are a clear attempt to experiment with new forms and locales. However, while still well received neither was especially successful, either financially or artistically, and Scott decided that he must either write the novel of the Raj of which he believed himself capable, or return to salaried work.

Scott flew to India in 1964 to see old friends, both Indian and Anglo-Indian, make new acquaintances in independent India, and recharge his batteries by reconfronting the place that obsessed him. Artistically he felt drained and a failure, feelings that were reinforced by financial straits and physical weakness. Scott had since serving in India suffered from undiagnosed amoebic dysentery, which can seriously affect mood as well as digestion, and had managed to handle it by what his biographer, Hilary Spurling, describes as “alarming” quantities of alcohol. The condition was exacerbated by the visit and on his return he had to undergo painful treatment, but afterwards felt better than he had for years.

The Raj Quartet
In June 1964, Scott began to write The Jewel in the Crown, the first novel of what was to become "The Raj Quartet". It was published in 1966 to minor and muted enthusiasm. The remaining novels in the sequence were published over the next nine years – The Day of the Scorpion (1968), The Towers of Silence (1971) and A Division of the Spoils (1974). Scott wrote in relative isolation and only visited India twice more during the genesis of "The Raj Quartet", in 1968 and in 1971, latterly for the British Council. He worked in an upstairs room at his home in Hampstead overlooking the garden and Hampstead Garden Suburb woodland – a far cry from the archetypal administrative province, between the Ganges and the foothills of the Himalaya, in which the novels were set. He supplemented his earnings from his books with writing reviews for the Times, the Times Literary Supplement, New Statesman and Country Life.

The Jewel in the Crown engages with and rewrites E. M. Forster's A Passage to India (1924), and so is necessarily set in a small, Hindu-majority rural town with an army garrison, but the wider province is implicit, and the later novels spread out to the cold-weather capital on the plains, the hot-weather capital in the hills, a neighbouring Muslim-ruled Princely State, and the railways-lines that bind them together — as well as Calcutta, Bombay, and the Burmese theatre of war. The cast also expands to include at least 24 principals, more than 300 named fictional characters, and a number of historical figures including Churchill, Gandhi, Jinnah, Wavell, and Slim. The story is initially that of the gang rape of a young British woman in 1942, but follows the ripples of the event as they spread out through the relatives and friends of the victim, the child of the rape, those arrested for it but never charged and subsequently interned for political reasons, and the man who arrested them. It also charts events from the Quit India riots of August 1942 to the violence accompanying the Partition of India and creation of Pakistan in 1946-7, and so represents the collapse of imperial dominance, a process Scott describes as 'the British coming to the end of themselves as they were'.

Scott's wife Penny had supported him throughout the writing of "The Raj Quartet" despite his heavy drinking and sometimes violent behaviour, but once it was complete she left him and filed for divorce. Forced to reassess his life and options he turned to teaching, and in 1976 and 1977 he was visiting Professor at the University of Tulsa in the U.S. state of Oklahoma. His coda to "The Raj Quartet", Staying On, was published in 1977 just before his second visit. Soon after its publication, and while he was in Tulsa, Scott was diagnosed with colon cancer.

At the time of their publication, the novels of "The Raj Quartet" were, individually and collectively, received with little enthusiasm. Only The Towers of Silence and Staying On achieved success with the award of the Yorkshire Post Fiction Award and the Booker Prize in 1971 and 1977 respectively. Sadly, Scott was too ill to attend the Booker presentation in November 1977. He died at the Middlesex Hospital, London on 1 March 1978.

Scott stated that “For me, the British Raj is an extended metaphor [and] I don’t think a writer chooses his metaphors. They choose him.” From his earliest experiences in north London, he felt himself an outsider in his own country. As his biographer comments,

Probably only an outsider could have commanded the long, lucid perspectives he brought to bear on the end of the British raj, exploring with passionate, concentrated attention a subject still generally treated as taboo, or fit only for historical romance and adventure stories. However Scott saw things other people would sooner not see, and he looked too close for comfort. His was a bleak, stern, prophetic vision and, like Forster's, it has come to seem steadily more accurate with time.

The Jewel in the Crown has at its heart the confrontation between Hari Kumar, the young, English-public-school educated Indian liberal, and the grammar-school scholarship-boy turned police superintendent Ronald Merrick who both hates and is attracted to Kumar and seeks to destroy him after Daphne Manners, the English girl who is in love with Kumar and has been courted by Merrick, is raped.

Critics have seen this conflict as one fundamentally influenced by Scott’s own deeply-divided bisexual nature, with Kumar representing everything young, bright, and forward-looking that had been brutally crushed in Scott’s own youth. At the same time Merrick, probably (but not absolutely certainly) a repressed homosexual, with authoritarian leanings and an arrogant sense of his own racial standing, is partly a self-portrait in which Scott confronted his own and his compatriots' defensive impulse to racial and personal self-aggrandisement, and to moral and political pretence. The result is widely seen as a substantial, and to date definitive, fictional exploration both of the underbelly and of the moral workings of the Raj in India.

In 1980, Granada Television filmed Staying On, with Trevor Howard and Celia Johnson as Tusker Smalley and his wife Lucy, famously advertised at the time as "Reunited for the first time since Brief Encounter". The success of its first showing on British television in December 1980 encouraged Granada Television to embark on the much greater project of making "The Raj Quartet" into a major fourteen-part television series known as The Jewel in the Crown, first broadcast in the UK in early 1984 and subsequently in the US and many Commonwealth countries. It was rebroadcast in the UK in 1997 as part of the 50th anniversary celebrations of Indian independence, and in 2001 the British Film Institute voted it as 22nd in the all time best British television programmes. It has also been adapted as a nine-part BBC Radio 4 dramatisation under its original title in 2005. (From Wikipedia.)

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Book Reviews
A major work, a glittering combination of brilliant craftsmanship, psychological perception and objective reporting
New York Times

The strength, assurance and stamina displayed in The Day of the Scorpion are quite outstanding. [Scott is a] writer who has thoroughly mastered his material, and who can...work through a maze of fascinating detail without for a moment losing sight of distant and considerable objectives
Times Literary Supplement (London)

An epic of genius.
Philadelphia Inquirer

An artful triumph.... [The Jewel in the Crown] goes forward with considerable power and urgency.... Besides storytelling, Mr. Scott uses his remarkable techniques to portray a place and a time, a society and its social arrangements, that are now history.
The New Yorker

Far more even than E.M. Forster, in whose long literary shadow he has to work, Paul Scott is successful in exploring the provinces of the human heart
Life

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Discussion Questions
Use our LitLovers Book Club Resources; they can help with discussions for any book:

• How to Discuss a Book (helpful discussion tips)
• Generic Discussion Questions—Fiction and Nonfiction
• Read-Think-Talk (a guided reading chart)

Also consider these LitLovers talking points to help get a discussion started for The Jewel in the Crown

1. Describe Daphne Manners. What kind of person is she? How does Daphne feel about British attitudes in India? What is the symbolic/ironic play on her name?

2. What about Hari Kumar? What does Daphne mean when she says Hari is "an English boy"? Is he Harry Coomer or Hari Kumar? Exactly where does he fit within Raj society—within the Indian or British culture? (Raj means "reign," so Raj society refers to the British rule over India.)

3. What motivates Ronald Merrick's anger and especially his hatred of Hari Kumar? What does Hari represent to Merrick? Is Merrick genuinely attracted to Daphne Manners? Is Merrick gay?

4. How does Hari act (and why) at Lady Chatterjee's party, the one where he first meets Daphne? What makes Lady Chatterjee wary of Hari and his attentions to Daphne?

5. In what way do Lady Chatterjee and Hari Kumar blur the Anglo-Indian social and ethnic distinctions so carefully established by the British? Actually, what are those distinctions—and why is Lady Chatterjee more secure in her position than Hari is in his?

6. After Mr. Chaudhuri's murder, Edwina Crane tells Ronald Merrick that "there is nothing I can do." What is the larger implication of that remark? And in what way does the sentence reverberate with other characters in the book?

7. Why does Miss Crane take down the portrait of Ghandi in her classroom? She replaces it with the painting, The Jewel in the Crown. What is the allegory in the painting? Discuss the significance of the painting in terms of its meaning both regarding British rule over India and the title of this book.

8. Talk about the incident on the cricket patch with Hari Kumar and Colin Lindsey? What was the relationship between the two young men...and how has it changed?

9. After the brutal rape and attack, why does Daphne make Hari promise not to reveal his presence at the scene? And what makes Hari keep his promise to her (i.e., what code is he operating under)?

10. In this story, a child is born through violence. How might this be seen as symbolic of the history of British colonialism in India and India's eventual independence?

11. Scott uses many points of view, different characters, to tell his story. Did you find the variety of perspective engaging, or would you have preferred a seamless 3rd-person narrative? Why might Scott have chosen to structure his novel this way?

12. At the time the book was published, one reviewer wrote the following assessment. Read it and decide whether you agree...or not, and why.

Mr. Scott is not bitter. He knows that he is not writing just about callous or insolent or arrogant English men and women, or about noble and resentful Indians. He is writing about many kinds of people involved in a situation they did not make themselves, conforming to traditions of long standing, and acting according to their natures and innermost convictions. There are some unpleasant individuals satirically viewed...but no villains.   —Emanuel Perlmutter - New York Times (7-29-1966)

13. What is the role of women in the novel? How does each woman impact the plot, drive it forward? What position do British women in particular occupy in the British Raj?

14. Comparisons of this novel to E.M. Forster's A Passage to India have been made many times over. In fact, it seems Paul Scott had Forster's book in mind with the rape of Daphne (ah...there's a mythical allusion in that event, come to think of it....) with the imaginary rape scene in Passage. Have you read Forster's work, and if so, how to you compare the two novels?

(Questions by LitLovers. Please feel free to use them, online or off, with attribution. Thanks.)

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