Calcutta's Shadow Empire: Babus, Wealth, and Wanton Ways

(Intro Music with Animated Visuals: Grand Calcutta mansion facade, zooming into
contrasting scenes – opulent decor, a lonely wife, a Babu with a courtesan)
Narrator: Welcome to 19th-century Calcutta – the dazzling, chaotic, and
contradictory heart of British India. A city hailed for its palaces, humming with
global trade, and alive with the intellectual fervor of the Bengal Renaissance.
Yet, beneath this shimmering surface of progress and prosperity, a unique and often
scandalous world took shape: the world of the Calcutta Babus.
These weren't just any wealthy Bengalis. The "Babu" represented a distinct social
class that emerged forcefully in the late 18th and 19th centuries, their fortunes
intrinsically tied to the rise of the British East India Company. They acted as
crucial intermediaries – agents known as banians, merchants navigating complex
trade networks, collaborators who helped the British establish their commercial and
political foothold, and later, powerful landowners or zamindars, consolidating
wealth derived from new colonial economic structures. Initially, "Babu" was a term
of respect, akin to 'Mister'. But it quickly became synonymous with immense, often
newly acquired wealth, a flamboyant lifestyle blending Indian traditions with
adopted Western manners – sometimes awkwardly – and a strong emphasis on English
education as a marker of modernity and status. Prominent families like the Debs of
Shobhabazar, the Tagores of Jorasanko, and the Mullicks became synonymous with this
new elite.
While their public lives, grand mansions, and contributions to the city's cultural
life are part of Calcutta's history, we're venturing behind the ornate facades.
This exploration delves into a more private, often deliberately obscured aspect of
Babu culture: the widespread practice of keeping mistresses, the patronage of
courtesans, and the complex web of relationships that existed outside the formal
structure of marriage. Why did this parallel social world flourish, and what does
it reveal about the Babus, their anxieties, and the unique pressures of colonial
Calcutta?
The very position of the Babus fostered a certain paradox. Their wealth and status
stemmed directly from their interactions with the colonial power. They pursued
Western education and adopted European manners, partly as a strategy to gain
acceptance from the British and signal their own 'progressiveness'. Yet, this
mimicry often fell short. In the eyes of the British, they remained distinctly
'native', frequently subjected to ridicule for what was perceived as an inauthentic
blend of cultures. Simultaneously, their embrace of new ways and perceived neglect
of tradition could alienate them from more conservative elements within Bengali
society. This existence 'in-between', caught between two worlds, may have created a
fertile ground for seeking alternative means of asserting status and finding social
expression, perhaps contributing to the allure of conspicuous consumption and the
patronage of spheres like the world of courtesans, where their wealth commanded
respect.
Babu Culture: Wealth, West, and Wantonness?
The Engine of Babu Life: New Money
The foundation of Babu culture was wealth, often acquired rapidly through the new
economic avenues opened by colonialism. Babus served as indispensable agents and
brokers (banians) for British and other foreign merchants, facilitating trade and
often entering into lucrative joint ventures. They dominated key sectors of
commerce, dealing in commodities like salt, textiles, sugar, indigo, and opium, and
establishing control over banking, insurance, and shipping industries. Figures like
Motilal Seal amassed fortunes comparable to the most prominent European merchants,
starting from humble beginnings and rising through astute business dealings and
speculation. This wealth often came not from long-established hereditary
landholdings or traditional trades, but from these new sources directly allied with
British colonialism, marking them as a nouveau riche class. As the 19th century
progressed, many Babus transitioned their commercial capital into land, becoming
absentee zamindars, living luxuriously in Calcutta while their estates were managed
by agents, further widening the gap between the urban elite and the rural populace.
A Spectacle of Spending
This newfound wealth demanded expression, and the Babus engaged in spectacular
displays of consumption. They constructed grand mansions, often blending Bengali
architectural elements with European styles like Palladian facades, creating hybrid
structures that symbolized their unique position. These palaces were not just
residences but centers of business, worship, and an opulent lifestyle. Interiors
were lavishly decorated with imported goods – chandeliers from Venice, mirrors from
Belgium, crystals from France, and furniture, paintings, and music boxes from
England.
Public festivals became key arenas for competitive extravagance. Following the
example of Raja Nabakrishna Deb, who hosted the first grand Durga Puja after the
Battle of Plassey, attended by Lord Clive and other elites, lavish Puja
celebrations became a hallmark of Babu status. These events were opportunities to
display wealth and influence, solidifying social standing through conspicuous
generosity and elaborate arrangements.
Anecdotes, perhaps embellished but indicative of the culture, paint a picture of
almost absurd extravagance. Ramtanu Dutta reportedly had his house cleaned twice
daily with imported rose water, while Bhuban Mohan Niyogi was said to light his
cigars with burning banknotes. Some Babus even imported zebras to pull their
carriages through Calcutta's streets. This ostentation wasn't merely personal
indulgence; in the fluid social hierarchy of colonial Calcutta, where traditional
authority structures were shifting and complete acceptance by the British remained
elusive , such public displays served as a vital strategy. Lacking deep-rooted
hereditary claims for many, and facing social barriers, the performance of wealth
through mansions, festivals, luxury goods, and even the patronage of arts and
courtesans became a primary means to assert and negotiate status and power. This
very competition in extravagance became a defining characteristic of Babu Culture.
Beyond material wealth, Babus were also significant patrons of arts, literature,
and music. Their salons hosted intellectual gatherings, fostering the Bengal
Renaissance. They supported musicians and dancers, including the sophisticated
tawaifs and baijis who performed classical Hindustani music, a tradition enriched
in Calcutta by the arrival of exiled Nawab Wajid Ali Shah and his entourage.
The "Memsahib" Mimicry and its Backlash
A defining feature of the Babu was the adoption, or perceived imitation, of Western
ways. English education became paramount, seen as essential for interacting with
the British and securing positions in the colonial administration. Many Babus
became remarkably fluent in English, even conducting correspondence and
conversations amongst themselves in that language. Their attire often became a
hybrid mix – pairing the traditional dhoti with an English coat and hat, sometimes
sporting a monocle. Hairstyles like the "Albert-cut," mimicking Queen Victoria's
consort, were adopted. Even food habits began to change, with items like bread,
biscuits, and sometimes even beef finding their way onto Babu tables. This adoption
was partly driven by a belief in Western superiority and a desire to appear
'modern' and 'civilized' in the eyes of the colonizers, hoping to gain acceptance
into British society.
However, this attempt at assimilation was frequently met with ridicule. The British
often viewed the Babu's efforts as superficial mimicry, an absurd and inauthentic
blend of East and West. Post-1857, caricatures became common, depicting the Babu as
a comical figure, a portrayal increasingly tinged with racism. Bengali social
critics also joined in the satire. Kalighat painters mocked the Babus' attempts to
emulate the British , and writers like Kaliprasanna Singha used biting humor to
critique their lifestyle. The term "Babu," initially respectful, acquired a
pejorative connotation, implying superficial cultivation, social climbing, or
effeminacy. This dual rejection – never fully British, yet detached from purely
traditional moorings – underscored the complex and often contradictory identity of
the Calcutta Babu.
Behind Closed Doors: Marriage, Morality, and Mistresses
The Institution of Marriage in Patriarchal Calcutta
Nineteenth-century Bengali society, particularly among the elite, operated within a
deeply entrenched patriarchal structure. Marriage was typically arranged, often
occurring at a very young age for girls (child marriage), which contributed
significantly to the prevalence of young widows. Practices like Kulin Brahmin
polygamy, where high-caste men could marry multiple wives, further complicated the
marital landscape.
While the Bengal Renaissance saw reformers advocating for women's education and
promoting the Victorian ideal of 'companionate marriage' where husband and wife
were friends , the lived reality for many women, especially within Babu households,
was often starkly different. Wives were frequently confined to the inner quarters
of the house, the andarmahal or zenana, with limited interaction with the outside
world. Their lives revolved around domestic duties, and unquestioning submission to
their husbands was the expected norm. The emotional and intellectual connection
envisioned by reformers often remained elusive.
The Parallel World: Courtesans, Concubines, and Prostitutes
Alongside the formal institution of marriage, a complex and varied world of
relationships outside its bounds existed and was significantly patronized by the
Babus. It's important to distinguish the different roles within this sphere:
* Concubines: These were women who lived in a relationship with a man without full
marriage rights. They often had a lower social status than the wife and might live
within the household or be supported separately. Sometimes, particularly in
historical contexts like ancient Mesopotamia or the pre-modern Muslim world,
concubinage served reproductive purposes, especially if the wife was barren. In
19th-century Calcutta, the term could apply to women in long-term, supported
relationships outside marriage.
* Tawaifs and Baijis: These were highly sophisticated courtesans, often
exceptionally skilled in Hindustani classical music, dance, and the art of
conversation. They entertained the nobility and the wealthy elite, including Babus,
in establishments known as kothas. Their patronage was a mark of cultural
refinement for the Babus. There existed a hierarchy even among them, with Baijis
(singers) often ranked above Jaans (singer-dancers). Famous baijis like Gauhar Jaan
and Malka Jaan Agrewali performed and lived in Calcutta, patronized by wealthy
families.
* Beshyas: This was a more general term for prostitutes. Their clientele included
the Babus. Many beshyas were victims of the patriarchal social system – women
abandoned, lured from villages, or, significantly, destitute widows, particularly
child widows, who faced severe social ostracism and poverty, leaving them
vulnerable to entering the profession.
Why the Affairs? Status, Pleasure, and Patriarchy
The prevalence of these extramarital relationships among Babus stemmed from a
confluence of factors:
* Status Symbol: Associating with or patronizing renowned tawaifs, or maintaining
a mistress, could function as a status symbol among the Babu peer group, signaling
wealth, sophistication, and influence. It was another form of conspicuous
consumption.
* Entertainment and Escape: The world of courtesans offered sophisticated
entertainment – music, dance, witty conversation – that might have been lacking in
the domestic sphere. It also provided an escape from familial duties and
potentially emotionally unfulfilling marriages.
* Patriarchal Prerogative: The prevailing patriarchal norms often meant a double
standard regarding fidelity. While a wife's chastity was paramount, a husband's
extramarital affairs were frequently tolerated or viewed with less severity,
reflecting an accepted male privilege.
* Social Dynamics and Neglect: Contemporary depictions, like those in Kalighat
paintings, sometimes showed neglected wives finding companionship with servants,
suggesting a potential consequence of the husbands' focus elsewhere and
highlighting the emotional voids within these households.
The interactions within this parallel world were often explicitly transactional,
reflecting the broader commercialization taking place in colonial Calcutta. The
rise of the city as a major commercial center fostered a cash-based economy. While
prostitution and courtesanship had historical roots, they arguably became more
formalized and commercialized in this bustling urban environment. Relationships
between Babus and beshyas or tawaifs were fundamentally underpinned by financial
exchange – money, gifts, and support were traded for companionship, entertainment,
and sexual services. Contemporary accounts, like those analyzed by Sumanta
Banerjee, emphasize the practical concerns of the beshyas, who needed to secure
financial assets like jewelry and property from their often-unreliable Babu patrons
to ensure their own future security. Advice from older madams to younger
prostitutes explicitly warned against emotional attachment, stressing the primacy
of financial gain. Even the highly accomplished tawaifs, whose artistry was
celebrated, operated within this system of patronage, their cultural contributions
sustained by the wealth of the Babus. This underscores how intimate relationships
themselves became intertwined with, and shaped by, the economic realities and
commodifying tendencies of colonial capitalism in 19th-century Calcutta.
Whispers and Scandals: Stories from the Era
The Challenge of Naming Names
While historical accounts and contemporary literature clearly indicate that keeping
mistresses and patronizing courtesans was a common feature of Babu culture,
pinpointing specific, documented scandals involving adultery linked to famous,
named Babus is challenging based on the available research material. For example,
extensive information exists about Motilal Seal's immense wealth, business acumen,
philanthropy, and his progressive stance on social reforms like banning sati and
advocating for widow remarriage. However, these sources do not mention involvement
in scandals related to infidelity or mistresses. Therefore, rather than focusing on
isolated, named incidents, the analysis must rely on illustrating the pattern of
behavior as depicted in contemporary art, literature, and social commentary.
Evidence from Art: The Kalighat Canvas
The popular Kalighat paintings of the 19th century offer a vivid, often satirical,
window into Babu life.
* Depictions of Infidelity: These paintings frequently portrayed Babus in the
company of courtesans, sometimes depicted flirting or engaged in leisurely
pursuits. They also captured the domestic fallout, showing neglected wives seeking
solace or companionship with servants while their husbands were presumably
elsewhere. A recurring motif was the Bibi (wife) depicted chastising her errant
Babu, sometimes humorously brandishing a broomstick, for his involvement with other
women.
* Social Commentary: Kalighat paintings functioned as a form of visual social
commentary. The patuas (painters) used satire to critique what they perceived as
the negative aspects of Babu culture, including their perceived moral laxity and
interactions with courtesans. By placing Babus alongside gods, goddesses, and
demons, they drew moral comparisons and implicitly questioned the Babus' conduct.
Evidence from Literature: Hootum Pyanchar Naksha
Kaliprasanna Singha's groundbreaking satirical work, Hootum Pyanchar Naksha
(Sketches by a Watching Owl), published in 1862, provides perhaps the most
revealing literary evidence.
* Vivid Portrayals: Written in lively, colloquial Bengali, the book presents
sharp, humorous sketches of Calcutta society. It explicitly depicts the "dissolute
babu and his mistresses and grog shops" as part of the urban landscape. Singha
describes Babus attending performances by khemta dancers in their garden houses,
sometimes engaging in exploitative behavior towards the performers. He includes
anecdotes about Babus building monuments for their mistresses and visiting them
secretly at night, highlighting the clandestine nature of these affairs. The work
consistently contrasts the Babus' public displays of piety, such as during
religious festivals, with their private licentiousness and lack of genuine charity.
* Critique of Morality: Hootum is fundamentally a critique of the perceived
hypocrisy and moral decay among the Calcutta elite. Singha uses satire not just to
entertain but to expose the Babus' extravagance, their often callous treatment of
others (including family members and mistresses), and their failure to live up to
ideals of social responsibility.
Evidence from Social Histories and Commentary
Other contemporary Bengali writings, such as the works of Bhabanicharan
Bandyopadhyay cited by Sumanta Banerjee, provide further context.
* Defining Babu Characteristics: These texts explicitly list extramarital affairs
('para-dar') and association with prostitutes ('khanki') as defining elements of
the typical Babu lifestyle, alongside other indulgences like gambling and fine
clothing.
* The Mechanics of the Relationship: They offer insights into how prostitutes were
recruited and trained specifically to cater to the tastes and demands of the Babu
clientele, emphasizing skills like coquetry and deception alongside singing and
dancing. The purely transactional nature of the relationship is stressed, with
practical advice given to prostitutes on extracting maximum financial benefit from
their patrons.
In the absence of extensive court records or private diaries detailing specific
adulterous affairs of prominent Babus, these cultural artifacts – satirical
literature like Hootum Pyanchar Naksha, popular art forms like Kalighat paintings,
and contemporary social commentaries – become invaluable primary sources. While
they may not provide legally verifiable proof of individual scandals, their
frequent and consistent focus on themes of Babu infidelity, the keeping of
mistresses, patronage of courtesans, and the resulting social and domestic tensions
strongly suggests that these were not isolated incidents but widely recognized,
discussed, and critically observed phenomena within 19th-century Calcutta society.
They reveal not just that these relationships occurred, but crucially, how they
were perceived, represented, and debated by contemporaries.
The Owl's Gaze: Critiquing the Babus
The extravagant lifestyles and perceived moral ambiguities of the Calcutta Babus
did not go unnoticed or uncriticized. Critiques emerged from various quarters,
employing different lenses and motivations.
The Satirist's Pen and Brush
* Kalighat Painters (Patuas): These folk artists often adopted a critical stance,
using satire as their weapon. They depicted Babus engaging in "hideous activities,"
mocking their attempts to imitate the British and highlighting their associations
with courtesans. By portraying wives reacting angrily to their husbands'
infidelity, they also commented on the domestic repercussions of the Babus'
behavior. Some interpretations even suggest the Babu figure was used to represent
evil or moral corruption.
* Kaliprasanna Singha (Hootum Pyanchar Naksha): Singha's work stands as a seminal
example of internal Bengali critique. Using sharp wit, colloquial language, and
often bawdy humor, he relentlessly exposed the perceived "extravagance and
immorality of the new-rich Bengali babu". His sketches highlighted the jarring
juxtaposition of traditional practices and new, often poorly assimilated, Western
influences. He specifically targeted the Babus' dissolute habits, their
relationships with mistresses, the neglect of their wives, their often shocking
cruelty or lack of empathy, and the profound hypocrisy between their public
displays (of wealth, piety, or philanthropy) and their private actions.
* British Satire: The British also contributed to the satirical portrayal of the
Babu, particularly in magazines like Punch. However, this critique often focused on
superficial aspects like dress and manners, emphasizing the perceived absurdity of
the Babu's mimicry of Englishness. It frequently carried connotations of effeminacy
and, especially after 1857, increasingly reflected racist undertones and colonial
condescension rather than nuanced social commentary.
The Reformer's Concerns
Many social reformers of the 19th century emerged from the bhadralok class itself,
which overlapped significantly with the Babus. Their critiques were often aimed at
reforming perceived societal ills, including those associated with traditional
practices and the perceived decadence of some elites.
* Focus on Domesticity and Morality: Reformers championed causes like women's
education, the abolition of sati, and widow remarriage. They promoted the ideal of
the 'companionate marriage' based on Victorian models. This focus implicitly
critiqued the existing patriarchal structures, the confinement of women, and the
perceived moral laxity, including infidelity, that characterized aspects of Babu
culture. Neglect of familial duties was a common complaint lodged against the
'Young Bengal' Babus.
* Morality and National Progress: A strong link was drawn between individual
character, domestic harmony, and the progress of the Bengali 'nation'. The
perceived dissipation and immorality of some Babus were seen as detrimental to the
project of building a modern, respectable society capable of standing alongside the
West. The ideal citizen needed for national regeneration was disciplined and
morally upright, contrasting sharply with the indulgent Babu figure depicted by
satirists.
* Complexities of Reform: While reformers like Bankimchandra Chattopadhyay
condemned caste injustice , the primary focus of elite reform often remained on
social unification and moral upliftment within their own class. Critics like
Vivekananda pointed out the potential hypocrisy in bhadralok radicalism, suggesting
that their calls for reform might not always translate into genuine social
equality, particularly concerning lower castes.
The Core Critique: Hypocrisy and Moral Decay
Across different forms of critique, a central theme was hypocrisy. The stark
contrast between the Babus' public image – wealthy patrons of art, educated
gentlemen, participants in religious festivals, sometimes even philanthropists –
and the behavior depicted in satires and commentaries – indulgence in drink and
mistresses, neglect of family, cruelty, selfishness, and lack of genuine compassion
– formed the crux of the moral indictment. Social commentator Shibnath Shastri's
observation, corroborating Hootum's portrayal, that Calcutta seemed to spread a
"moral infection" where dishonesty and corruption were sometimes admired as
cleverness, suggests that the critique extended beyond individual Babus to a
perceived decline in societal values linked to this culture.
These varied critiques reveal the complex pressures surrounding the Babu class.
British critiques were often rooted in colonial power dynamics and racial
prejudice. Bengali satire, like Singha's, offered an insider's critique, lamenting
the social disruption and moral failings within their own community. Social
reformers, meanwhile, sought to reshape domesticity and public morality according
to ideals influenced by both Western thought and emerging nationalist aspirations.
The issue of adultery and the keeping of mistresses became a potent symbol within
these critiques, representing not just personal moral failure, but also social
disorder, the breakdown of idealized family structures, and a deviation from the
path towards a 'respectable' modern nation.
Conflicting Portrayals of the 19th Century Calcutta Babu
| Feature | The Idealized / Self-Perceived / Reformist View Babu | The Satirized /
Criticized Babu (by Contemporaries) |
|---|---|---|
| Source of Wealth | Enterprising, Successful Businessman/Landowner | Exploitative
Agent (Banian), Pampered Heir Squandering Wealth |
| Lifestyle | Patron of Arts & Culture , Refined Taste, Philanthropic |
Extravagant, Wasteful, Ostentatious Display , Dissolute (Drinking, Whoring) |
| Relationship w/ West | English-Educated, Modern, Progressive | Superficial
Mimicry, Inauthentic, Absurd Fusion |
| Domestic Life | (Reformist Ideal) Head of Respectable Household, Companionate
Marriage | Neglecting Family Duties , Keeping Mistresses , Hypocritical |
| Morality | (Public Image) Pious (e.g., Pujas ), Charitable | Immoral, Corrupt,
Selfish , Lacking Compassion, Hypocritical |
| Social Standing | Elite, Influential Leader | Alienated (from British &
Masses) , Object of Ridicule/Critique |
Conclusion: The Fading Echoes of Babu Extravagance
The story of the 19th-century Calcutta Babu is one of dramatic ascent, spectacular
display, and complex contradictions. Emerging from the unique conditions of British
colonialism, they amassed fortunes through new economic avenues, becoming powerful
figures in the burgeoning capital city. Their culture was marked by an
unprecedented level of extravagance – palatial homes, lavish festivals, imported
luxuries, and patronage of the arts – a deliberate strategy to assert status in a
rapidly changing social landscape.
Integral to this world, though often residing in its shadows, was the parallel
sphere of relationships outside marriage. The patronage of sophisticated courtesans
(tawaifs and baijis) and the keeping of mistresses, sometimes drawn from the ranks
of vulnerable women like destitute widows (beshyas), became intertwined with the
Babus' display of wealth and assertion of patriarchal privilege. This aspect of
their lives, however, drew sharp criticism from multiple corners. Satirists like
Kaliprasanna Singha wielded humor to expose their perceived hypocrisy and moral
failings, while Kalighat painters offered visual commentary on their indulgences
and the resulting domestic tensions. Social reformers, often emerging from the same
elite class, pushed for changes in domestic life and morality, viewing the Babus'
perceived decadence as an obstacle to national progress. Even the British, while
benefiting from Babu collaboration, often ridiculed their attempts at cultural
assimilation.
By the early 20th century, the specific, flamboyant culture of the Babus began to
fade. Factors like the shift of the British capital from Calcutta to Delhi in 1911,
which impacted trade and the city's political centrality, changing economic
fortunes, the rise of organized Indian nationalism with different priorities, and
evolving social norms likely contributed to this decline.
The Calcutta Babus remain fascinating figures, embodying the tensions and
transformations of their era. They were products of colonial encounter, agents of
cultural change (both celebrated and condemned), and symbols of both immense
possibility and perceived decadence. Exploring the often-hidden dimension of their
relationships outside marriage provides a crucial lens through which to understand
the intricate social hierarchies, the prevailing patriarchal structures, the
commodification of relationships under colonial capitalism, and the complex moral
landscape of 19th-century Calcutta. Their story serves as a potent reminder that
history is frequently shaped in the complex interplay between public persona and
private reality, between outward conformity and hidden transgression.
(Outro Music with visuals fading from the mansion to historical Calcutta street
scenes, ending on a Kalighat painting of a Babu and Bibi)