tion>A Passage to India
A Passage to India
by
Edward Morgan Forster
W
Wisehouse Classics
Edward Morgan Forster
A Passage to India
Published by Wisehouse Classics – Sweden
ISBN 978-91-7637-697-3
Wisehouse Classics is a Wisehouse Imprint.
© Wisehouse 2020 – Sweden
www.wisehouse-publishing.com
© Without limiting the rights under copyright reserved above, no part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photographing, recording or otherwise), without the prior written permission of the publisher.
CONTENTS
CHAPTER IX
CHAPTER X
CHAPTER XI
PART II: CAVES
CHAPTER XII
CHAPTER XIII
CHAPTER XIV
CHAPTER XV
CHAPTER XVI
CHAPTER XVII
CHAPTER XVIII
CHAPTER XIX
CHAPTER XX
CHAPTER XXI
CHAPTER XXII
CHAPTER XXIII
CHAPTER XXIV
CHAPTER XXV
CHAPTER XXVI
CHAPTER XXVII
CHAPTER XXVIII
CHAPTER XXIX
CHAPTER XXX
CHAPTER XXXI
CHAPTER XXXII
PART III: TEMPLE
CHAPTER XXXIII
CHAPTER XXXIV
CHAPTER XXXV
CHAPTER XXXVI
CHAPTER XXXVII
PART I: MOSQUE
7
CHAPTER I
E
xcept for the Marabar Caves—and they are twenty miles off—the city of Chandrapore presents nothing extraordinary. Edged rather than washed by the river Ganges, it trails for a couple of miles along the bank, scarcely distinguishable from the rubbish it deposits so freely. There are no bathing-steps on the river front, as the Ganges happens not to be holy here; indeed, there is no river front, and bazaars shut out the wide and shifting panorama of the stream. The streets are mean, the temples ineffective, and though a few fine houses exist they are hidden away in gardens or down alleys whose filth deters all but the invited guest. Chandrapore was never large or beautiful, but two hundred years ago, it lay on the road between Upper India, then imperial, and the sea, and the fine houses date from that period. The zest for decoration stopped in the eighteenth century, nor was it ever democratic. There is no painting and scarcely any carving in the bazaars. The very wood seems made of mud, the inhabitants of mud moving. So abased, so monotonous is everything that meets the eye, that when the Ganges comes down it might be expected to wash the excrescence back into the soil. Houses do fall, people are drowned and left rotting, but the general outline of the town persists, swelling here, shrinking there, like some low but indestructible form of life.
Inland, the prospect alters. There is an oval Maidan, and a long sallow hospital. Houses belonging to Eurasians stand on the high ground by the railway station. Beyond the railway—which runs parallel to the river—the land sinks, then rises again rather steeply. On the second rise is laid out the little civil station, and viewed hence Chandrapore appears to be a totally different place. It is a city of gardens. It is no city, but a forest sparsely scattered with huts. It is a tropical pleasaunce washed by a noble river. The toddy palms and neem trees and mangoes and pepul that were hidden behind the bazaars now become visible and in their turn, hide the bazaars. They rise from the gardens where ancient tanks nourish them, they burst out of stifling purlieus and unconsidered temples. Seeking light and air, and endowed with more strength than man or his works, they soar above the lower deposit to greet one another with branches and beckoning leaves, and to build a city for the birds. Especially after the rains do they screen what passes below, but at all times, even when scorched or leafless, they glorify the city to the English people who inhabit the rise, so that new-comers cannot believe it to be as meagre as it is described, and have to be driven down to acquire disillusionment. As for the civil station itself, it provokes no emotion. It charms not, neither does it repel. It is sensibly planned, with a red-brick club on its brow, and farther back a grocer’s and a cemetery, and the bungalows are disposed along roads that intersect at right angles. It has nothing hideous in it, and only the view is beautiful; it shares nothing
