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Slices from Life

Three Men at the Lalbagh Fort

Marjuque-ul-Haque explores a Mughal fort left unfinished in Dhaka, a fort where armies were said to disappear during the Sepoy mutiny of 1857

Lalbagh Fort, Photo Courtesy: Marjuque-ul-Haque

We decided suddenly to visit the Lalbagh fort. Normally, I would never have considered going there, except the night before we had been discussing with our cousin how nice it would have been if our whole extended family could go on a trip together somewhere. So, the next day the three of us —  my brother, my cousin and I — decided on a day long visit to the famous Lalbagh fort.   

The fort was an architectural complex from the Mughal era in the late 17th century. The three main structures of the fort included the tomb of Pari Bibi, the diwan-i-Aam (the hall of audience) and a mosque. The story of the fort’s creation begins with Muhammad Azam Shah, the son of the emperor Aurangzeb who was then the subahdar (governor of a subah or province) of Bengal. He was recalled and he left the construction to Shaista Khan, the later subahdar of Bengal. Khan also discontinued work on the fort after the death of his daughter Pari Bibi, who lies buried there. The bereaved father halted construction, believing the fort was cursed. It remains abandoned and unoccupied to this date.               

The walk leading to the fort’s compound is lined with gardens in neat rows and patterns on both sides. Parallel to it runs a long strip of pool. The entrance is several feet long and domed at the top. The walls are grooved with rectangular recessions for decoration. The tomb, being a few hundred years old, seemed pinkish and off colour. However, the mausoleum with its high red dome was the most impressive of the three monuments. It housed the grave of Pari Bibi.   

The Grave of Pari Bibi. Photo Courtesy: Marjuque-ul-Haque

We next went to the diwani-i-aam. The interior is far more impressive than the exterior. Inside are exhibited various Mughal weapons of war and everyday artifacts from the same period lined the walls of the museum. Swords, shields, spears, hand cannons, chain maces, clubs and other interesting things are part of the exhibits.

The last of the three monuments we visited was the mosque. This proved to be a disappointment, owing to the fact that the interior was not open to visitors as indicated by a placard. From the entrance, we peeped and saw clotheslines with garments drying on them and men in tupi (cap) and jubbah (a gown worn by Muslim men). Apparently, it seemed that they had a madarsah (Muslim school) and the students and staff resided inside. As we were but outsiders, we could not enter. However, we were able to climb atop a roof (or was it a verandah) to get a view from above. Up on that ledge, the breeze was light and frequent. We took a few pictures and spent some time before heading down.   

Sauntering away from the mosque, we noticed a woman, a foreigner, a European tourist no doubt, dressed in pinkish white, quite absorbed in photographing of one of the buildings. Unfortunately, three eve teasers started making remarks in English near her. In the sunlight, she had shades on as she ceremoniously took pictures pointedly ignoring the three miscreants as they occasionally walked around her. The three of us felt embarrassed and discussed how this experience would impact the way she would describe Bangladeshi people to her friends and family. We were dismayed by their bad behaviour.

We had completed two circuits of the compound. It was five in the evening and the microphones blared an announcement that the place would close in forty minutes and that the visitors needed to leave the precincts.

The evening sky that swathed the nearest monument in a bluish glow was different from the one I had seen in the light of the afternoon. I recalled a few instances when buildings evoked a distinct aura. In fact, the buildings had been in a state of flux at all times but I had only been present to observe it at certain moments. The protagonist of the translation of Yukio Mishima’s The Temple of the Golden Pavilion had been shown as obsessed with the building’s beauty, reflecting in the same manner as me. In seeking respite from his imperfections, the protagonist of the novel had endowed the ancient temple with unattainable beauty. Unfortunately, his obsession with its appeal led him to set fire to the monument with himself inside; thus hoping to prove the mutability of the Golden Pavilion’s beauty. The Lalbagh Fort has endured a long stretch time and no doubt grown in beauty like the temple, but hopefully its beauty will only serve to inspire.

The Lalbagh Fort. Photo Courtesy: Marjuque-ul-Haque

Marjuque-ul-Haque is an MA student Department of English at the University of Liberal Arts Bangladesh.

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PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL

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