Nestled along the rugged North Yorkshire coast, Whitby is a town steeped in history, folklore, and charm. From its iconic abbey ruins to its cobbled streets and bustling harbour, Whitby has long been a magnet for visitors seeking a blend of history, culture, and natural beauty. Now, the town is adding a new layer to its rich tapestry: a chocolate festival set to debut this December. But this isn’t just any festival; it’s one with a heartwarming mission: to raise funds for the maintenance of life-saving defibrillators across the town.
A town with a taste for history
Whitby’s connection to chocolate might not be as well-known as its ties to Dracula or Captain Cook, but it’s a story worth telling. Chocolate has been a beloved indulgence in Britain since the 17th century, and Whitby, with its bustling port, would have been no stranger to the exotic imports of cocoa beans. Fast forward to today, and the town is home to a thriving community of artisans, bakers, and chocolatiers who continue to craft delicious treats inspired by Whitby’s unique character.
The idea of a chocolate festival feels like a natural fit for Whitby, a town that effortlessly blends tradition with innovation. It’s a place where the past and present coexist and where community spirit thrives. The festival promises to celebrate this spirit, offering visitors a chance to explore the town’s chocolatey delights while supporting a cause that could save lives.
A festival with a cause
The brainchild of the Whitby Defibrillator Project (WDP), the festival is more than just a celebration of chocolate. It’s a fundraiser with a clear and vital purpose: to maintain the town’s 40 defibrillators. These life-saving devices, scattered across Whitby and its surrounding areas, are essential in emergencies. However, keeping them operational is no small feat. Each defibrillator requires a battery replacement every four years, or sooner if used in an emergency, at a cost of around £165 per unit.
The festival aims to cover these costs through a combination of business participation, visitor donations, and community support. Local businesses will offer chocolate-themed products, tastings, and activities, while visitors can follow a printed route map to explore participating venues. Collection boxes will also be placed in key locations, inviting everyone to contribute to this life-saving cause.
A community coming together
Whitby has always been a town of stories
iStock
What makes this festival truly special is the sense of community behind it. The proposal, presented to Whitby Town Council earlier this week, was met with enthusiasm and support. Bob Dalrymple, the town’s mayor, described the idea as "exciting" and praised the organisers for their initiative. While the council isn’t providing direct financial support, its endorsement has given the festival a strong foundation to build upon.
Local businesses have already shown keen interest in participating, recognising the dual benefit of supporting a good cause while attracting visitors to their doors. From cosy cafés to artisan chocolatiers, the festival will showcase the best of Whitby’s culinary scene, creating a delightful experience for locals and tourists alike.
Why this matters
Defibrillators are more than just pieces of equipment; they’re lifelines. In the critical moments following a cardiac arrest, these devices can mean the difference between life and death. By ensuring that Whitby’s defibrillators are well-maintained and accessible, the WDP is safeguarding the health and well-being of the community.
The chocolate festival is a creative and engaging way to address this need. It’s a reminder that even the simplest pleasures, like a piece of chocolate, can have a profound impact when paired with a shared sense of purpose.
What to expect
For visitors, the Whitby Chocolate Festival promises to be a feast for the senses. Imagine strolling through the town’s historic streets, map in hand, as the scent of freshly made chocolates wafts through the air. Each participating venue will offer something unique, from decadent truffles to rich hot chocolate, creating a trail of sweet discoveries.
The festival will also be a celebration of Whitby itself. As visitors explore the town, they’ll encounter its rich history, stunning architecture, and warm hospitality. It’s an opportunity to experience Whitby in a new light, with chocolate as the thread that ties it all together.
A sweet tradition in the making
As the festival approaches, there’s a palpable sense of excitement in Whitby. This isn’t just a one-off event; it’s the beginning of what could become a cherished tradition. By combining a love of chocolate with a commitment to community health, the festival embodies the very essence of Whitby, a town that cares deeply for its residents and visitors alike.
So, as December rolls around, mark your calendars and prepare your taste buds. The Whitby Chocolate Festival is more than just a celebration; it’s a testament to the power of community, creativity, and chocolate. Whether you’re a local or a visitor, this is one event you won’t want to miss. After all, where else can you indulge in sweet treats while helping to save lives?
THIS year’s much-anticipated Octavia Hill lecture will be given on April 1 by professor Alice Roberts, the National Trust has announced.
She “will focus on, ‘Where Do We Come From? What Are We? Where Are We Going?’”
The National Trust, founded in 1895 by three people (including social reformer Octavia Hill), looks after “over 500 historic houses, castles, ancient monuments, gardens, parks and nature reserves”.
Roberts, an academic, TV presenter and author, has been professor of public engagement in science at the University of Birmingham since 2012. She was president of the charity Humanists UK between January 2019 and May 2022, and is now a vice-president of the organisation.
In her lecture, she “will journey into the past to explore connections between people and landscape,” according to the trust. “From the earliest humans to live in the place we now call home, through the dramatic climatic shifts of the last Ice Age, to the arrival of the first farmers in Britain and all the way up to the early medieval period, we take a look at how science is transforming our understanding of history – and our own connection with the past, with nature and each other.”
Afterwards, Roberts will be in conversation with Dr Gus Casely-Hayford, OBE, director of V&A East.
Last year’s Octavia Hill lecture was delivered by the classical historian Dame Mary Beard, whose theme was, “Who owns the past?”
She strongly defended the trust from attacks by the far right, which was not pleased with its 115-page report in 2020 that 93 of its stately homes were built with money made from the colonies, especially India, or the slave trade.
The newly restored River Culm floodplain at Killerton, Devon
Meanwhile, the trust is getting on with more pressing concerns, including battling to save “the UK’s rarest species of native tree” at Killerton in Devon.
A new breeding population of male and female black poplar trees is being established on a restored area of floodplain, the tree’s favoured habitat. With 80 genetically distinct clones planted out, it is the most diverse population of the species in the country.
In future, cuttings from the trees will be spread to planting projects elsewhere, acting as a living gene bank, bolstering the resilience of the declining species and boosting its chances of survival.
The location of the “living library” is along three kilometres of newly restored River Culm floodplain, the wetland-loving tree’s favoured habitat.
Once as common as oak and beech, drainage of land and demand for faster and straighter growing non-native timber trees has contributed to the gradual decline of the species, leaving the population so fragmented that black poplar has effectively died out in the wild.
Out of an estimated 7,000 black poplar trees left growing wild in Britain, only around 150 of those tested are genetically unique. Many are also male, as historically they were favoured aesthetically over the female trees which produce large amounts of white fluffy seed in spring. Since they are unable to reproduce alone, an urgent effort is needed to form a breeding population of male and female trees to maximise the gene pool and make the species resilient again, the trust explained.
Working in partnership with Forest Research and other community groups to locate and collect diverse cuttings, rangers at the conservation charity have now planted a total of 80 distinct clones at the Devon site.
Fi Hailstone, National Trust ecologist at Killerton said: “We want to establish a naturally reproducing population of black poplar on the stretch of river we have relinked to the floodplain, the tree’s favoured habitat.
“Black poplars need male and female trees within 200m of each other to pollinate each other. With numbers in huge decline this is not likely to happen in the wild, which is why we are stepping in to create a new breeding population.
“The trees can live for over 200 years and can grow to 30 metres in height. Once established, cuttings can be taken from the trees.”
Tom Shuttleworth, tree and woodland advisor for the National Trust, added: “The native black poplar is an iconic tree in the British landscape. Arguably our tallest native broadleaf, it features famously in John Constable’s landscape The Hay Wain. Slower growing than hybrids and American poplars, it was a useful timber tree, its wood being strong under flex and temperature and used for cartwheels, brakes, and in mantle pieces.
“It has important biodiversity value to numerous species including the poplar hawk moth, hornets, figure of eight moths and aphids which, in turn, support wood ant species.”
The black poplar has effectively died out in the wild
Over the winter months, 27 rooted cuttings of the wetland-loving tree have been planted out, adding to the growing collection already taking root along the newly restored River Culm floodplain.
Initially, Killerton received 43 trees from arborist Jamie Simpson, who works on a similar conservation project in the borough of Richmond They were grown from cuttings from the last wild population of native black poplars situated near the Thames footpath in London.
Further cuttings were collected via the Black Poplar Group, which includes the National Trust, Forest Research, the Otter Trust, the Tree Council, Chester Zoo, Suffolk Tree Wardens and groups in Herefordshire and Dorset.
Stuart A’Hara at Forest Research said: “The DNA fingerprinting of black poplars has been very useful in identifying the large-scale clonal (clone) duplication that has taken place with some clones but also highlighting the rarer individuals still in existence. The clonal collection at Killerton is a testament to all the good work carried out by the various conservation groups over the years, with black poplar at the heart of their work. It will be a tremendous resource going forward.”
Further initiatives to halt the decline of the black poplar are happening across the National Trust, including the establishment of 16 trees in restored wood pasture on the Oxburgh Estate in Norfolk.
At Quarry Bank, rangers have also been working in partnership with Chester Zoo, which runs a breeding programme to produce new black poplar clones, to plant trees out on the Cheshire estate.
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Holi encourages forgiveness, reconciliation, and the renewal of relationships, making it a meaningful occasion
Holi, the high-spirited Hindu festival of colours, love, and spring, is one of the most joyous celebrations in India and among Indian communities worldwide. In 2025, Holi will be celebrated on Friday, March 14, with the preceding evening marked by Holika Dahan (the ritual of lighting bonfires) on Thursday, March 13. Known as the “Festival of Colours,” Holi welcomes the arrival of spring and symbolises the triumph of good over evil.
Key dates and timings you need to know
Holi is observed on the full moon day of the Hindu lunar month of Phalguna, which usually falls in February or March according to the Gregorian calendar. In 2025, the festivities will begin with Holika Dahan on the evening of March 13, followed by the main day of Holi on March 14.
The Holika Dahan Muhurat (auspicious timing) for 2025 is from 11:26 PM on March 13 to 12:19 AM on March 14, lasting approximately 53 minutes. According to traditional Hindu calendars, Holika Dahan should be performed after sunset during Pradosh (the twilight period) when the full moon is visible. It is advised to avoid the Bhadra period, which is considered inauspicious for rituals.
Here are the key timings for Holika Dahan 2025:
Full Moon Begins: March 13, 2025, at 10:35 AM.
Full Moon Ends: March 14, 2025, at 12:23 PM.
Bhadra Timings: 06:57 PM to 08:14 PM and 08:14 PM to 10:22 PM.
The two-day celebration
Holi is typically celebrated over two days. The first day, known as Holika Dahan or Chhoti Holi, involves lighting bonfires to symbolise the burning of evil. The second day, called Rangwali Holi or Dhulandi, is the main event, where people play with coloured powders and water, drenching each other in vibrant hues.
Timeless tales and cultural significance
The victory of good over evil and is commemorated through Holika DahaniStock
The festival of Holi is deeply rooted in Hindu mythology, with its origins tied to the story of Prahlada and Holika. According to legend, Prahlada, a young devotee of Lord Vishnu, was saved from his evil father, Hiranyakashipu and his aunt Holika, who tried to burn him in a pyre. Holika, who had a boon immune to fire, was consumed by the flames instead, while Prahlada emerged unharmed. This story symbolises the victory of good over evil and is commemorated through Holika Dahan.
Another significant aspect of Holi is its association with Lord Krishna, a beloved Hindu deity, and his consort, Radha. The playful throwing of colours is said to originate from Krishna’s childhood, where he would playfully drench Radha and other Gopi’s (milkmaids) with coloured water. This divine love story adds a layer of romance and joy to the festival.
Beyond its mythological roots, Holi also marks the end of winter and the beginning of spring, making it a harvest celebration. It is a time for communities to come together, forgive past grievances, and strengthen bonds.
A look into how holi is celebrated
The festivities of Holi are a riot of colours, music, and dance. On the first day, families and communities gather around bonfires to perform rituals and offer prayers. The burning of Holika signifies the destruction of negativity and the renewal of hope.
The second day is a carnival of colours. People of all ages take to the streets, parks, and open spaces, smearing each other with coloured powders and spraying water. Traditional sweets like gujiya (sweet dumplings), malpua (pancakes), and thandai (a spiced milk drink) are prepared and shared, adding to the festive spirit.
In regions like Mathura and Vrindavan, the celebrations are particularly grand, with week-long events reenacting the playful antics of Lord Krishna. Similarly, in Punjab, Hola Mohalla is celebrated with martial arts displays and community feasts.
Holi’s global appeal
While Holi originated in India, its vibrant and inclusive nature has made it a global phenomenon. Countries like the UK, the US, Canada, and Australia host large-scale Holi events, attracting people from diverse backgrounds. These celebrations often feature live music, dance performances, and eco-friendly colours, making them a unique blend of tradition and modernity.
In the UK, cities like London, Birmingham, and Manchester host colourful Holi festivals, where people come together to enjoy music, dance, and the playful throwing of colours. These events are a wonderful way for people of all cultures to experience the joy and unity that Holi represents.
The essence of holi
At its core, Holi is a celebration of life, love, and unity. It transcends religious and cultural boundaries, bringing people together in a spirit of joy and camaraderie. The festival encourages forgiveness, reconciliation, and the renewal of relationships, making it a deeply meaningful occasion.
As Holi 2025 approaches, the anticipation builds for another year of vibrant celebrations. Whether you’re drenched in colours, enjoying traditional delicacies, or simply soaking in the festive atmosphere, Holi is a time to embrace happiness and spread positivity.
So, mark your calendars for March 14, 2025, and get ready to immerse yourself in the kaleidoscope of colours that is Holi! Whether you’re celebrating in India or joining a local event in the UK, Holi is a festival that promises joy, connection, and unforgettable memories.
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Manoj Malde in the Eastern Eye Garden of Unity in 2023
MANOJ MALDE, whose design for Eastern Eye’s “Garden of Unity” at Chelsea in 2023 was a triumph, has another entry this year at the world’s premier flower show.
Two years ago, there was such a buzz around Eastern Eye’s spectacular garden that it became a “must see” even for King Charles and Queen Camilla.
The garden also received a visit from representatives of a pharmaceutical company called ViiV Healthcare, who “specialise in the research and development of medicines to treat and prevent HIV/AIDS”.
Viiv has now sponsored Malde, the Royal Horticultural Society’s ambassador for inclusivity and diversity, to design a “Tackle HIV Stigma Garden” for the 2025 Chelsea Flower Show.
Malde explains: “I want to send a message to visitors how important it is to get tested for HIV, because what ViiV are finding through research is that people are still not getting tested. They’re scared of knowing that they might be HIV positive, or they simply don’t think that they will catch the virus because of their lifestyle. And the strangest thing is that HIV is more prevalent in the straight female population than it is through the LGBT community.”
He added: “A lot of people associate HIV with the gay community. That may have been true in the 1960s and 1970s, but now it certainly isn’t the case. The most important thing about the garden this year is that we want people to realise HIV stigma still exists. We shouldn’t be treating people who are HIV positive as outcasts from the community. We should be much more caring and empathetic. These people can be absolute, full members of society. They shouldn’t be treated like lepers at all. They can live perfectly normal lives.”
Malde knows from personal experience that tests can easily be done from home. “I have done it, and I’m part of the LGBT community.”
In designing his garden, Malde has been collaborating with Gareth Thomas, the Welsh rugby player who is an ambassador for the Tackle HIV Stigma campaign.
Compared with the expansive Eastern Eye garden, which occupied a prominent location in Main Avenue at the Chelsea Flower Show, the one this year will be 12 metres by 10 metres. It will be located in Royal Hospital Way among the “sanctuary gardens”. But Malde is working to make it a garden to remember.
This will represent a Chelsea hattrick for Malde. He made his debut at Chelsea in 2017 with “Beneath a Mexican Sky”, a garden inspired by the Mexican architect Luis Barragan that had walls painted in vivid desert colours.
Malde was previously a fashion designer who became a landscape designer as he wanted to bring a touch of much needed diversity into the world of gardening. His love of bright colours is a throwback to his childhood in Mombasa in Kenya, where he was born into the Gujarati Oshwal community. He came to London as a four-year old in 1973.
Eschscholzia californica Red Chief
He said his garden this year “was basically inspired by the molecular structure of HIV medication which has all these hexagons”.
“Because of the hexagon shape, all the planting borders are very organic in shape. I’ve done two seating areas that are in hexagon shapes. Then I went on to design the pergola, again using hexagons. I’ve done a water feature, a wall that is made up of hexagon shapes, where the water comes down along the wall and into a pool of water. That water wall is also designed with small hexagons,” he told Eastern Eye.
He added: “I’ve also designed a bespoke bench, again from half hexagon shapes. I said to the carpenter I want him to make it without any screws or nails. I want him to use traditional carpentry skills to create all the lovely, skillful carpentry joins.”
Of the 59 species of trees, shrubs and flowers carefully selected for his garden, he picked out a few for special mention.
“I’ve got Zelkova serrata, which are my trees. I’ve chosen those particularly because with our changing climate – everyone is saying our summers are going to get hotter and hotter as time goes by – they are going to survive.
“When we look at any plants we’re beginning to put into our gardens, we’re looking at those that are going to survive and have longevity. I’ve also used Aralia elata, a thorny shrub or tree.”
Aralia elata
He also saw red: “I’ve included an Eschscholzia Californica Red Chief. Red is one of those colours synonymous with supporting HIV. On World AIDS Day, people wear the crossed over little red ribbons on their lapel. We decided it would be really important to have the colour red in the garden, using Eschscholzia Californica Red Chief for that particular reason.
“The other thing that we are doing is using red ribbons around the perimeter of the pergola, so they’re going to be draping down.”
Malde runs through some of his other choices for the benefit of Eastern Eye gardening enthusiasts who have become RHS members in the past couple of years and try and get tickets for the Chelsea Flower Show, overbooked and expensive though that can be.
Zelkova serrata
He has Pinus densiflora, “a beautiful shrub”; Deschampsia caespitosa, “a lovely grass”; Dryopteris filix mas, “a really hardy fern”; Lupinus Masterpiece, “an absolutely beautiful Lupin”; two types of origenum Oregano – Origanum vulgare (compactum) and Origanum vulgare Aureum; and Nasella tennuisima Pony Tails, “which add a lovely, sort of frothy, slightly wild vibe to the garden”.
He said: “We’ve also got peonies – Paeonia Coral Sunset.”
And he is excited about including Pastinacea sativum “which are parsnips”.
He recalls: “These are plants I had in the Eastern Eye garden in 2023. It was so strange that loads and loads of people asked me about that. Having done that once, I’ve decided to use them again in this garden, because they’ve got such beautiful structural forms. I thought it’ll be worth using those again because they were so popular in the garden in 2023.”
‘Tackle HIV Stigma Garden’
Malde commended the RHS for wanting to change its white, elitist image, but said that will take time and that the organisation should continue patiently with policies aimed at broadening its appeal, “otherwise, it will be a step backwards”.
He was invited to become an RHS ambassador because “I’ve always been quite forward in representing those from ethnic backgrounds within the horticultural industry. It’s an ongoing process with the RHS, and they should certainly continue to work on it.”
He added: “As their ambassador, it is also my remit to constantly be questioning them about things they’re doing, but question them in a supportive way that makes them think. And if there are any ideas that I come up with, then, of course, I discuss those with them.”
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Bill Franklin, Paul Kent, Tim Andrew, and Vikram Doraiswami at the PG Wodehouse Society meeting last Tuesday (18)
VIKRAM DORAISWAMI, the Republic of India’s plenipotentiary to the Court of PG Wodehouse in the UK, last week paid tribute to the author to mark the 50th anniversary of his passing.
Sir Pelham Grenville Wodehouse, an English writer and one of the most widely read humorists of the 20th century, was born on October 15,1881 and died on February 14, 1975.
Indians, in particular, warm to his two most famous creations – Bertie Wooster, who is well off, but is unfamiliar with the concept of “work”, and Jeeves, his gentlemens’ gentleman.
It was confidentially pointed out to members of the PG Wodehouse Society (UK), gathered at the Savile Club near Claridge’s, that the said Vikram Doraiswami has been spotted sneaking into a building in the Aldwych, where he allegedly moonlights as India’s High Commissioner to the UK.
At the society, where he was welcomed by Tim Andrew, its chairman, and Paul Kent, vice-chairman, he passes himself off as just “Vikram”.
Indeed, when Vikram made his debut at the society in 2023, he claimed Jeeves was “a disguised Indian”. He also said that Wodehouse has more followers in India than in the land of his birth.
Kent introduced Vikram as the evening’s main event: “The first time was such an unqualified success we’ve decided to invite him back. In two visits, he’s established himself as a friend of the society.”
Vikram expressed regret that he had missed a service at Westminster Abbey where there is a memorial plaque to Wodehouse. Since two of his favourite Wodehouse stars – Stephen Fry and Hugh Laurie – had been present, Vikram admitted: “I would have been quite happy to ensure somebody had needed a burial at that point of time to get there.”
He offered an apology to Bill Franklin, president of the PG Wodehouse Society in America, who was in the audience, “because there are a lot of references here to cricket, which as you all know, is an Indian sport invented by the British”. Vikram revealed he has been a Wodehouse fan “since the age of 12, when I picked up my mum’s copy of Summer Lightning”.
Indeed, he quoted Wodehouse’s introduction to Summer Lightning: “A certain critic – for such men, I regret to say, do exist – made the nasty remark about my last novel that it contained ‘all the old Wodehouse characters under different names’. He has probably by now been eaten by bears, like the children who made mock of the prophet Elisha: but if he still survives he will not be able to make a similar charge against Summer Lightning. With my superior intelligence, I have out-generalled the man this time by putting in all the old Wodehouse characters under the same names. Pretty silly it will make him feel, I rather fancy.”
Vikram spoke of the art of innovation in Wodehouse’s writing: “Growing up in India, I saw in this ability to stick with great discipline to his defined stylistic batting crease, but to innovate brilliantly within it, a similarity to Indian classical music. Here, too, the artist improvises within a set frame of chords and scales which we call raagas.”
“But this theme is also visible, if in a less highbrow art form, in the gloriously exhilarating stew that is the Indian film Industry,” he went on. “Here, too, the core theme is about boy meeting girl, boy losing girl, and boy getting girl again at the last reel, something that Wodehouse did to perfection time and again. No wonder then that Indians continue to lap up both Bollywood and Wodehouse, albeit not simultaneously, of course.”
Vikram said he was offering “with some trepidation a layman’s perspective on the enduring value of the work of this wizard of a wordsmith, a true master of metaphor. But in my defence, let me just say that there is no better time than this to revisit Wodehouse: even a cursory look at headlines shows us the value of his advice to tune out, if at least for a brief moment. As he said, ‘If there is a better world to detach oneself from than the one functioning at the moment, I have yet to hear of it.’”
He emphasised Wodehouse worked hard in order to produce perfect prose, and used cricketing analogies to make his argument: “The softness of Wodehouse’s hands while at bat is visible in every sentence of his work.
“We all know how deftly he used a few well-tested, structurally solid and finely chiselled core themes repeatedly. And yet the repetition of core themes does not pale, even though he crafted well over 150 plots – counting books and short stories together – which sparkle with his deft creativity, even within the tight confines of familiar or similar places.”
Vikram said: “The consummate skill with which Wodehouse could turn a sentence – often including multiple ideas, covering some that turn ninety degrees in the space of a sentence – is better than anything that even the legendary Bishan Singh Bedi produced.”
He gave two examples.
“Take this line from Pearls, Girls and Monty Bodkin, which threatens to turn sharply, but is actually a straight ’un: ‘There are girls, few perhaps but to be found if one searches carefully, who when their advice is ignored and disaster ensues, do not say, ‘I told you so’. Mavis was not of their number.’
“Or this line, a personal favourite: ‘It was a confusion of ideas between him and one of the lions he was hunting in Kenya that had caused AB Spottsworth to make the obituary column. He thought the lion was dead, and the lion thought it wasn’t.’”
Doraiswami addresses the gathering
Wodehouse made hard work look simple and effortless. “Take this complex sentence from his school stories (Tales of St Austin’s): ‘No one so dislikes being punished unjustly as the person who might have been punished justly on scores of previous occasions, if he had only been found out.’”
Vikram joked about WFH: “He was ahead of his times and perhaps even our time: after all, he was the original success story in terms of his output and his success while working exclusively from home. Indeed, there may be no better advertisement for the millennial generation to visit the world of Wodehouse than to recognise that it is possible to succeed while working from home.”
Wodehouse was self-deprecating, but did occasionally tip the hat in his own direction but with tongue firmly in his cheek.
In The Clicking of Cuthbert, Vladimir Brusiloff, that densely bearded portrayer of persecuted peasants, says: “No novelists any good except me. Sovietski – yah! Nastikoff – bah! I spit me of zem all. No novelists anywhere any good except me. PG Wodehouse and Tolstoi not bad. Not good, but not bad. No novelists any good except me.”
Wodehouse worked harder than most of his contemporaries, concluded Vikram, “to produce a world of moderation, grace and subtlety. Few authors can claim to have created a world as perfect as he did. And for those brief hours of pleasure that we are given by re-entering his perfect, ageless, and gentle world, we should be very grateful. There are few things that are better than the knowledge that Wodehouse’s world remains one of the few things that will survive the chaos of our current age just as they did through two world wars, a cold war and much else.”
Vikram looked forward “to being around in spirit at least – sort of like Banquo popping in for supper – when the centenary of his passing comes around. I will try not to scare our grandchildren, who will by then be running our society for their descendants to continue to delight in the art, craft, graft and skill of Sir PG Wodehouse.”
IN SEPTEMBER 2022, while walking the long-distance Pilgrim’s path, the St Cuthbert’s Way from Melrose in Scotland to the Holy Island in Northumberland, the conversation drifted to the British Empire in India, and specifically to Clive of India.
I had become an avid listener of the Empire podcast series by Anita Anand and William Dalrymple and learned something unexpected: one of the greatest havens of Indian cultural artefacts and jewellery in the world was Powis Castle in Wales.
My wife Roma and I, both of Indian ancestry but long-term residents of the UK and holders of British nationality, have travelled extensively in India and visited many museums and galleries there, but this fact had eluded us. Our friends on this walk, Will and Ginny Tapsfield, were also captivated by this nugget of information, and we resolved to pay a visit together to Powis Castle.
In September 2024, two years later, we embarked on another long-distance walk – this time along a section of the Offa’s Dyke Path from Prestatyn in North Wales to our destination, Powis Castle, home to the Clive Museum, which is owned by the National Trust.
We found an illuminating article in Eastern Eye written by Amit Roy and learned that the museum was looking for feedback, particularly from people of Indian ancestry. A few days before our arrival, I emailed the museum and explained the aim of our journey, like a pilgrimage in itself. My communication was warmly welcomed by Ennis Vingoe and on our arrival, we found a senior and friendly curator, called Alex Turrell, was to be our guide. He was open, knowledgeable, self-critical, enthusiastic and particularly welcoming of constructive feedback.
I have benefited from Alex’s erudition, feedback from other trust staff, and advice from my travelling companions.
Our first surprise was that Robert Clive of India never lived in Powis Castle and that his son Edward Clive married into the established aristocracy of the Herbert family and changed his surname from Clive to Herbert. Robert and Henrietta, his wife, were keen collectors and established the museum, transferring Robert Clive’s collection and their own into Powis Castle. Much of the collection had been sold over the years, by the Herberts, especially to pay for the upkeep of Powis Castle and renovations of its gardens but, nonetheless, the remaining objects were fascinating and even wondrous, being some of the finest examples of Indian craftsmanship.
In primary school in Glasgow, my early understanding of British colonialism came from the world map that covered the blackboard, displaying vast swathes of pink to denote the British Empire – including, of course, India, the jewel in the crown. The little history we were taught about the British Empire at school extolled the feats and conquests of Robert Clive, who played a pre-eminent role in the East India Company.
Raj Bhopal and his wife Roma
Only in late adulthood did I learn that he was a cruel, greedy and despotic leader. His reputation was spoiled even in his lifetime and he committed suicide when only 49 years of age, although at that time he was an extremely wealthy person.
Visiting the museum was an emotional experience. I saw a multiplicity of varied objects, from armour, jewellery, a palanquin, a tent and unsurprisingly, a huge portrait of Robert Clive looking splendid while towering above the dominating fireplace in the museum.
Many of the most important objects came from the court of Tipu Sultan (1750– 1799), the ruler of the immensely wealthy Indian state of Mysore. He was defeated while Edward Clive, later Herbert, was governor of Madras. The most striking object for me was Tipu Sultan’s sword, acclaimed for its exquisite craftsmanship and, for this reason, as well as its historical significance, a priceless artefact.
Alex explained to us that the National Trust is trying hard to tell the story in a sensitive and fair way and also looking for ways of displaying the collection better. Currently, the objects are mostly behind expensive, glass-fronted cabinets sometimes obscured by carved wooden panels that make viewing difficult. My companions and I agreed with Alex that the display and labelling of the objects need improvement. Without Alex’s expert direction we would not have understood the significance of many of the objects or the collection as a whole.
Arguably, an even more pressing controversy is how the National Trust should portray the story of conquest and, at times, plunder – once extolled as a symbol of British power and exceptional prowess but now increasingly a matter of unhappy self-reflection, if not shame.
A statue of Robert Clive
The National Trust is also working hard on establishing the provenance of the objects, especially how they were acquired. In my view, speaking as a British Indian, objects that were fairly purchased should be retained and exhibited with pride, but those that were looted or taken by force or coercion should either be returned to Indian museums or compensation should be paid to the Indian government to be distributed to the arts and crafts on the Indian subcontinent. I believe that the provenance of every object should be stated in the exhibition, whether known or not.
The Clive Museum is the perfect place for telling the world, in an objective way, how significant Clive was in developing the East India Company which would eventually take over of much of the Indian subcontinent.
Powis Castle and its Indian collection would be a great place to create an updated and modern exhibition telling us about Robert Clive and his role in the East India Company. While Robert Clive was undoubtedly an exceptional and courageous businessman, leader and warrior, already commemorated in innumerable monuments and even street names, the world does need to hear more about his avarice and exploitation in the colonies.
As we wandered through the museum and gardens, we were introduced to an art exhibition titled A Tiger in the Castle by the artist Daniel Trivedy. This work is summarised in an informative documentary. We explored the magnificent gardens and outbuildings, looking for tiger cut-outs in the castle itself and hidden in the grounds. (The money and jewellery taken from India paid for much of the refurbishment of these marvellous gardens.) Tipu Sultan was known as the Tiger of Mysore, and a tiger’s head was the centrepiece of his throne. The artist has conveyed a clear message: the spirit of India is a strong presence in Powis Castle.
A portrait of Tipu Sultan
I contend that the spirit of the Indian tiger is a powerful presence throughout the UK, in all its constituent countries, prowling the myriad monuments and buildings that were funded by the riches of the British Empire – especially those from the Indian subcontinent.
Indeed, this tiger prowls uneasily in the honours bestowed in the name of the British Empire that have been granted to me and my wife. The presence of a large south Asian population and the deep influence of south Asian culture in Britain result from and reflect the history of the British Empire.
Powis Castle holds an unparalleled and unexpected concentration of history, showcasing the interwoven past of Britain and the Indian subcontinent – its reverberations felt to this day and far into the future. It should be a place of pilgrimage for all citizens, as the lessons to be learned remain highly relevant to our lives.