Cultural depiction in Twilight in Delhi
Culture plays a vital role in the existence of a particular society because it works as the spinal
cord for its survival. As per Edward Said, “culture is a source of identity”. In "Twilight in
Delhi," Ahmed Ali shows a cultural depiction of life in Delhi during the early 20th century,
as the city navigates the complexities of colonialism and tradition. The narrative captures the
essence of Delhi’s rich cultural heritage, focusing on the everyday lives of its residents, their
customs, and the shifts brought about by British colonial rule. The cultural depiction centres
on the fading influence of Mughal rule and the rise of British colonial power in Delhi,
particularly on the Muslim community. The novel portrays the clash between traditional
Muslim family structures, social customs, and the emerging British way of life, highlighting
the anxieties and internal struggles of a society undergoing rapid change. Ali emphasizes the
significance of family, social structures, and the importance of community ties. The
characters, portrayed with depth and nuance, embody the struggles between modernity and
tradition.
The novel delves into the intricacies of social rituals, festivals, and the ties that bind the
people to their cultural roots, highlighting the beauty of their traditions. By portraying “birth,
marriage, and death”, the text achieves its universality as it is the rhythm of life. From the
beginning of the novel, it is clear that the essence of the religion is lost, as no glory and inner
satisfaction are felt in religious services. Such as people are offering Namaz five times a day
but not understanding its real purpose, which portrays the death of the Muslim society.
Events like meelad and qawwalis are celebrated to give colour to their stagnant life.
In the novel, the culture of that time is depicted through a Muslim household of Mir Nihal, in
which the house is separated into two portions: zannana, for the women, and mardana, for the
men. These people live in a joint family system in which conflicts arise due to petty issues.
Begum Jamal is the best example of it as she is happy with the marriage between Asghar and
Bilqeece because in that case, she will be able to taunt Mir Nihal, who has spoken harsh
words to her cousin on his marriage with Bilqeece's sister.
"Twilight in Delhi" also delves into the experiences of Muslim families in Delhi during the
British colonial period, focusing on their adaptation to the new political and social realities,
as well as their feelings of resentment towards the colonizers. There is a representation of old
and new generations through the characters of Mir Nihal and Asghar. The joint family system
represents the unity of society and understanding of people, which is highly ironic as Mir
Nihal is unable to understand the requirements of the new generation that is, Asghar. The
passivity of youth and living in the world of fantasies symbolizes the living death of the
Muslim culture. Asghar comes to embody the shallow, superficial “hybrid culture” that
emerges in Delhi with its ‘hodgepodge of Indian and Western ways’. The use of poetry in the
novel conveys the traditional Indo-Muslim culture in songs of celebration and mourning. The
“wealth of poetry,” which is considered a symbol of a living and strong culture, has also been
reduced to a “poverty of thought. A major part of the novel is dedicated to the description of
marriage, especially that of Asghar to Bilqeece. The rituals and ceremonies are specific and
complex. The overall flavour of the festivities in India becomes a manifestation of the
culture, not the religion, in which the families are involved. For example, in Islam, marriage
is supposed to be simple, but Asghar’s marriage is held on a grand scale with un-Islamic
Culture plays a vital role in the existence of a particular society because it works as the spinal
cord for its survival. As per Edward Said, “culture is a source of identity”. In "Twilight in
Delhi," Ahmed Ali shows a cultural depiction of life in Delhi during the early 20th century,
as the city navigates the complexities of colonialism and tradition. The narrative captures the
essence of Delhi’s rich cultural heritage, focusing on the everyday lives of its residents, their
customs, and the shifts brought about by British colonial rule. The cultural depiction centres
on the fading influence of Mughal rule and the rise of British colonial power in Delhi,
particularly on the Muslim community. The novel portrays the clash between traditional
Muslim family structures, social customs, and the emerging British way of life, highlighting
the anxieties and internal struggles of a society undergoing rapid change. Ali emphasizes the
significance of family, social structures, and the importance of community ties. The
characters, portrayed with depth and nuance, embody the struggles between modernity and
tradition.
The novel delves into the intricacies of social rituals, festivals, and the ties that bind the
people to their cultural roots, highlighting the beauty of their traditions. By portraying “birth,
marriage, and death”, the text achieves its universality as it is the rhythm of life. From the
beginning of the novel, it is clear that the essence of the religion is lost, as no glory and inner
satisfaction are felt in religious services. Such as people are offering Namaz five times a day
but not understanding its real purpose, which portrays the death of the Muslim society.
Events like meelad and qawwalis are celebrated to give colour to their stagnant life.
In the novel, the culture of that time is depicted through a Muslim household of Mir Nihal, in
which the house is separated into two portions: zannana, for the women, and mardana, for the
men. These people live in a joint family system in which conflicts arise due to petty issues.
Begum Jamal is the best example of it as she is happy with the marriage between Asghar and
Bilqeece because in that case, she will be able to taunt Mir Nihal, who has spoken harsh
words to her cousin on his marriage with Bilqeece's sister.
"Twilight in Delhi" also delves into the experiences of Muslim families in Delhi during the
British colonial period, focusing on their adaptation to the new political and social realities,
as well as their feelings of resentment towards the colonizers. There is a representation of old
and new generations through the characters of Mir Nihal and Asghar. The joint family system
represents the unity of society and understanding of people, which is highly ironic as Mir
Nihal is unable to understand the requirements of the new generation that is, Asghar. The
passivity of youth and living in the world of fantasies symbolizes the living death of the
Muslim culture. Asghar comes to embody the shallow, superficial “hybrid culture” that
emerges in Delhi with its ‘hodgepodge of Indian and Western ways’. The use of poetry in the
novel conveys the traditional Indo-Muslim culture in songs of celebration and mourning. The
“wealth of poetry,” which is considered a symbol of a living and strong culture, has also been
reduced to a “poverty of thought. A major part of the novel is dedicated to the description of
marriage, especially that of Asghar to Bilqeece. The rituals and ceremonies are specific and
complex. The overall flavour of the festivities in India becomes a manifestation of the
culture, not the religion, in which the families are involved. For example, in Islam, marriage
is supposed to be simple, but Asghar’s marriage is held on a grand scale with un-Islamic
