“
Rumours began with the whispered gossip of native servants and spread quickly to the rest of the population.
”
”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
English is not spare. But it is beautiful. It cannot be called truthful because its subtleties are infinite. It is the language of a people who have probably earned their reputation for perfidy and hypocrisy because their language itself is so flexible, so often light-headed with statements which appear to mean one thing one year and quite a different thing the next.
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”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
There’s a difference between trying to stop an injustice and obstructing justice.
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”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
You seem to like everybody. It’s unnatural. It’s also unfortunate. You’re going to waste so much time before you’ve worked out who the people are it’s worth your while to know.
”
”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
One always saw and sees through pretense.
”
”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
The calendar was a mathematical progression with arbitrary surprises.
”
”
Paul Scott (The Towers of Silence (The Raj Quartet, #3))
“
Deny people something they want, over a longish period, and they naturally start disagreeing about precisely what it is they do want.
”
”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
English people are not mass-produced. They do not come off a factory line all looking, speaking, thinking, acting the same. Neither do we.
”
”
Paul Scott (The Day of the Scorpion (The Raj Quartet, #2))
“
How can people be punished when they are innocent?
”
”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
in this life, living, there is no dignity except perhaps in laughter.
”
”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
the unexpected side of a man’s personality is more memorable than the proof he may appear to give from time to time that he is unchanged, unchangeable.
”
”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
She had to make her own marvelous mistakes.
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”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
The structure of a friendship is seldom submitted to analysis until it comes under pressure;
”
”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
It is said that he spoke the language of the greased palm, and this language is international.
”
”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
As children we accept magic as a normal part of life. Everything seems rooted in it, everything conspires in magic terms.
”
”
Paul Scott (The Towers of Silence (The Raj Quartet, #3))
“
When you spoke to her there wasn’t any mystery. In herself she was all the explanation I felt she needed. And that is rare, isn’t it? To be explained by yourself, by what you are and what you do, and not by what you’ve done, or were, or by what people think you might be or might become.
”
”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
Well, life is not just a business of standing on dry land and occasionally getting your feet wet. It is merely an illusion that some of us stand on one bank and some on the opposite. So long as we stand like that we are not living at all, but dreaming. So jump, jump in, and let the shock wake us up. Even if we drown, at least for a moment or two before we die we shall be awake and alive.
”
”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
In such a fashion human beings call for explanations of the things that happen to them and in such a way scenes and characters are set for exploration, like toys set out by kneeling children intent on pursuing their grim but necessary games.
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”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
There are images that stay vividly in your mind, even after many years: images coupled with the feeling that at the same time came to you. Sometimes you can know that such an image has been selected to stay with you forever out of the hundreds you every day encounter.
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”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
Romesh Chand was a man who did not believe in telephones, in the necessity for telephones,
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Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
I am an old man. I am entitled, am I not, to say what I think?—and of course to stray from the point.
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”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
the exercise of authority was not an easy business, especially if those who exercised it no longer felt they had heaven on their side. That
”
”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
If God is never happy what chance of happiness is there for us?
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Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
I understood the connexion between his idea, and my idea that no one had any rights over me, that there wasn’t anyone I was answerable to except myself.
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”
Paul Scott (The Day of the Scorpion (The Raj Quartet, #2))
“
Independence is not something you can divide into phases. It exists or does not exist.
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”
Paul Scott (The Day of the Scorpion (The Raj Quartet, #2))
“
The permutations of English corruption in India were endless
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”
Paul Scott (The Day of the Scorpion (The Raj Quartet, #2))
“
There’s nothing like a good downpour to cool people off.
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”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
Even when I'm not looking for a meaning one springs naturally to my mind. Do you think it is a disease?
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”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
she had this look of calmness, of concentration, the look, I think, of all women who for the first time are with child and find that the world around them has become relatively unimportant.
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”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
It was extraordinary, Ahmed thought, how men distinguished in one field – and he assumed that Pandit Baba Sahib was distinguished – seemed to claim for themselves wisdom in all spheres of human activity; wisdom and the right to make pronouncements which they expected you to listen to and learn from.
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Paul Scott (The Day of the Scorpion (The Raj Quartet, #2))
“
She had devoted her life, in a practical and unimportant way, trying to prove that fear was evil because it promoted prejudice, that courage was good because it was a sign of selflessness, that ignorance was bad because fear sprang from it, that knowledge was good because the more you knew of the world’s complexity the more clearly you saw the insignificance of the part you played.
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”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
Is not our capacity to laugh and cry the measure of our humanity?
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”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
time, stability and loyalty, which are not things usually to be reaped without first being sown. Perhaps,
”
”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
Are we not all creatures of chance?
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Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
She showed courage and that’s the most difficult thing in the world for any human being to show
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”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
Here, on the ground, nothing is likely, everything possible.
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”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
there being somewhere in this curious centuries-long association a kind of love with hate on the obverse side, as in a coin.
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”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
the people in this country who feel most like foreigners to each other are English people who’ve just arrived and the ones who have been here for several years.
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”
Paul Scott (The Day of the Scorpion (The Raj Quartet, #2))
“
Blessed are the insulted and the shat upon,’ Barbie said. ‘For they shall inherit the kingdom of Heaven, which is currently under offer with vacant possession.
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”
Paul Scott (The Towers of Silence (The Raj Quartet, #3))
“
hit a man in the face long enough and he turns for help to his racial memory and tribal gods.
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”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
Perron did not clearly hear what Ahmed said, but it sounded like, ‘It seems to be me they want.
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”
Paul Scott (A Division of the Spoils (The Raj Quartet, #4))
“
An emigration is possibly the loneliest experience a man can suffer. In a way it is not a country he has lost but a home, or even just a part of a home, a room perhaps, or something in that room that he has had to leave behind, and which haunts him. I remember a window-seat I used to sit in as a youth, reading Pushkin and teaching myself to smoke scented cigarettes. That window is one I am always knocking at, asking to be let in.
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”
Paul Scott (A Division of the Spoils (The Raj Quartet, #4))
“
Kumar was a man who felt in the end he had lost everything, even his Englishness, and could then only meet every situation—even the most painful—in silence, in the hope that out of it he would dredge back up some self-respect.
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Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
He said history was a sum of situations whose significance was never seen until long afterwards because people had been afraid to act them out. They couldn’t face up to their responsibility for them. They preferred to think of the situations they found themselves in as part of a general drift of events they had no control over, which meant that they never really understood those situations, and so in a curious way the situations did become part of a general drift of events.
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”
Paul Scott (The Day of the Scorpion (The Raj Quartet, #2))
“
Walls, windows, roof, verandah–entirely commonplace, mean even–moved her with the austere poetry of their function. Here a man sheltered from and diminished the horror and vulgarity of the world by the simplicity of his arrangements for living in it.
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”
Paul Scott (The Towers of Silence (The Raj Quartet, #3))
“
No flower is quite like another of the same species. On a single bush one is constantly surprised by the remarkable character shown by each individual rose. But from the house all one sees is a garden, which is all there is to it anyway in the long run.
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”
Paul Scott (The Towers of Silence (The Raj Quartet, #3))
“
It's an Anglo-Saxon failing, I suppose. Constantly we want proof, here and now, proof of our existence, of the mark we've made, the sort of mark we can wear round our necks, to label us, to make sure we're never lost in that awful dark jungle of anonymity.
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”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
I had that sensation which sometimes comes to us all, of returning to a situation that had already been resolved on some previous occasion, of being again committed to a tragic course of action, having learned nothing from that other time or those other times
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”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
What a lot you know.’ I laughed and said it was one of the few advantages of old age, to be a repository of bits and pieces of casual information that sometimes come in useful. But she said she didn’t really mean that, she meant know as distinct from remember.
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”
Paul Scott (The Day of the Scorpion (The Raj Quartet, #2))
“
Society is a wave. The wave moves onward, but the water of which it is composed does not. The same particle does not rise from the valley to the ridge. Its unity is only phenomenal. The persons who make up a nation today, next year die, and their experience with them.
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”
Paul Scott (The Towers of Silence (The Raj Quartet, #3))
“
The world rolls: the circumstances vary every hour. All the angels that inhabit this temple of the body appear at the windows, and all the gnomes and vices also. By all the virtues they are united. If there be virtue, all the vices are known as such; they confess and flee.
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”
Paul Scott (A Division of the Spoils (The Raj Quartet, #4))
“
we wonder what the fuss was about and aren’t sure that our own government is doing any better, or even that it is a government that represents us. It seems more to be the government of an uneasy marriage between old orthodoxy and old revolutionaries, and such people have nothing to say to us that we want to hear.
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”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
optimist. Scratch a little deeper and you will no doubt uncover a great intriguer, but I hope a well-intentioned one. Scratch deeper still, never minding the blood, and perhaps you will find an old White Russian of liberal sympathies but intent even now on rescuing his Tsar from the cellar in Ekaterinburg, or failing his Tsar, the little Tsarevich.
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”
Paul Scott (A Division of the Spoils (The Raj Quartet, #4))
“
For years, since the eighteenth century, and in each century since, we have said at home, in England, in Whitehall, that the day would come when our rule in India will end, not bloodily, but in peace, in—so we made it seem—a perfect gesture of equality and friendship and love. For years, for nearly a century, the books that Indians have read have been the books of our English radicals, our English liberals. There has been, you see, a seed. A seed planted in the Indian imagination and in the English imagination. Out of it was to come something sane and grave, full of dignity, full of thoughtfulness and kindness and peace and wisdom. For all these qualities are in us, in you, and in me, in old Joseph and Mr. Narayan and Mr. White and I suppose in Brigadier Reid. And they were there too, in Mr. Chaudhuri. For years we have been promising and for years finding means of putting the fulfilment of the promise off until the promise stopped looking like a promise and started looking only like a sinister prevarication, even to me, let alone to Indians who think and feel and know the same as me. And the tragedy is that between us there is this little matter of the colour of the skin, which gets in the way of our seeing through each other’s failings and seeing into each other’s hearts. Because if we saw through them, into them, then we should know. And what we should know is that the promise is a promise and will be fulfilled.” But
”
”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
The twin rivulets gleamed on his prison cheeks, and then the image became blurred and she felt a corresponding wetness on her own – tears for Daphne that were also tears for him; for lovers who could never be described as star-crossed because they had had no stars. For them heaven had drawn an implacable band of dark across its constellations and the dark was lit by nothing except the trust they had had in each other not to tell the truth because the truth had seemed too dangerous to tell.
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”
Paul Scott (The Day of the Scorpion (The Raj Quartet, #2))
“
a repository sounds like a place for storing furniture when you bash off to some other station. I suppose an Englishman could say that the whole of India is that sort of place. You all went, but left so much behind that you couldn’t carry with you wherever you were going, and these days those of you who come back can more often than not hardly bother to think about it, let alone ask for the key to go in and root about among all the old dust sheets to see that everything worthwhile that you left is still there and isn’t falling to pieces with dry rot.
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”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
The victim chose neither the time nor the place of his death but in going to it as he did he must have seen that he contributed something of his own to its manner; and this was probably his compensation; so that when the body falls it will seem to do so without protest and without asking for any explanation of the thing that has happened to it, as if all that has gone before is explanation enough, so that it will not fall to the ground so much as out of a history which began with a girl stumbling on steps at the end of a long journey through the dark.
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”
Paul Scott (A Division of the Spoils (The Raj Quartet, #4))
“
And for Miss Crane there was something else besides, a feeling she had often had before, a feeling in the bones of her shoulders and the base of her skull that she was about to go over the hump thirty-five years of effort and willingness had never got her over; the hump, however high or low it was, which, however hard you tried, still lay in the path of thoughts you sent flowing out to a man or woman whose skin was a different color from your own. Were it only the size of a pebble, the hump was always there, disrupting the purity of that flow, the purity of the thoughts.
”
”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
Incidentally, I do not agree with you when you speak of Indian independence having become a foregone conclusion. Independence is not something you can divide into phases. It exists or does not exist. Certain steps might be taken to help bring it into existence, others can be taken that will hinder it doing so. But independence alone is not the idea I pursue, nor the idea which the party I belong to tries to pursue, no doubt making many errors and misjudgements in the process. The idea, you know, isn’t simply to get rid of the British. It is to create a nation capable of getting rid of them and capable simultaneously of taking its place in the world as a nation, and we know that every internal division of our interests hinders the creation of such a nation. That is why we go on insisting that the Congress is an All India Congress. It is an All India Congress first, because you cannot detach from it the idea that it is right that it should be. Only second is it a political party, although one day that is what it must become. Meanwhile, Governor-ji, we try to do the job that your Government has always found it beneficial to leave undone, the job of unifying India, of making all Indians feel that they are, above all else, Indians. You think perhaps we do this to put up a strong front against the British. Partly only you would be right. Principally we do it for the sake of India when you are gone. And we are working mostly in the dark with only a small glimmer of light ahead, because we have never had that kind of India, we do not know what kind of India that will be. This is why I say we are looking for a country. I can look for it better in prison, I’m afraid, than from a seat on your Excellency’s executive council.
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”
Paul Scott (The Day of the Scorpion (The Raj Quartet, #2))
“
You look at the English people you meet. Some of them you like. Some you hate. Many you are indifferent to. But even the ones you like do not matter. The ones who matter you will never see – they are tucked away in England – and they are indifferent to us as individuals. You think these officials over here rule us? These viceroys, these governors, these commissioners and commanders-in-chief and brigadier-generals? Then you are wrong. We are ruled by people who do not even know where Ranpur is. But now they know where Jallianwallah Bagh is and what it is, and many of them do not like what they know. Those of them who do like what they know are the ones you hear about and hear from. Like the General at Amritsar they are frightened people and frightened people shriek the loudest and fire at random.
”
”
Paul Scott (The Day of the Scorpion (The Raj Quartet, #2))
“
The Jewel in Her Crown, which showed the old Queen (whose image the children now no doubt confused with the person of Miss Crane) surrounded by representative figures of her Indian Empire: princes, landowners, merchants, moneylenders, sepoys, farmers, servants, children, mothers, and remarkably clean and tidy beggars. The Queen was sitting on a golden throne, under a crimson canopy, attended by her temporal and spiritual aides: soldiers, statesmen and clergy. The canopied throne was apparently in the open air because there were palm trees and a sky showing a radiant sun bursting out of bulgy clouds such as, in India, heralded the wet monsoon. Above the clouds flew the prayerful figures of the angels who were the benevolent spectators of the scene below. Among the statesmen who stood behind the throne one was painted in the likeness of Mr. Disraeli holding up a parchment map of India to which he pointed with obvious pride but tactful humility. An Indian prince, attended by native servants, was approaching the throne bearing a velvet cushion on which he offered a large and sparkling gem. The children in the school thought that this gem was the jewel referred to in the title. Miss Crane had been bound to explain that the gem was simply representative of tribute, and that the jewel of the title was India herself, which had been transferred from the rule of the British East India Company to the rule of the British Crown in 1858, the year after the Mutiny when the sepoys in the service of the Company (that first set foot in India in the seventeenth century) had risen in rebellion, and attempts had been made to declare an old Moghul prince king in Delhi, and that the picture had been painted after 1877, the year in which Victoria was persuaded by Mr. Disraeli to adopt the title Empress of India.
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”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
No, my dear. Leave poor Hari Kumar to work out his own salvation, if he’s still alive to work it out and if there’s a salvation of any kind for a boy like him. He is the leftover, the loose end of our reign, the kind of person we created—I suppose with the best intentions. But for all Nehru’s current emergence as a potential moral force in world affairs, I see nothing in India that will withstand the pressure of the legacy of the division we English have allowed her to impose on herself, and are morally responsible for. In allowing it we created a precedent for partition just at the moment when the opposite was needed, allowed it—again with the best intentions—as a result of tiredness, and failing moral and physical pretensions that just wouldn’t stand the strain of looking into the future to see what abdication on India’s terms instead of ours was going to mean. Perhaps finally we had no terms of our own because we weren’t clever enough to formulate them in twentieth century dress, and so the world is going to divide itself into isolated little pockets of dogma and mutual resistance, and the promise that always seemed to lie behind even the worst aspects of our colonialism will just evaporate into history as imperial mystique, foolish glorification of a severely practical and greedy policy.
”
”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
Such a marvelous opportunity wasted. I mean for us, by us. Indians feel it too, don’t they? I mean, in spite of the proud chests and all the excitement of sitting down as free men at their own desks to work out a constitution. Won’t that constitution be a sort of love letter to the English—the kind an abandoned lover writes when the affair has ended in what passes at the time as civilized and dignified mutual recognition of incompatability? In a world grown suddenly dull because the beloved, thank God, has gone, offering his killing and unpredictable and selfish affections elsewhere, you attempt to recapture, don’t you, the moments of significant pleasure—which may not have been mutual at all, but anyway existed. But this recapture is always impossible. You settle for the second-rate, you settle for the lesson you appear to have learned and forget the lesson you hoped to learn and might have learned, and so learn nothing at all, because the second-rate is the world’s common factor, and any damned fool people can teach it, any damned fool people can inherit it.
”
”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
Speak what is in your mind,’ Pandit Baba commanded. What insolence, Ahmed thought. There are two categories of things in my mind, he should say, the stuff people like you have fed into it and my own reactions to that stuff. The result is cancellation, so I have nothing in my mind.
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”
Paul Scott (The Day of the Scorpion (The Raj Quartet, #2))
“
pay her back for imaginary wrongs, or real wrongs she had not personally done him but had done representatively because she was of her race and of her colour, and he could not in his simple rage any longer distinguish between individual and crowd.
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Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
she felt there was between them an unexpected mutual confidence, confidence of the kind that could spring up between two strangers who found themselves thrown together quite fortuitously in difficult circumstances that might turn out to be either frightening or amusing. And
”
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Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
her father’s generation must be the last generation of English people who would have such a choice. War or no war, it was all coming to an end, and the end could not come neatly. There would be people who had to be victims of the fact that it could not. She herself was surely one of them,
”
”
Paul Scott (The Day of the Scorpion (The Raj Quartet, #2))
“
Unfortunately, there is always an unmapped area of dangerous fallibility between a policy and its pursuit.
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”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
frightened people shriek the loudest and fire at random.
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”
Paul Scott (The Day of the Scorpion (The Raj Quartet, #2))
“
there is nothing more gullible in the whole animal world than a human being? One has this hysterical belief in the non-recurrence of the abysmal, I suppose. One always imagines one has reached the nadir and that the only possible next move is up and out.
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”
Paul Scott (A Division of the Spoils (The Raj Quartet, #4))
“
To be rejected—which I suppose is one of the easiest ways of making your mark, you have to come right out with something they see as directly and forcefully opposed to what they think they believe in. To be accepted you have to be seen and heard to appear to stand for what they think they believe in. To be neither one thing nor the other is probably unforgivable. But,
”
”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
The existence of well-to-do little neutral countries is a pointer to what global war is really all about,
”
”
Paul Scott (The Day of the Scorpion (The Raj Quartet, #2))
“
Compulsively tidy people, one is told, are always wiping the slate clean, trying to give themselves what life denies all of us, a fresh start.
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”
Paul Scott (The Day of the Scorpion (The Raj Quartet, #2))
“
But it isn’t the best we should remember,’ she said, and shocked herself by speaking aloud, and clutched the folds and mother-of-pearl buttons in that habitual gesture. We must remember the worst because the worst is the lives we lead, the best is only our history, and between our history and our lives there is this vast dark plain where the rapt and patient shepherds drive their invisible flocks in expectation of God’s forgiveness. *
”
”
Paul Scott (The Day of the Scorpion (The Raj Quartet, #2))
“
that is rare, isn’t it? To be explained by yourself, by what you are and what you do, and not by what you’ve done, or were, or by what people think you might be or might become. I
”
”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
She did not divide conduct into parts. She was attempting always a wholeness. When there is wholeness there are no causes. Only there is living. The contribution of the whole of one’s life, the whole of one’s resources, to the world at large. This, like the courage to leap,
”
”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
love, as their parents knew, was not enough. Hunger and poverty could never be reduced by love alone.
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”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
She felt the curious flattening of inquiring spirit the traveller suffers from, knowing himself without occupation or investment in the fortunes of a strange city.
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”
Paul Scott (The Day of the Scorpion (The Raj Quartet, #2))
“
It is only an insincere people that can be accused of hypocrisy.
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”
Paul Scott (The Day of the Scorpion (The Raj Quartet, #2))
“
Well, life is not just a business of standing on dry land and occasionally getting your feet wet. It is merely an illusion that some of us stand on one bank and some on the opposite. So long as we stand like that we are not living at all, but dreaming. So jump, jump in, and let the shock wake us up. Even if we drown, at least for a moment or two before we die we shall be awake and alive. She
”
”
Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
“
If there are things you don’t know, you call the gap in your knowledge a mystery and fill it in with a wholly emotional answer.
”
”
Paul Scott (The Day of the Scorpion (The Raj Quartet, #2))
“
wily minds and cold hearts were the combination Bronowsky found most common in English administrators.
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”
Paul Scott (The Day of the Scorpion (The Raj Quartet, #2))
“
We still equate fair skin with superior intelligence. Even equate it with beauty. The sun is too strong here. It darkens us and saps us. Paleness is synonymous with worldly success, because paleness is the mark of intellectual, not physical endeavor and worldly success is seldom achieved with the muscles.
”
”
Paul Scott (The Raj Quartet 1: The Jewel in the Crown/The Day of the Scorpion)
“
Insularity, like empire-building, requires superb self-confidence, a conviction of one's moral superiority.
An English caricature of an Indian - possessive towards people with power, arrogant to those with none.
Through a narrow Moghul arch into a dark stone corridor - the kind in which you feel the weight of India: a heavy darkness which is a protection from glare and heat but reminiscent of tombs and dungeons.
”
”
Paul Scott (The Raj Quartet)
“
When he got to the shoe putting-on stage he called Hosain again. Putting on and taking off his own shoes and boots were activities at which he drew the line if there was a man available to perform these services. He had learned to draw the line in Muzzafirabad where his first CO, Colonel Gawstone, advised him never to stoop if he could help it. The climate wasn't right for it. Mrs. Gawstone had stooped to pick up a glove and keeled right over and never got up. They had buried her the next day.
”
”
Paul Scott (The Towers of Silence (The Raj Quartet, #3))
“
I remember one party when we seemed to be absolutely stranded. Perhaps that was symbolic, Mr Turner. I mean everyone else gone and just Tusker and me, peering out into the dark waiting for transport that never turned up.
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Paul Scott (Staying On (The Raj Quartet, #5))
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The world exists for the education of each man. There is no age or state of society, or mode of action in history, to which there is not somewhat corresponding in his life. Everything tends in a most wonderful manner to abbreviate itself and yield its own virtue to him. He should see that he can live all history in his own person. He must sit at home with might and main, and not suffer himself to be bullied by kings or empires, but know that he is greater than all the geography and all the governments of the world . . .
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Paul Scott (The Towers of Silence (The Raj Quartet, #3))
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I have been thinking over what she said about knowing as distinct from remembering. Perhaps all it amounts to is that as we talked and I trotted out these little bits of information I gave the impression, common in elderly people, not only of having a long full life behind me that I could dip into more or less at random for the benefit of a younger listener, but also of being undisturbed by any doubts about the meaning and value of that life and the opinions I’d formed while leading it; although that suggests knowingness, and when she said, ‘What a lot you know’ she made it sound like a state of grace, one that she envied me in the mistaken belief that I was in it, while she was not and didn’t understand how, things being as she finds them, one ever achieved it.
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Paul Scott (The Day of the Scorpion (The Raj Quartet, #2))
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riot squads were ready to go into action. Although these young English boys (many of them civilians themselves little more than a year ago, and with only a very sketchy idea of the problems of administering Imperial
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Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
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In India nearly everybody spoke metaphorically except the English who spoke bluntly and could make their most transparent lies look honest as a consequence; whereas any truth contained in these metaphorical rigmaroles was so deviously presented that it looked devious itself.
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Paul Scott (The Day of the Scorpion (The Raj Quartet, #2))
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There is too much emotion in our own public life. The English could never be accused of that. They lock us up, release us and lock us up again according to what suits them at the time, with a bland detachment that, fortunately or unfortunately, is matched by an equally bland acceptance on our part. They act collectively, and so can afford detachment. We react individually, which weakens us. We haven’t yet acquired the collective instinct. The English send Kasim to prison. But it is Kasim who goes to prison. The prisoner in the zenana house is a man. But who is his jailer? The jailer is an idea. But in the prisoner the idea is embodied in a man. From his solitude the man reaches out to others. He writes to Sir George Malcolm. He writes to old Lady Manners. But he cannot reach them as people. They are protected from him by the collective instinct of their race. A reply comes, but it is not from them. It is from someone speaking for them. It has not been expedient for either of them to write. I understand in both cases why this should be. But to understand does not warm the heart.
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Paul Scott (The Day of the Scorpion (The Raj Quartet, #2))
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Upon retirement from the civil or the military some of them came to Pankot – not to die (although they did – and were buried in the churchyard of St John’s – C of E – or St Edward’s – RC) but to enjoy their remaining years in a place that was peculiarly Indian but very much their own, and where servants were cheap, and English flowers could be grown (sometimes spectacularly) in the gardens, and life take on the serenity of fulfilment, of duty done without the depression of going home wondering what it had been done for.
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Paul Scott (The Day of the Scorpion (The Raj Quartet, #2))
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They say poor old Miss Crane went round the bend. Lili went to see her once while I was still at the MacGregor. Perhaps twice. I don’t remember. We didn’t talk about it much. Miss Crane had taken all the pictures down from her walls or something, although she wasn’t going anywhere. Later she committed suttee. You saw the report of it in the Times of India, I think. We both saw it. Neither of us mentioned it. Perhaps Lili wrote to you and told you more about it. Of course it’s wrong to say “committed” suttee. Suttee, or sati (is that the right way to spell it?), is a sort of state of wifely grace, isn’t it? So you don’t commit it. You enter into it. If you’re a good Hindu widow you become suttee. Should I become it, Auntie? Is Hari dead? I suppose you could say we’re hermits enough here to rank as sannyasis anyway. But no. I’ve not done with the world yet. I’ve still got at least one duty to perform. And I knew I had a duty to perform for Connie White. After I’d stopped laughing I said, “Well, then, what are you curious about?” You can’t not pay for a joke. You’ve got to cough up the price put on it.
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Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
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The writer encountered a Muslim woman once in a narrow street of a predominantly Hindu town, in the quarter inhabited by moneylenders. The feeling he had was that she was coming in search of a loan. She wore the burkha, that unhygienic head-to-toe covering that turns a woman into a walking symbol of inefficient civic refuse collection and leaves you without even an impression of her eyes behind the slits she watches the gay world through, tempted but not tempting; a garment in all probability inflaming to her passions but chilling to her expectations of having them satisfied. Pity her for the titillation she must suffer. After she had passed there was a smell of Chanel No. 5, which suggested that she needed money because she liked expensive things. Perhaps she had a rebellious spirit, or laboured under a confusion of ideas and intentions. On the other hand she may merely have been submissive to her husband, drenching herself for his private delight with a scent she did not realize was also one of public invitation – and passed that day through the street of the moneylenders only because it was a short cut to the mosque. It was a Friday, and it is written in the Koran: ‘Believers, when the call is made for prayer on Friday, hasten to the remembrance of Allah and leave off all business. That would be best for you, if you but knew it. Then, when the prayers are ended, disperse and go in quest of Allah’s bounty.’ Perhaps, when the service was over, it was her intention to return by the way she had come.
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Paul Scott (The Day of the Scorpion (The Raj Quartet, #2))
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But it is not these things which most impress the stranger on his journey into the civil lines, into the old city itself (where he becomes lost and notes the passage of a woman dressed in the burkha in the street of the moneylenders) and then back past the secretariat, the Legislative Assembly and Government House, and on into the old cantonment in a search for points of present contact with the reality of twenty years ago, the repercussions, for example, of the affair in the Bibighar Gardens. What impresses him is something for which there is no memorial but which all these things collectively bear witness to: the fact that here in Ranpur, and in places like Ranpur, the British came to the end of themselves as they were.
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Paul Scott (The Day of the Scorpion (The Raj Quartet, #2))
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Picture her then: Daphne Manners, a big girl (to borrow a none too definite image from Lady Chatterjee) leaning on the balcony outside her bedroom window, gazing with concentration (as one might gaze for two people, one being absent, once deprived, since dead, and now regretted) at a landscape calculated to inspire in the most sympathetic western heart a degree of cultural shock. There is (even from this vantage point above a garden whose blooms will pleasurably convey scent if you bend close enough to them) a pervading redolence, wafting in from the silent, heat-stricken trembling plains; from the vast panorama of fields, from the river, from the complex of human dwellings (with here and there, spiky or bulbous, a church, a mosque, a temple), from the streets and lanes and the sequestered white bungalows, the private houses, the public buildings, the station, from the rear quarters of the MacGregor House.
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Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
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She did not divide conduct into parts. She was attempting always a wholeness. When there is wholeness there are no causes. Only there is living. The contribution of the whole of one’s life, the whole of one’s resources, to the world at large.
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Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
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The India of the picture had never existed outside its gilt frame, and the emotions the picture was meant to conjure up were not much more than smugly pious. And yet now, as always, there was a feeling somewhere in it of shadowy dignity. It still stirred thoughts in her that she found difficult to analyze. She had devoted her life, in a practical and unimportant way, trying to prove that fear was evil because it promoted prejudice, that courage was good because it was a sign of selflessness, that ignorance was bad because fear sprang from it, that knowledge was good because the more you knew of the world’s complexity the more clearly you saw the insignificance of the part you played.
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Paul Scott (The Jewel in the Crown (The Raj Quartet, #1))
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the one thing to which the human spirit could always accommodate itself was chaos and misfortune.
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Paul Scott (The Towers of Silence (The Raj Quartet, #3))
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A man like Panditji coud mesmerize you into submission, hypnotize you into regarding him as a source of spiritual comfort. It was undoubtedly his intention to try, and when you knew a man's intentions you were even more in danger of being subjected to them because to be aware of an intention somehow increased its force. I shall destroy you, one man might say to another; and at once he would have a confederate, the man himself. Ideas seemed to have a life, a power of their own. Men became slaves to them. To challenge an idea as an alternative to accepting it was to be no less a slave to it. Neither to accept nor challenge it was the most difficult thing of all; perhaps impossible.
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Paul Scott (The Day of the Scorpion (The Raj Quartet, #2))