The tide was beginning to sweep in, and the Hooghly had filled with sails, as ships and boats hurried to take their berths or to stand out to mid-channel. From where he lay, on the slats of his gently rocking dinghy, Jodu could imagine that the world had turned itself upside down, so that the river had become the sky, crowded with banks of cloud; if you narrowed your eyes, you might almost think that the ships' masts and spars were bolts of lightning, forking through the billowing sails. And as for thunder, there was that too, booming out of the sheets of canvas, as they flapped, slackened and filled again. The noise never failed to amaze him: the whiplash crack of the sails, the high-pitched shriek of the wind in the rigging, the groan of the timbers and surf-like pounding of the bow-waves: it was as if each ship were a moving tempest and he an eagle, circling close behind to hunt in the ruins of her wake.
Looking across the river Jodu could count the flags of a dozen kingdoms and countries: Genoa, the Two Sicilies, France, Prussia, Holland, America, Venice. He had learnt to recognize them from Putli, who had pointed them out to him as they sailed past the Gardens; even though she herself had never left Bengal, she knew stories about the places from which they came. These tales had played no small part in nurturing his desire to see the roses of Basra and the port of Chin-kalan, where the great Faghfoor of Maha-chin held sway.
On the deck of a nearby three-master, a mate's voice could be heard, calling out in English: 'All hands to quarters, ahoy!' A moment later, the command became a hookum, relayed by a serang: Sab admi apni jagah!
'Fill the main topsails.' – Bhar bara gávi! With a resounding crack the canvas billowed in the wind, and the mate called out: 'Ease the helm!'
Gos daman ja! came the serang's echo, and slowly the vessel's bows began to turn. 'Shiver the foretopsail!' – and almost before the serang had finished issuing the hookum – Bajao tirkat gavi! – the lofty square of canvas had sent its whiplash crack shooting through the wind.
From the silmagoors who sat on the ghats, sewing sails, Jodu had learnt the names of each piece of canvas, in English and in Laskari – that motley tongue, spoken nowhere but on the water, whose words were as varied as the port's traffic, an anarchic medley of Portuguese calaluzes and Kerala pattimars, Arab booms and Bengal paunch-ways, Malay proas and Tamil catamarans, Hindusthani pulwars and English snows – yet beneath the surface of this farrago of sound, meaning flowed as freely as the currents beneath the crowded press of boats.
By listening to the voices that echoed off the decks of ocean-going ships, Jodu had taught himself to recognize the officers' hookums to the point where he could say them aloud, even if only to himself – 'Starboard watch ahoy!' Jamna pori upar ao! – understanding perfectly well the whole, while yet being unable to account for the meaning of the several parts. To shout the commands in earnest, on a ship that had been pushed on her beam-ends by a gale… that day would come, he was sure of it.
Suddenly, another call floated across the water – Hayyá ilá assaláh… – and was taken up in relay, by the ships in the channel, passing from one vessel to another as the Muslims amongst the crewmen began to chant the evening azan. Jodu roused himself from the torpor of his full stomach and made his preparations for prayer: covering his head with a folded cloth, he manoeuvred his boat to point in a westerly direction before kneeling for the first raka'a. He had never been particularly devout and it was only because his mother's interment was still so fresh in his mind that he felt compelled to pray now. But afterwards, when he had murmured the final syllables, he was glad that he had remembered: his mother would have wished it, he knew, and the knowledge of having done his duty would allow him to yield, without guilt, to the fatigue his body had accumulated over the last few weeks.
Ten miles downriver, on the Raskhali budgerow, the preparations for dinner had run afoul of some unexpected snags. The boat's lavish sheeshmahal for one: it had seen little use since the old Raja's time and was found to be in a state of some disrepair when opened up. The chandeliers had lost many of their candle-holders, and these had to be replaced by makeshift devices constructed out of bits of string, wood and even a few strips of coconut fibre. While the results were not unsatisfactory, they took some of the sparkle out of the fixtures and gave them a strangely wind-blown appearance.
The sheeshmahal was partitioned into two halves by a velvet curtain: the rear section was used as a dining room, and was graced by a table of fine calamander wood. Now, when the curtains were parted, it was found that the polished surface of the table had gone grey with neglect, and a family of scorpions had taken up residence under it. A platoon of stick-wielding paiks had to be summoned, to drive the creatures away, and then a duck had to be caught and killed, so that the table could be polished with its fat.
At the far end of the sheeshmahal, behind the dining table, there was a screened alcove, meant to accommodate women in purdah: from this sequestered vantage point, the old Raja's mistresses had been accustomed to observe his guests. But neglect had taken a toll on the delicately carved observation screen, which was found to have rotted away. A curtain, with hastily pierced peepholes, was installed in its place, at Elokeshi's insistence, for she felt it to be her right to appraise the guests. This in turn inspired a desire for a fuller participation in the evening so she decided that her three companions would provide some after-dinner entertainment by staging a few dances. But upon inspection it was found that the floor had warped: to dance barefoot on the crooked boards was to risk a rich crop of splinters. A carpenter had to be summoned to flatten the boards.
No sooner was this problem resolved than another arose: the sheeshmahal was equipped with a full set of ivory-handled silverware, as well as a complete dinner service, imported at great expense from the Swinton pottery in England. Being reserved for the use of unclean, beef-eating foreigners, these utensils were kept locked in cabinets, to prevent the contamination of the household's other crockery. Now, on opening the cabinet, Parimal discovered, to his shock, that many of the plates were missing, as was much of the silverware. There remained just about enough to provide for a dinner for four – but the discovery of the theft created an unpleasant climate of suspicion which resulted ultimately in an outbreak of internecine fighting on the kitchen-boat. After two paiks ended up with broken noses, Neel was forced to intervene: although peace was restored, the preparations for the evening were much delayed and Neel could not be provided with a proper meal, in advance of the dinner that would be served to his guests. This was a sore blow, for it meant that Neel would have to fast while his guests feasted: the rules of the Raskhali household were strict in regard to whom the Raja could eat with, and unclean beef-eaters were not a part of that small circle – even Elokeshi was not included in it, and had always to feed herself in secret when Neel came to spend the night in her house. So strict was the Halder family's usage in this regard, that when entertaining, it was their custom to sit politely at table with their guests but without ever touching any of the food that was heaped before them: so as not to be tempted, they always ate their dinner earlier, and this was what Neel would have liked to do – but with the kitchen-boat in disarray, he had to be content with a few handfuls of parched rice, soaked in milk.