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  The territory was captured by the Gurkhas in 1803, but twelve years later they were expelled by the British after some severe fighting, to which a small English cemetery bears witness. The territory was restored to the Raja, with the exception of the Jaunsar Bawar region.

  Six or seven miles north of Nahan lies the mountain of Jaitak, where the Gurkhas made their last desperate stand. The place is worth a visit, not only for seeing the remains of the Gurkha fort, but also for the magnificent view the mountain commands.

  From the northernmost of the mountain's twin peaks, the whole south face of the Himalayas may be seen. From west to north you see the rugged prominences of the Jaunsar Bawar, flanked by the Mussoorie range of hills. It is wild mountain scenery, with a few patches of cultivation and little villages nestling on the sides of the hills. Garhwal and Dehra Dun are to the east, and as you go downhill you can see the broad sweep of the Yamuna as it cuts its way through the western Siwaliks.

  3

  GENTLY FLOWS THE GANGA

  The Bhagirathi is a beautiful river, gentle and caressing (as compared to the turbulent Alaknanda), and pilgrims and others have responded to it with love and respect. The god Shiva released the waters of Goddess Ganga from his locks, and she sped towards the plains in the tracks of Prince Bhagirath's chariot.

  He held the river on his head

  And kept her wandering, where

  Dense as Himalaya's woods were spread

  The tangles of his hair.

  Revered by Hindus and loved by all, Goddess Ganga weaves her spell over all who come to her.

  Some assert that the true Ganga (in its upper reaches) is the Alaknanda. Geographically, this may be so. But tradition carries greater weight in the abode of the Gods and traditionally the Bhagirathi is the Ganga. Of course, the two rivers meet at Devprayag, in the foothills, and this marriage of the waters settles the issue.

  Here, at the source of the river, we come to the realisation that we are at the very centre and heart of things. One has an almost primaeval sense of belonging to these mountains and to this valley in particular. For me, and for many who have been here, the Bhagirathi is the most beautiful of the four main river valleys of Garhwal.

  The Bhagirathi seems to have everything — a gentle disposition, deep glens and forests, the ultravision of an open valley graced with tiers of cultivation leading up by degrees to the peaks and glaciers at its head.

  At Tehri, the big dam slows down Prince Bhagirath's chariot. But upstream, from Bhatwari to Harsil, there are extensive pine forests. They fill the ravines and plateaus, before giving way to yew and cypress, oak and chestnut. Above 9,000 feet the deodar (devdar, tree of the gods) is the principal tree. It grows to a little distance above Gangotri, and then gives way to the birch, which is found in patches to within half a mile of the glacier.

  It was the valuable timber of the deodar that attracted the adventurer Frederick 'Pahari' Wilson to the valley in the 1850s. He leased the forests from the Raja of Tehri, and within a few years he had made a fortune. From his home and depot at Harsil, he would float the logs downstream to Tehri, where they would be sawn up and despatched to buyers in the cities.

  Bridge-building was another of Wilson's ventures. The most famous of these was a 350 feet suspension bridge at Bhaironghat, over 1,200 feet above the young Bhagirathi where it thunders through a deep defile. This rippling contraption was at first a source of terror to travellers, and only a few ventured across it. To reassure people, Wilson would mount his horse and gallop to and fro across the bridge. It has since collapsed, but local people will tell you that the ghostly hoof beats of Wilson's horse can still be heard on full moon nights. The supports of the old bridge were massive deodar trunks, and they can still be seen to one side of the new road bridge built by engineers of the Northern Railway.

  Wilson married a local girl, Gulabi, the daughter of a drummer from Mukbha, a village a few miles above Harsil. He acquired properties in Dehra Dun and Mussoorie, and his wife lived there in some style, giving him three sons. Two died young. The third, Charlie Wilson, went through most of his father's fortune. His grave lies next to my grandfather's grave in the old Dehra Dun cemetery. Gulabi is buried in Mussoorie, next to her husband. I wrote this haiku for her:

  Her beauty brought her fame,

  But only the wild rose growing beside her grave

  Is there to hear her whispered name—

  Gulabi.

  I remember old Mrs. Wilson, Charlie's widow, when I was a boy in Dehra. She lived next door in what was the last of the Wilson properties. Her nephew, Geoffrey Davis, went to school with me in Shimla, and later joined the Indian Air Force. But luck never went the way of Wilson's descendants, and Geoffrey died when his plane crashed.

  In the old days, before motorable roads opened up the border states, only the staunchest of pilgrims visited the shrines at Gangotri and elsewhere. The footpaths were rocky and dangerous, ascending and descending the faces of deep precipices and ravines, at times leading along banks of loose earth where landslides had swept the original path away. There are no big towns above Uttarkashi, and this absence of large centres of population could be the main reason why the forests are better preserved here than at lower altitudes.

  Uttarkashi is a sizeable town but situated between two steep hills, it gives one a cramped, shut-in feeling. Fifteen years ago it was devastated by a major earthquake, and in recent months it has suffered from repeated landslides. Somehow its situation seems far from ideal.

  Gangotri, far more secure, is situated at just over 10, 300 feet. On the right bank of the river is the principal temple, a small neat shrine without much ornamentation. It was built by Amar Singh Thapa, a Nepali general, in the early 1800s. It was renovated by the Maharaja of Jaipur in 1920. The rock on which it stands is called Bhagirath Shila and is said to be the place where Prince Bhagirath did penance in order that Ganga be brought down from her abode of eternal snow.

  Here the rocks are carved and polished by ice and water, so smooth that in places they look like rolls of silk. The fast flowing waters of this mountain torrent look very different from the huge, sluggish river that joins the Yamuna at Allahabad.

  The Ganga emerges from beneath a great glacier, thickly studded with enormous loose rocks and earth. The glacier is about a mile in width and extends upwards for many miles. The chasm in the glacier, from which the stream rushes forth into the light of day, is named Gaumukh, the cow's mouth, and is held in deepest reverence by Hindus. This region of eternal frost was the scene of many of their most sacred mysteries.

  At Gangotri, the Ganga is no puny stream, but is already a river thirty or forty yards wide. At Gauri Kund, below the temple, it falls over a rock of considerable height, and continues tumbling over a succession of small cascades until it enters the Bhaironghat gorge.

  A night spent beside the river is an eerie experience. After some time it begins to sound, not like one fall but a hundred, and this sound is ever-present both in one's dreams and waking hours.

  Rising early to greet the dawn proved rather pointless, as the surrounding peaks did not let the sun in till after 9 a.m. Everyone rushed about to keep warm, exclaiming delightedly at what they described as gulabi thand, literally 'rosy cold'. Guaranteed to turn the cheeks a rosy pink! A charming expression, but I prefer a rosy sunburn and remained beneath a heavy quilt until the sun came up over the mountain to throw its golden shafts across the river.

  This is mid-October, and after Diwali the shrine and the small township will close for the winter, the pandits retreating to the relative warmth of Mukbha. Soon snow will cover everything, and even the hardy purple plumaged whistling thrushes (known here as kastura), who are lovers of deep shade, will move further down the valley. And further down, below the forest line, the hardy Garhwali farmers will go about harvesting their terraced fields which form patterns of yellow, green and gold above the deep green of the river.

  Yes, the Bhagirathi is a green river. Although deep and swift, it has a c
ertain serenity. At no place does it look hurried or confused — unlike the turbulent Alaknanda, fretting and fuming as it crashes down its boulder-strewn bed. The Bhagirathi is free-flowing, at peace with itself and its devotees. At all times and places, it seems to find a true and harmonious balance.

  4

  FALLING FOR MANDAKINI

  A great river at its confluence with another great river is, for me, a special moment in time. And so it was with the Mandakini at Rudraprayag, where its waters joined the waters of the Alaknanda, the one having come from the glacial snows above Kedarnath, the other from the Himalayan heights beyond Badrinath. Both sacred rivers, destined to become the holy Ganga further downstream.

  I fell in love with the Mandakini at first sight. Or was it the valley that I fell in love with? I am not sure, and it doesn't really matter. The valley is the river.

  While the Alaknanda valley, especially in its higher reaches, is a deep and narrow gorge where precipitous outcrops of rock hang threateningly over the traveller, the Mandakini valley is broader, gentler, the terraced fields wider, the banks of the river a green sward in many places. Somehow, one does not feel that one is at the mercy of the Mandakini whereas one is always at the mercy of the Alaknanda with its sudden floods.

  Rudraprayag is hot. It is probably a pleasant spot in winter, but at the end of June, it is decidedly hot. Perhaps its chief claim to fame is that it gave its name to the dreaded man-eating leopard of Rudraprayag who, in the course of seven years (1918-25), accounted for more than 300 victims. It was finally shot by Jim Corbett, who recounted the saga of his long hunt for the killer in his fine book, The Man-eating Leopard of Rudraprayag.

  The place at which the leopard was shot was the village of Gulabrai, two miles south of Rudraprayag. Under a large mango tree stands a memorial raised to Jim Corbett by officers and men of the Border Roads Organisation. It is a touching gesture to one who loved Garhwal and India. Unfortunately, several buffaloes are tethered close by, and one has to wade through slush and buffalo dung to get to the memorial stone. A board tacked on to the mango tree attracts the attention of motorists who might pass without noticing the memorial, which is off to one side.

  The killer leopard was noted for its direct method of attack on humans; and, in spite of being poisoned, trapped in a cave, and shot at innumerable times, it did not lose its contempt for man. Two English sportsmen covering both ends to the old suspension bridge over the Alaknanda fired several times at the man-eater but to little effect.

  It was not long before the leopard acquired a reputation among the hill folk for being an evil spirit. A sadhu was suspected of turning into the leopard by night, and was only saved from being lynched by the ingenuity of Philip Mason, then deputy commissioner of Garhwal. Mason kept the sadhu in custody until the leopard made his next attack, thus proving the man innocent. Years later, when Mason turned novelist and (using the pen name Philip Woodruffe) wrote The Wild Sweet Witch, he had one of the characters, a beautiful young woman who apparently turns into a man-eating leopard by night.

  Corbett's host at Gulabrai was one of the few who survived an encounter with the leopard. It left him with a hole in his throat. Apart from being a superb story teller, Corbett displayed great compassion for people from all walks of life and is still a legend in Garhwal and Kumaon amongst people who have never read his books.

  In June, one does not linger long in the steamy heat of Rudraprayag. But as one travels up the river, making a gradual ascent of the Mandakini valley, there is a cool breeze coming down from the snows, and the smell of rain is in the air.

  The thriving little township of Agastmuni spreads itself along the wide river banks. Further upstream, near a little place called Chandrapuri, we cannot resist breaking our journey to sprawl on the tender green grass that slopes gently down to the swift flowing river. A small rest-house is in the making. Around it, banana fronds sway and poplar leaves dance in the breeze.

  This is no sluggish river of the plains, but a fast moving current, tumbling over rocks, turning and twisting in its efforts to discover the easiest way for its frothy snow-fed waters to escape the mountains. Escape is the word! For the constant plaint of many a Garhwali is that, while his hills abound in rivers, the water runs down and away, and little if any reaches the fields and villages above it. Cultivation must depend on the rain and not on the river.

  The road climbs gradually, still keeping to the river. Just outside Guptakashi, my attention is drawn to a clump of huge trees sheltering a small but ancient temple. We stop here and enter the shade of the trees.

  The temple is deserted. It is a temple dedicated to Shiva, and in the courtyard are several river-rounded stone lingams on which leaves and blossoms have fallen. No one seems to come here, which is strange, since it is on the pilgrim route. Two boys from a neighbouring field leave their yoked bullocks to come and talk to me, but they cannot tell me much about the temple except to confirm that it is seldom visited. "The buses do not stop here." That seems explanation enough. For where the buses go, the pilgrims go; and where the pilgrims go, other pilgrims will follow. Thus far and no further.

  The trees seem to be magnolias. But I have never seen magnolia trees grow to such huge proportions. Perhaps they are something else. Never mind; let them remain a mystery.

  Guptakashi in the evening is all a bustle. A coachload of pilgrims (headed for Kedarnath) has just arrived, and the tea-shops near the bus-stand are doing brisk business. Then the 'local' bus from Ukhimath, across the river arrives, and many of the passengers head for a tea shop famed for its samosas. The local bus is called the Bhook-Hartal, the 'Hunger-strike' bus.

  "How did it get that name?" I asked one of the samosa-eaters.

  "Well, it's an interesting story. For a long time we had been asking the authorities to provide a bus service for the local people and for the villagers who live off the roads. All the buses came from Srinagar or Rishikesh, and were taken up by pilgrims. The locals couldn't find room in them. But our pleas went unheard until the whole town, or most of it, decided to go on hunger-strike."

  "They nearly put me out of business too," said the tea shop owner cheerfully. "Nobody ate any samosas for two days!"

  There is no cinema or public place of entertainment at Guptakashi, and the town goes to sleep early. And wakes early.

  At six, the hillside, green from recent rain, sparkles in the morning sunshine. Snowcapped Chaukhamba (7,140 meters) is dazzling. The air is clear; no smoke or dust up here. The climate, I am told, is mild all the year round judging by the scent and shape of the flowers, and the boys call them Champs, Hindi for champa blossom. Ukhimath, on the other side of the river, lies in the shadow. It gets the sun at nine. In winter, it must wait till afternoon.

  Guptakashi has not yet been rendered ugly by the barrack type-architecture that has come up in some growing hill towns. The old double storeyed houses are built of stone, with gray slate roofs. They blend well with the hillside. Cobbled paths meander through the old bazaar.

  One of these takes up to the famed Guptakashi temple, tucked away above the old part of the town. Here, as in Benaras, Shiva is worshipped as Vishwanath, and two underground streams representing the sacred Jamuna and Bhagirathi rivers feed the pool sacred to the God. This temple gives the town its name, Gupta-Kashi, the 'Invisible Benaras', just as Uttarkashi on the Bhagirathi is 'Upper Benaras.'

  Guptakashi and its environs have so many lingams that the saying 'Jitne Kankar Utne Shankar' — 'As many stones, so many Shivas' — has become a proverb to describe its holiness.

  From Guptakashi, pilgrims proceed north to Kedarnath, and the last stage of their journey — about a day's march — must be covered on foot or horseback. The temple of Kedarnath, situated at a height of 11.753 feet, is encircled by snowcapped peaks, and Atkinson has conjectured that "the symbol of the linga may have arisen from the pointed peaks around his (God Shiva's) original home".

  The temple is dedicated to Sadashiva, the subterranean form of the God, who, "flee
ing from the Pandavas took refuge here in the form of a he-buffalo and finding himself hard-pressed, dived into the ground leaving the hinder parts on the surface, which continue to be the subject of adoration." (Atkinson).

  The other portions of the God are worshipped as follows — the arms at Tungnath, at a height of 13,000 feet, the face at Rudranath (12,000 feet), the belly at Madmaheshwar, 18 miles northeast of Guptakashi; and the hair and head at Kalpeshwar, near Joshimath. These five sacred shrines form the Panch Kedars (five Kedars).

  We leave the Mandakini to visit Tungnath on the Chandrashila range. But I will return to this river. It has captured my mind and heart.

  Fifteen

  My Far Pavilions

  Bright red

  The poinsettia flames,

  As autumn and the old year wanes.

  WHEN HAVE TIME ON MY HANDS, I WRITE HAIKUS, LIKE THE one above. This one brings back memories and images of my maternal grandmother's home in Dehra Dun, in the early 1940s. I say grandmother's home because, although grandfather built the house, he had passed on while I was still a child and I have no memories of him that I can conjure up. But he was someone about whom everyone spoke, and I learnt that he had personally supervised the building of the house, partially designing it on the lines of a typical Indian Railways bungalow — neat, compact, and without any frills. None of those Doric pillars, Gothic arches, and mediaeval turrets that characterized some of the Raj house for an earlier period. But instead of the customary red bricks, he used the smooth rounded stones from a local river bed, and this gave the bungalow a distinctive look.