example. 7
The Queen now began leaving instructions for the other Indian servants with Karim, who was placed in charge of them and given the job of managing their uniforms and accounts. She handed Karim a strict dress code for the Indians at Balmoral:
Will you please explain to Muhammud & Ahmad Husain, the Indian servants, the dress they should wear at various times when on duty, the same not to be changed except by Her Majesty’s command.
Breakfast,
Blue uniform with white waistband,
Luncheon
white trousers,
And Tea
and almond coloured boots
The head-dress to be optional at these three meals; but the lungi must not be worn except at dinnertime with the Full Dress red uniform.
When the weather is warm a white or other coloured summer coat may be worn, but the waistband &c to be used at the three meals must not be changed.
Black boots must be worn at meals out of doors – almond coloured boots are for indoor use only and should not be used for walking or riding out. 8
The instructions were given to Mohammed Buksh and Ahmed Husain by Karim the same day. A note attached to the Queen’s letter signed in Urdu said ‘ Yeh huq Muhammud Buksh aur Ahmad Husain ko suna do ’ (Give these instructions to Mohammed Buksh and Ahmed Husain). 9 She was now constructing full sentences in Urdu on her own.
As language barriers between them dissolved rapidly, the Queen grew closer to Karim. He had developed a good working knowledge of English and the Queen was steadily improving her Hindustani. She now wanted to recreate the spirit of India even in the family tableaux and the themes were often oriental. In October 1888 the Queen’s daughter and granddaughters staged a tableau vivant called India . Princess Beatrice played India dressed in an elaborate silk gown. Attending her in native Indian dresses were her nieces, Princess Louise of Wales (dressed as a Muslim) and Princess Alix of Hesse (dressed as a Hindu). Abdul Karim had a role in the tableau as did the other Indian servants, Khairat Ali, Mohammed Buksh and Ahmed Husain.
Abdul Karim also played the starring role of Eleazer in the tableau Rebecca performed at Osborne the same month. Buksh and Ahmed Husain had supporting roles. Preening in his turban and robes, Karim proudly plunged into the mini-theatricals, his face capturing the expressions of the devoted servant Eleazer as he waited near the well for Rebecca to choose a bride for his master. Minnie Cochrane, playing the title role, would have been less enthusiastic starring opposite Karim. The ladies of the Household were none too fond of the Indian and clearly resented the fact that the Queen was so dependent on him. Despite their reticence, the Queen had to be indulged as she delighted in watching the tableaux and was the loudest to applaud as the Indians took their bow. The theatricals, already a vital part of life at Osborne, became richer now with the Indians included in them. Karim and Buksh were cast in nearly all the plays.
The Royal Household now began to notice the Queen’s preference for Abdul Karim. They realised that, like John Brown before him, the Queen would not hear any criticism of her Munshi. But while the latter had been coarse and blunt, Karim was the complete opposite. He was always polite to the Queen, making her feel special and taking every care to be indispensable in her eyes.
The Queen now gave Karim the room previously occupied by John Brown, the symbolic act being immediately noticed by the Household. ‘I am rather surprised that Abdul occupies JohnBrown’s room,’ Sir William Jenner, the Royal physician, wrote to Reid. ‘I don’t believe in the ghosts of those long dead or I should expect one in that room.’
Inevitably, the rest of the Household began to resent Karim and some of the Indian servants also grew jealous of him. But if Ponsonby or Reid pointed out a discrepancy in Karim, the Queen would not tolerate it.
In November 1888 Abdul Karim prepared to go to India on leave.
The Queen now began leaving instructions for the other Indian servants with Karim, who was placed in charge of them and given the job of managing their uniforms and accounts. She handed Karim a strict dress code for the Indians at Balmoral:
Will you please explain to Muhammud & Ahmad Husain, the Indian servants, the dress they should wear at various times when on duty, the same not to be changed except by Her Majesty’s command.
Breakfast,
Blue uniform with white waistband,
Luncheon
white trousers,
And Tea
and almond coloured boots
The head-dress to be optional at these three meals; but the lungi must not be worn except at dinnertime with the Full Dress red uniform.
When the weather is warm a white or other coloured summer coat may be worn, but the waistband &c to be used at the three meals must not be changed.
Black boots must be worn at meals out of doors – almond coloured boots are for indoor use only and should not be used for walking or riding out. 8
The instructions were given to Mohammed Buksh and Ahmed Husain by Karim the same day. A note attached to the Queen’s letter signed in Urdu said ‘ Yeh huq Muhammud Buksh aur Ahmad Husain ko suna do ’ (Give these instructions to Mohammed Buksh and Ahmed Husain). 9 She was now constructing full sentences in Urdu on her own.
As language barriers between them dissolved rapidly, the Queen grew closer to Karim. He had developed a good working knowledge of English and the Queen was steadily improving her Hindustani. She now wanted to recreate the spirit of India even in the family tableaux and the themes were often oriental. In October 1888 the Queen’s daughter and granddaughters staged a tableau vivant called India . Princess Beatrice played India dressed in an elaborate silk gown. Attending her in native Indian dresses were her nieces, Princess Louise of Wales (dressed as a Muslim) and Princess Alix of Hesse (dressed as a Hindu). Abdul Karim had a role in the tableau as did the other Indian servants, Khairat Ali, Mohammed Buksh and Ahmed Husain.
Abdul Karim also played the starring role of Eleazer in the tableau Rebecca performed at Osborne the same month. Buksh and Ahmed Husain had supporting roles. Preening in his turban and robes, Karim proudly plunged into the mini-theatricals, his face capturing the expressions of the devoted servant Eleazer as he waited near the well for Rebecca to choose a bride for his master. Minnie Cochrane, playing the title role, would have been less enthusiastic starring opposite Karim. The ladies of the Household were none too fond of the Indian and clearly resented the fact that the Queen was so dependent on him. Despite their reticence, the Queen had to be indulged as she delighted in watching the tableaux and was the loudest to applaud as the Indians took their bow. The theatricals, already a vital part of life at Osborne, became richer now with the Indians included in them. Karim and Buksh were cast in nearly all the plays.
The Royal Household now began to notice the Queen’s preference for Abdul Karim. They realised that, like John Brown before him, the Queen would not hear any criticism of her Munshi. But while the latter had been coarse and blunt, Karim was the complete opposite. He was always polite to the Queen, making her feel special and taking every care to be indispensable in her eyes.
The Queen now gave Karim the room previously occupied by John Brown, the symbolic act being immediately noticed by the Household. ‘I am rather surprised that Abdul occupies JohnBrown’s room,’ Sir William Jenner, the Royal physician, wrote to Reid. ‘I don’t believe in the ghosts of those long dead or I should expect one in that room.’
Inevitably, the rest of the Household began to resent Karim and some of the Indian servants also grew jealous of him. But if Ponsonby or Reid pointed out a discrepancy in Karim, the Queen would not tolerate it.
In November 1888 Abdul Karim prepared to go to India on leave.
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