Vernacular Victoria: The Queen in the Languages of South Asia began life as an international online colloquium hosted by the Department of English at Ashoka University, Haryana, in collaboration with the Department of English at the University of Hyderabad (India). Participants were invited to give papers based on an archive of vernacular eulogies, addresses, memorials, and biographies collected by Miles Taylor during the course of research for his book Empress: Queen Victoria and India (Yale University Press, 2018). Following the colloquium of April 26–27, 2021, further commissions were undertaken as the editors broadened the scope of the project.

The collected essays in this “Vernacular Victoria” issue explore representations of Queen Victoria in Indian languages. They study how complex practices of loyalty to monarchical forms of authority enabled Indians to create and inhabit their diverse lifeworlds. They analyze how the uneven socialization of print and the complex cultures of literary production in colonial India shaped articulations of loyalty. “Vernacular Victoria” is about histories of Indian aspirations and negotiations, celebrations and disappointments. Victoria enables this special issue to contribute to a more global understanding of the field known as Victorian studies.

To mark Queen Victoria's jubilee celebrations, many Indian authors composed laudatory literature and music in their vernacular languages. Although these works were often dismissed as “enthusiastic effusions” from poets of dubious ability, they offer intricate examples of the varied meanings the queen's presence had for Indian writers. They illustrate the subtle manipulation of laudatory verse for purposes other than praise; and they frequently offer instances of sophisticated, multilingual intertextuality and reuses of literary traditions of praise (and subversion) in India's precolonial past. This article examines examples of Persianate laudatory writing produced by three Parsi writers in colonial India and demonstrates how these works performed “loyalty” in contested, ambivalent ways.

This essay examines two travel narratives written by Hardevi, a woman from Lahore who traveled to London for Queen Victoria's jubilee in 1887. The accounts contain Hardevi's narration of her journey by ship and describe the celebrations. Hardevi showcases the queen's marital home and her conjugal life, seamlessly accommodating them within reformist constructions of a modern, educated, pativrata (conjugally virtuous) Indian woman. Hardevi's encounter with the queen at the heart of the empire opens up a conceptual space of possibilities for a modern, gendered self. This article examines her deployment of a mode of subjectivity that allows her to be, simultaneously, an obedient and fascinated colonial subject of the imperial spectacle and also a citizen-subject who claims the agency of critique.

In the final decades of the nineteenth century, music significantly occupied the cultural and social life of the Bengali people. As the epicenter of British political and economic influence in the subcontinent, Calcutta witnessed the emergence of schools offering instruction in Indian and Western art music. The flourishing city housed private and public printing presses, which ensured the circulation and distribution of large numbers of songbooks, manuals, and theoretical treatises on music. The city was also home to a diverse assortment of hereditary music practitioners and occupational specialists illustrative of a variety of musical traditions spread across Bengal and North India. Around the 1870s, Bengali musicians, patrons, and connoisseurs began to take up music as an intellectual activity, examine its history as a source for social and political substance, and view musical instruments as material objects for disciplinary study. This emerging interest in musicology, broadly conceived, coincided with the proclamation of Victoria as queen and empress of India, considerably transforming Bengal's political fabric and cultural worldview. The pioneering musicologist Sourindro Mohun Tagore (1840–1914) was among the many authors who published works celebrating Queen Victoria's ascension as empress of India. In this article, I examine Tagore's songbooks dedicated to the queen, reading them as cultural artifacts representing a richly nuanced historical and musical legacy: a textual and aural archive demonstrating how Bengali musicians used sound to mediate the effects of colonization.

In late nineteenth-century Telugu desa, “Victoria” was more than the name of the queen of Great Britain. It was, in Homi Bhabha's famous formulation, a “sign taken for wonder” the signification of which, however, remained ambivalent. As soon as she was proclaimed the empress of India, the queen's name acquired emblematic connotations that were exploited in both reform and counterreform discourses. Treating Queen Victoria not as a person but as a personification, the present essay reads some of the fetishized signs of the queen in the spatial, print, and literary cultures and notes how the colonial engines of modernity were appropriated, provincialized, and subverted in the domestic sphere.

This article argues that Queen Victoria's Proclamation of 1858, marking the transfer of power from the East India Company to the crown, ushered in a new era of colonial secularity. “Colonial secularity” refers to the myriad ways that normative distinctions between religion and not-religion emerged and proliferated in colonial contexts. The proclamation committed not to interfere in religion, but “religion” is circumscribed, reconceptualized largely as a matter of private conscience set against the purview of the state. As this article explores, it is according to this logic that the abolition of Islamic criminal law after the proclamation could register as noninterference in native religion. At the same time, Christian missionaries contested the proclamation's notions of neutrality to carve out a space in which they might operate.

This essay examines an 1877 Gujarati translation of Queen Victoria's Leaves from the Journal of Our Life in the Highlands. It was the work of M. M. Bhownaggree, later a British MP. The essay explores the circumstances under which Bhownaggree undertook the translation, its content, and its intended audience. It closes with some observations on the book's place in the history of Indian royalism, the place of Indian royalism in the development of modern Gujarati literature, and the interplay of the Gujarati identity that was emerging in the latter part of the nineteenth century with both royalism and Indian nationalism.

This essay studies the formation of a political language of rajabhakti or monarchical loyalty in the Odia-language print sphere in the second half of the nineteenth century. This language revolved around the key terms of Providence, market rationalism, and character. The article traces the provincial careers of these crucial Victorian terms and explores their entanglement with local histories and discourses in the colony. It shows how the language of monarchical loyalty enabled provincial Victorians to construct and inhabit their everyday lifeworlds in the empire.

The death of Queen Victoria occasioned the publication of commemorative narratives in early twentieth-century Odisha. They serve as site for understanding how feminine authority was imagined as the Odia literati engaged in a fraught movement for the formation of a separate province of Odisha. They imagined an Odia motherland in relation to figures of maternal authority such as mother India and mother Victoria. This article explores this vernacular representation of the queen as mother in the work of the poet Madhusudan Rao. By drawing on traditions of lament and maternal authority, the article illustrates how Rao used lament to carve out a palimpsest of multiple identities, from imperial subjecthood to regional belonging.

This article surveys works from Kerala related to Queen Victoria and situates M. R. Madhava Warrier's (1893–1952) biography, Victoria Maharani (1931), against the backdrop of early twentieth-century Travancore. It draws on threads related to the position of women on the Malabar coast, the actions of the maharani regent at the time, Sethu Lakshmi Bayi (r. 1924–31), and the political and social climate at the time of her reign. It also considers the relationship between the qualities of Queen Victoria praised in Victoria Maharani, reforms instituted by Sethu Lakshmi Bayi, and the reputation of both in Travancore.

This article examines a range of texts produced by authors from different caste-class backgrounds in the Bombay Presidency in Western India between the 1850s and the 1920s. They were composed for commemorating special occasions such as the diamond jubilee of Queen Victoria's accession to the throne (1897) or the visits to India of the Prince of Wales (1876, 1922) and King George V (1911). These texts offer an opportunity for us to understand the various points of view about the British royalty as manifested in the world of Marathi speakers ranging from the harshly critical to the unabashedly loyalist, with many shades in between. The yardstick of modern nationalism has a fixed and negative image of what royalism represented for the colonial subjects. This article seeks to redress the balance.

Starting with Queen Victoria's address to the Proclamation Durbar in 1877, this article surveys how Bengali writers critiqued British colonialism in India through their stories, songs, poetry, journalism, and lectures, sometimes directly about the queen herself, more often when discussing governance, social reform, and the desire for political liberty.

“Aajkal Agra ka mausam kaisa hai?” Queen Victoria asks herself, alone in her sumptuous quarters at Osborne House.1 How is the weather in Agra these days? Polite small talk, the loose change of a British monarch's verbal currency, recasts itself in unfamiliar phonemes as the empress of India practices her Hindustani. Soon, Agra will retreat from the imperial consciousness; it will be time to go to the durbar room, or work on her Urdu writing under the munshi's tutelage, perhaps before lunching on chicken curry.2