“ The Jaipur Residency had come to seem almost like home. And the magnet of home drew all that was Eastern in Roy. It was the British blood in his veins that drove him afield. Though India was his objective, England was the impelling force. His true home seemed hundreds of miles away, in more senses than one. His union with Rajputana—set with the seal of that sacred and beautiful experience at Chitor—seemed, in his present mood, the more vital of the two.And there was Lance up in the Punjab—a magnet as strong as any, when the masculine element prevailed. ”
Maud Diver
Summary
Maud Diver’s Far to Seek (1916) is a novel of emotional and cultural crosscurrents, set against the backdrop of British India and its complex entanglements. Centered on Roy, a British-Indian protagonist torn between his heritage and his mother Lilámani’s Indian roots, the narrative explores themes of identity, love, and spiritual yearning through vivid characters like Arúna, Tara, and the enigmatic Lance.
Diver’s prose delves into the tension between tradition and modernity, with motifs of light (chirágh), nature (beech), and the visceral pull of separation underscoring Roy’s quest for belonging. The novel’s synthesis of personal and cultural duality—rooted in the interplay of British and Indian influences—reveals Diver’s nuanced portrayal of identity as both a burden and a bridge.
Quotes from Far to Seek (Maud Diver)
“ And nowadays Beauty had become almost suspect. Cleverness, cynicism, sex and sensation—all had their votaries and their vogue. Mere Beauty, like Cinderella, was left sitting among the ashes of the past; and Roy—prince or no—was her devout lover.To the son of Nevil and Lilámani, her clear call could never seem either a puritanical snare of the flesh or a delusion of the senses; but rather, a grace of the spirit, the joy of things seen detached from self-interest: the visible proof that love, not power, is the last word of Creation. ”
“ Here, indeed, was Roy's 'beautiful marry,' fit prelude for the tale of that heroic pair. For in life—Lilámani told them—marriage is the beginning, not the end. That is only for fairy tales.And close against her shoulder, listening entranced, sat the child Tara, with her wild-flower face and the flickering star in her heart—a creature born out of time into an unromantic world; hands clasped round her upraised knees, her wide eyes gazing past the bluebells and the beech-leaves at some fanciful inner vision of it all; lost in it, as Roy was lost in contemplation of his Mother's face.... ”
