Assignment on Character of Bimala – New Woman
Name: Nirali Dabhi
Roll number: 13
Enrollment Number: 4069206420220006
Sem: 3 M.A
Paper number: 201
Paper Code: 22406
Paper Name: Indian English Literature – Pre-Independence
Topic: Character of Bimala – New Woman
Submitted to: Smt S.B. Gardi, Department of English, M.K.B.U
Email: niralidabhi95@gmail.com
In Rabindranath Tagore's "The Home and the World," the character Bimala undergoes a significant transformation from a traditional role to questioning societal norms, reflecting the changing landscape of pre-Independence India. Tagore's portrayal of Bimala challenges stereotypes and highlights women's struggle for independence and self-expression during a tumultuous period. The title itself suggests a dichotomy between the private and public spheres, and Bimala's journey serves as a metaphor for broader societal shifts.
Introduction of Author:-
Rabindranath Tagore
Rabindranath Tagore (1861-1941), the youngest son of Brahmo Samaj leader Debendranath Tagore, emerged as a multifaceted figure in 19th-century Bengal. Educated at home and briefly in England, he didn't complete his formal schooling. Alongside extensive literary pursuits, he managed family estates, engaging closely with societal issues and initiating an experimental school at Shantiniketan to embody his Upanishadic ideals of education. In his non-sentimental and visionary manner, Tagore intermittently participated in the Indian nationalist movement, forming a devoted friendship with Gandhi. Knighted in 1915, he later resigned the honor in protest against British policies.
Tagore gained early acclaim as a writer in Bengal, with translations of his poems rapidly spreading his fame in the West. Renowned for works like "Gitanjali," he became a global symbol of India's spiritual heritage. Tagore excelled in various literary genres, primarily as a poet with over fifty volumes of poetry, including "Manasi" (1890), "Gitanjali" (1910), and "Balaka" (1916). His English renderings like "The Gardener" (1913) and "Fruit-Gathering" (1916) don't align precisely with the original Bengali volumes. Tagore's major plays, such as "The King of the Dark Chamber" (1910), and novels like "The Home and the World" (1916), showcased his literary prowess. He wrote musical and dance dramas, essays, travel diaries, and two autobiographies. Awarded the Nobel Prize for Literature in 1913, the motivation highlighted his "profoundly sensitive, fresh, and beautiful verse," seamlessly integrating his poetic thought into Western literature. Tagore's legacy extended beyond literature, encompassing drawings, paintings, and musical compositions.
Rabindranath Tagore, born in Calcutta, showed an early inclination for poetry. After studying in England in the late 1870s, he returned to India and began publishing poetry books in the 1880s. In 1901, Tagore established an experimental school in Shantiniketan, aiming to integrate Indian and Western traditions. He extensively traveled and lectured globally, advocating for Indian independence from British colonial rule.
Work:
Tagore's writing spans various genres, including poetry, songs, stories, and dramas, reflecting influences from both Indian and Western traditions. Beyond fiction, his work encompasses portrayals of everyday life, literary criticism, philosophy, and social issues. While Tagore initially wrote in Bengali, his poetry gained global recognition after translation into English. In contrast to the hectic pace of Western life, his poetry often conveyed a sense of inner peace in harmony with nature.
Introduction of Novel:-
The Home and The World
"The Home and the World" is a novel by Rabindranath Tagore, that delves into the complexities of India's 20th-century caste system. While the narrative primarily explores the dynamics of a marriage disrupted by the intrusion of an enigmatic outsider, much of the novel takes on a philosophical tone. Shifting viewpoints among characters like Bimala, Nikhil, and Sandip reveal their internal and external dialogues, addressing profound issues such as tradition, gender roles in Indian culture, political change, the use of violence in activism, and considerations of the public good.
Published in 1916, the novel is highly acclaimed for its exploration of themes intimately understood by the author. "The Home and the World" serves as a powerful example of how art and artifice can either enlighten or dismantle causes, relationships, and even an entire nation. The narrative skillfully weaves together the personal and the political, offering a profound commentary on the societal challenges and philosophical debates of its time.
Bimala – Represented as Goddess:
In "The Home and the World," Bimala is portrayed as embodying the divine feminine energy, often associated with the concept of "Shakti." Following her encounter with Sandip, Bimala undergoes a transformation, rejecting the role of a passive domestic wife. She perceives a fierce Shakti within herself and desires Sandip to recognize her solely in that divine light, believing it would enhance her value in his eyes. Sandip's acknowledgment of Bimala as a fiery goddess is not purely a reflection of genuine reverence. Instead, it serves his political agenda. Sandip aims to keep Bimala disillusioned with nationalist ideals to further his own ulterior motives. This portrayal aligns with a Foucauldian reading, suggesting that Sandip's deification of Bimala is a discourse employed by nationalist leaders. This discourse, reminiscent of the image of 'Bharat Mata' (Mother India), depicts the country as a vulnerable woman in need of masculine intervention to liberate her from oppression.
Tagore, through Sandip's character, offers a critical view of certain Swadeshi activists whose policies he personally disagrees with. The comparison of the nation and affluent upper-caste women to the figure of the goddess played a crucial role in igniting nationalist fervor among women, exemplified not only in Bimala but also in characters like Mrinal from Tagore's short story "Strir Patro."
This illusion of the woman as a goddess, equated with the nation, reflects a similar concept to the one Marxist critic Althusser discusses regarding religion and its role in interpellating the masses into subscribing to specific ideologies. The danger lies in idealizing and pedestalizing women, creating an illusion of respect and equality while simultaneously manipulating them. Through Sandip's rhetoric, Bimala falls under the spell of this nationalist discourse, illustrating how such ideologies can be potent tools for manipulation and control.
Bimala's Liberation:
Nikhilesh serves as a foil to Sandip in Rabindranath Tagore's "The Home and the World." While Sandip objectifies Bimala as an object of desire, Nikhilesh withdraws authority, allowing her autonomy. However, Nikhilesh's extreme detachment unintentionally exposes Bimala to Sandip's schemes, leading to regret and internal conflict. Overwhelmed with guilt, she vows never to leave the domestic confines again, declaring, “I vowed I would never again go to the outer apartments, not if I were to die for it…” Sandip's allegories transform Bimala into a 'goddess,' empowering her to break free from domestic constraints. She portrays herself as a 'creator,' earning worship from her devotee, Sandip. Bimala's self-perception, although influenced by Sandip, isn't entirely false. She commands authority over Amulya, challenging traditional gender roles. Yet, when ensnared in Sandip's conspiracy, her plea for Amulya's help raises questions about the true extent of her emancipation. She acknowledges the closed outside world for women, stating, “I am a woman, and the outside world is closed to me, else I would have gone myself.” Despite claiming self-discovery, Bimala's journey seems restricted within the domestic sphere, prompting reflection on the authenticity of her liberation—a poignant portrayal reminiscent of Victorian ideals.
Bimala's Evolution as the New Woman:
Bimala, the focal point of the narrative, unfolds her story through a journal that encapsulates her evolution from a traditional purdah-bound wife to an emblematic figure of the emerging 'New Woman.' Initially resistant to Nikhil's radical leanings toward Westernization, Bimala's journal traces her resistance and her initial resolve to uphold the essential ethics of traditional Hindu culture. Nikhil's loving guidance, Bimala undergoes a transformative journey into an educated, partially Westernized woman, symbolizing Nikhil's earnest desire to emancipate her from the confines of purdah, a symbol of women's seclusion. Nikhil's advocacy of Westernized ideals, celebrating women's roles in society, envisions Bimala as an independent entity free from the fetters of tyranny.
Barathi Ray's definition of the 'New Woman' aligns with Nikhil's vision for Bimala—a brave, educated partner to an English-educated nationalist man, capable of managing a home with efficiency and order, mirroring her Western counterpart. Despite the seemingly absurd and contradictory nature of this model, it becomes the envisioned woman required by the nation, a duty incumbent upon women.
From the novel's outset, Nikhil endeavors to mold Bimala into his vision of the 'new woman.' He urges her to discard purdah, encouraging her to explore the outside world and discover her true self. Nikhil's earnest desire is for Bimala to become a free woman who chooses to love him of her own accord, challenging societal norms dictated by male orthodoxy. He rejects traditional acts of worship, seeing them as constraints that keep women cocooned physically and intellectually.
Nikhil aspires for Bimala to transgress societal norms in pursuit of freedom, independence, and education. This transformative journey, synonymous with 'civilized behavior' and 'erudite intellectualism,' reflects Nikhil's expectations for Bimala to be a humanist like him, free from familial servitude and traditional lineage. Nikhil frames the image of Bimala as the female Shakti in Hinduism, representing a feminine force waiting to be unleashed. Tagore deftly employs Hindu iconography, specifically that of mother goddesses Durga and Kali, associated with Bengal's devotional nationalism, to depict Bimala clad in the symbolic earthen red sari with a broad blood cell border.
Conclusion:-
In conclusion, Bimala emerges as a progressive woman challenging patriarchal structures, and becoming a role model for others. Against the backdrop of India's Republication, Tagore presents Bimala as a reinterpretation of Indian women, breaking free from the colonial mindset of patriarchy and embodying the essence of the New Woman.
References:-
- Aconfessingbook. “Crossing the Threshold of Inner Quarters: Bimala and Other Women Characters in Tagore's Ghare Baire.” Womenofattic, 10 Apr. 2016, womenofattic.wordpress.com/2016/04/10/crossing-the-threshold-of-inner-quarters-bimala-and-other-women-characters-in-tagores-ghare-baire/.
- Banerjee, Ayanita. "Bimala in Ghare-Baire: Tagore’s New Woman Relocating the." Rupkatha Journal on Interdisciplinary Studies in Humanities 13.3 (2021)
- Rabindranath Tagore – Biographical. NobelPrize.org. Nobel Prize Outreach AB 2022. <https://www.nobelprize.org/prizes/literature/1913/tagore/biographical/>
Word Count:- 1632
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