Sandip vs. Nikhil
Nikhil and Sandip have extremely different views for the growth of
the nation. Nikhil demonstrates these beliefs in him marrying Bimala, an
"unattractive" woman because of her skin color. In the novel, Nikhil
talks about disliking an intense patriotism nation, "Use force? But for
what? Can force prevail against Truth?" On the other hand, Sandip has
contrasting views for the growth of the nation believing in power and force,
"My country does not become mine simply because it is the country of my
birth. It becomes mine on the day when I am able to win it by force". The contradicting views of Nikhil and Sandip
set up the story and constructs an interesting dilemma for Bimala.
Unfortunately for Nikhil, he has already tried to show Bimala the outside
world, and stir some sort of emotion within her since the beginning of the
novel, and failed. Sandip possesses great oratory skill, that wins Bimala over
simply because of his passion and ferocity, something that her husband may
lack.
Illusions
The constant forming of illusions in the novel grows to be a major
recurring theme. Sandip tends to create illusions that almost always have
negative effects on his followers and on the nation of Bengal. He builds an
illusion of his beliefs that sucks the people of Bengal into a sort of cult.
His illusion is complete sovereignty, free of all other worlds, and an endless
supply of wealth and self enjoyment. This illusion, as many are, is a fake and
a lie. It ultimately sells these people a front row ticket to watch their nation
fall into complete chaos and civil war among people with different beliefs. He
constructs an illusion for Bimala to believe, saying she is the future, women
are the future, they are the chosen path to salvation. Bimala builds an
illusion that she is to blame for this war, it is solely her doing. That she
has done all wrong and no right. She refuses to accept that she too was a
victim of Bande Mataram. " I now fear nothing-neither myself, nor anybody
else. I have passed through fire. What was inflammable has been burnt to ashes;
what is left is deathless. I have dedicated myself to the feet of him, who has
received all my sin into the depths of his own pain." The biggest illusion
of all of is Sandip's mask of caring and passion, while he hides his own selfishness
and desire for the world.
Truth
In more than one way, this novel is a comparison of different
views of truth. Which reality is truer is up to the reader's interpretation.
Nikhil maintains an idealistic view of the world while Sandip takes a radical,
nature-worshiping view. He feels Nikhil's view of the world is inferior to the
real, raw world in which he lives as a radical leader. Bimala as well must
compare truths. Through her interactions with Sandip, she is introduced to the
truth of "sakti" (female power), yet her life with Nikhil is centred
on the truth of conjugality. Each of these instances is a comparison of truth
as being something simply objective to being something with a more spiritual or
moral dimension. While the story ends in tragedy, both views of truth are
important players in the story's outcome, and it is left to the reader to
ponder with which he or she agrees or disagrees.
Love and union
From page one of
the novel, the love and union between Nikhil and Bimala is illustrated as
something sacred. Nikhil proved throughout the story that he was undeniably
devoted to his wife. He proved this first by marrying a woman who hailed from a
poor family, along with accepting her darker skin. He made great effort to not
only educate her, but also for her to understand her place in the world and not
just her place in the captivity of their house. He shows his love by giving her
freedom. Bimala also adores her husband, but in a less material manner. This is
demonstrated in Bimala's daily ritual of "taking the dust", an Indian
ritual of reverence not usually performed by a wife to her husband.
Due to Bimala's
extreme devotion to Nikhil, in the beginning of the novel, the union between
the two of them is seen as one that cannot be broken. However as, the story
progresses, Bimala is slowly overcome by her feelings for Sandip. She
eventually realises that she has found in Sandip what she longed for in Nikhil,
fierce ambition and even violent defence of one's ideals. Her deep desire for
Sandip led her to completely break her sacred union with Nikhil, going as far
as to steal money from her household funds. Sandip shows his love for Bimala
through idolisation. This idolisation comes about due to her freedom, though.
The tale clearly
presents the theme of love and union time and time again, going from Nikhil and
Bimala's marriage, through the love triangle created by Sandip, and once again
returning to Bimala's love for Nikhil at the very end. This story tests the boundaries
of the union of marriage. It stretches and twists it to the point where a
9-year marriage is nearly destroyed simply because of a raw temptation. In
addition to the idea of romantic love, there is a sense of love of one's own
country depicted throughout the novel. Questions such as, is it best to love
one's country through action, perhaps even violence, or by passive tolerance
are posed in the arguments of Nikhil and Sandip. While love and worship seem
parallel in marriage, Nikhil believes these feelings cannot apply to one's
country. "To worship my country as a god is to bring a curse upon
it".
Characters
Nikhil
Nikhil is seen and
described as an educated and gentle man. The reader can see that as the story
is told from his point of view. His words flow more poetically, as if
possessing a higher proficiency of language. He is from kulin aristocratic
family of landlords, and his family prides themselves in beautiful women.
However, Nikhil is different in that he married not only a poor woman, but also
one who was not particularly attractive. Nikhil loves his wife very much as he
likes to buy her European style dresses and other modern gifts. He also tries
to educate her about the outside world and bring her away from the traditional
female life in India. However, due to his gentle and soft nature, he cannot do
anything but watch and stand by as he sees a relationship unfolding between his
wife and his old friend, Sandip. He is also unpopular in the town because he
has not joined them stating, "I am not running amuck crying Bande Mataram. In light of
this, the police also suspect him of harbouring some "hidden
protest." In reality, Nikhil considers himself to be more aware of his
country's role in a broader sense, and refuses to take part in Swadeshi.
Bimala
Bimala is the wife
of Nikhil. She is described as not very pretty and from a much more humble
background than Nikhil. She loves her husband dearly, and enjoys being
completely devoted to him. At the beginning of the novel, she seems to be
confined to the traditional female role, and has no thoughts of entering the
real world, even with persuasion from her husband. Her feelings make a rapid
change with the occurrence of the Swadeshi movement. "My sight and my
mind, my hopes and my desires, became red with the passion of this new age.
When she meets Sandip, her new ideals are fuelled by his zealous nature and a
fiery, shameless side of her emerges. As time goes on she becomes more interested
and involved in the Swadeshi movement; it is at this time that she starts to
develop romantic feelings for Sandip. Literally translated Bimala means
"without mal or blemish". It is often used to mean clean, pure, and
immaculate. Oftentimes the name is shortened to Bimal.
Although Bimala is
married to Nikhil and their marriage was arranged since she was a little girl,
Nikhil believes that Bimala is free to make her own decisions to her life.
"I was married into a Rajah's house. When I was a child, I was quite
familiar with the description of the Prince of the fairy story" Therefore, Bimala is very dedicated to her
husband, her marriage, and most importantly, her family values. However, Nikhil
sometimes questions her view of him, basically that of a traditional woman. She
cannot stand her husband's idleness, and unwillingness to participate in more
"patriotic" endeavours. "Bimala has no patience with patience.
She loves to find in men the turbulent, the angry, the unjust. Her respect must
have its element of fear. Bimala was not raised the way her husband was raised:
well and educated. However, she understands the social differences between her
and her husband. "My husband's grandmother and mother were both renowned
for their beauty… only the auspicious marks with which I was endowed gained me
an entry into this family – otherwise, I had no claim to be here"
Sandip
Sandip is the
third major character in the novel, completing the love triangle. He is a guest
in the home of Nikhil and Bimala and his revolutionary ideas and speeches have
a significant impact on Bimala. He is very vocal in his anti-imperialistic
views and is a skilled orator. Sandip represents characteristics that are
directly opposite to those Nikhil possesses, thus drawing Bimala to Sandip. Bimala
gets caught up in the ideas that Sandip presents as well as the man himself.
Her seemingly increasing patriotism causes her to spend more and more time with
Sandip, thereby solidifying the love triangle conflict.
Where her husband
is reserved and proper, Sandip is impassioned and stirs the emotions not only
of Bimala, but the people of Bengal. He spreads the notion of Swadeshi — using goods
made locally and boycotting British ones. He was a very philandering kind of a
person trying to use Bimala and her money. However, his character is far from
the ideal patriot. His motivations are selfish at times, prompted by the need
to better himself socially. He fools people with his mask of goodness,
something that Nikhil sees through at the beginnings of Sandip's relationship
with his mother. "I have been noticing for some time that there is a gross
cupidity about Sandip. His fleshly feelings make him harbor delusions about his
religion and impel him into a tyrannical attitude in his patriotism. His nature
is coarse, and so he glorifies his selfish lusts under high-sounding
names" At one point he convinces Bimala to steal from her house and her
husband for the "cause". Sandip's presence in the novel concludes
with him fleeing while his speeches and ideas result in communal riots.
Sandip's first
name is translated to "with dipa (light fire flame)". According to
the notes in the novel this is used to describe him as "inflaming,
exciting, arousing". Sandip's last name "Babu" originated as an
aristocratic title that has come to describe Bengalis educated in the west or
comparable settings. The British used "Babu" as a patronising term;
its use as an honorific title survives in India today.
Bara Rani
Bara Rani is
Bimala's sister in law. Her relationship with Bimala is strained at best. She
causes a lot of tension in the household. She also uses Nikhil to get the
material items that she desires. Bimala constantly complains about her to
Nikhil. Bara Rani taunts Bimala for her mingling with Sandip Babu.
Amulya
Bimala considers
Amulya to be her adoptive son, whom she met from the Swadeshi Movement.
When first they meet, Bimala asks him to acquire money for their cause. He
lists wild schemes and plans, to which Bimala replies "you must not be
childish" After pondering their situation, Amulya resolves to murder the
cashier for the money. Tagore uses him to symbolise the raw emotion and
passion, yet lack of sympathy for others often emcompassed by group or riot
mentality. Tagore also characterises Amulya as the typical idealistic youth
when Amaulya rationalises the murder with a phrase from the Bhagavad-Gita stating "Who kills the body kills naught!"
Amulya is used as a parallel to Sandip, comparing follower to leader. When
Bimala shows such sympathy by calling him "little brother", he is
caught off guard, suggesting that the youth is even more impressionable with
emotions than Sandip's ideals. Amulya struggles, as any youth, between
completing the goals of the movement and developing strong relationships on an
individual level, such as with Bimala; this is made extremely difficult by
Sandip's powerful influence. Amulya frequently accepts Sandip's motives by
rationalising the necessary actions. In a sense, he can be considered a pawn
used by Bimala and Sandip in their strategic power struggle, particularly when
Bimala requests him to sell her jewels
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