1916 novel by Rabindranath Tagore
The Home and the World (in the original Bengali, ঘরে বাইরে Ghôre Baire or Ghare Baire, lit. "At home and outside") is a 1916 novel by Rabindranath Tagore. The book illustrates the battle Tagore had with himself, between the ideas of Western culture and revolution against the Western culture. These two ideas are portrayed in two of the main characters, Nikhilesh, who is rational and opposes violence, and Sandip, who will let nothing stand in his way from reaching his goals. These two opposing ideals are very important in understanding the history of the Bengal region and its contemporary problems.
The novel was translated into English by the author's nephew, Surendranath Tagore, with input from the author, in 1919. In 2005, it was translated into English by Sreejata Guha for Penguin Books India. "The Home and the World" was among the contenders in a 2014 list by "The Daily Telegraph" of the 10 all-time greatest Asian novels.
Historical context.
Political movement.
The novel is set in early 20th century India. The story line coincides with the National Independence Movement taking place in the country at the time, which was sparked by the Indian National Congress. There were various national and regional campaigns with both militant and non-violent ideas which all had the common goal of ending British colonial rule. Militant nationalism had a strong showing in the early part of the 20th century, especially during the World War I period. Some examples of this movement are the Indo-German Pact and the Ghadar Conspiracy, both of which failed.
Particularly important to the novel is an understanding of the Swadeshi movement as a part of the Indian Nationalist Movement. The Swadeshi movement started in response to the 1905 Partition of Bengal by Viceroy Lord Curzon, which temporarily separated Hindus and Muslims into different geographical areas. The Swadeshi movement was a successful resistance policy against British colonisation. Indian citizens were encouraged to boycott British goods to foster Indian identity and independence. This movement was important in fostering "the new spirit in India," and separating India from Britain, which was largely thought to be responsible for the subsequent widespread poverty.
Traditional Indian household.
Family structures in traditional India consists of not only the nuclear family but also grandparents, parents-in-law, and unmarried sisters-in-law as well. Though the joint-family is linked to ancient India, it is still prevalent in modern-day India. Traditionally, baby boys were preferable to baby girls since boys were able to earn money and support the family, whereas girls were expensive to raise. In addition to being unable to work for a living, the girl's marriage dowry required a hefty amount of money and other luxury goods such as valuable jewelry and saris. Once girls were married off to the other families, they would have to address their new parents-in-law as "father" and "mother". As home maker of the family, the wife's duty was to supervise the household and take care of the children, as well as to please her new in-laws.
"The Home and the World" tells us not only of the personal struggles of the three main characters, but also little details of the family structure and what traditional Indian households were like. At the opening of the novel, Bimala is a traditional, obedient house wife who is faithful to her husband, even forcing herself to be respectful towards her nagging sister-in-law. "I would cautiously and silently get up and take the dust of my husband's feet without waking him, how at such moments I could feel the vermilion mark upon my forehead shining out like the morning star" (11). However, as she falls "in love" with Sandip, she slowly weans herself from her traditional housewife role. She becomes more daring, more confidently brushing off her sister-in-law's criticisms, crossing outside the women's quarter of the house, and easily conversing with a man, Sandip, who is not her husband. Through her change from the good house wife to an independent, more modern woman.
Characters.
Nikhilesh.
Nikhil is seen and described as an educated and gentle man. 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. He is a friend of Sandip and has allowed him to stay in his bungalow. 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 the Swadeshi movement.
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, due to Sandip's radical influence.
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. Sandip's first name is translated to "with dipa (light fire flame)".
Bara Rani.
Bara Rani is Nikhilesh'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" (138). 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 encompassed by group or riot mentality. 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.
Plot summary.
Major events.
The Rally.
Near the beginning of the novel, Nikhil brings his wife Bimala to a political rally in an attempt to get her to join the outside world and get in better touch with "reality." Though Bimala had heard of Sandip before this time, and developed a somewhat negative opinion of him, this was the first time she heard Sandip speak. This event not only changes her opinion of Sandip, but affects her entire outlook on her life both at home and in the outside world. "I was no longer the lady of the Rajah's house, but the sole representative of Bengal's womanhood," Bimala says (31).
Bimala's realisation.
Towards the end of the book Sandip convinces Bimala to steal from her husband, Nikhil. While in the act of stealing 6,000 rupees, she comes to a realisation of the terrible crime she is committing, "I could not think of my house as separate from my country: I had robbed my house, I had robbed my country. For this sin my house had ceased to be mine, my country also was estranged from me" (144). This represents a character turning point for Bimala: While in the act of thieving, she realises that Sandip is not only corrupting and robbing the nation, but encouraging her and others to do the same. Ultimately, she ends up giving the money to Sandip and receives unceasing praise from both Sandip and Amulya for her newly recognised sin.
However, Bimala realises that she has made a mistake by stealing the money from Nikhil and attempts to have Amulya pawn off some of her jewellery to replace the money. Amulya attempts to give the box back, but Sandip steals it and gives it back himself. This event allows both Amulya and Bimala to see that Sandip is concerned only with himself, thus allowing them to break free from part of his web. It is during this time that Bimala realises her power over Sandip by being able to easily make him jealous.
Important themes.
Tradition vs modernism.
As the title suggests, a major theme is the relationship of the home with the outside world. Nikhil enjoys the modern, western goods and clothing and lavishes Bimala with them. However, Bimala, in the Hindu tradition, never goes outside of the house complex. Her world is a clash of western and traditional Indian life. She enjoys the modern things that Nikhil brings to her, but when Sandip comes and speaks of nationalism with such fire, she sees these things as a threat to her way of life. Bimala's struggle is with identity. She is part of the country, but only knows the home and her home is a mix of cultures. She is torn between supporting the ideal of a country that she knows she should love, or working toward ensuring that her home, her whole world, is free from strife and supporting her husband like a traditional Indian woman should. Bimala is forced to try to understand how her traditional life can mix with a modern world and not be undermined. This theme ties in with the nationalism theme because it is another way that Tagore is warning against the possibility that nationalism can do more harm than good.
Sandip vs. Nikhil.
Nikhil and Sandip have extremely different views for the growth of the nation. Nikhil demonstrates these beliefs in marrying Bimala, a woman considered "unattractive" as a result of her dark skin color. In the novel, Nikhil talks about disliking an intensely patriotic nation, "Use force? But for what? Can force prevail against Truth?" (45). 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". (45) The contradicting views of Nikhil and Sandip set up the story and construct a 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 between 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." (199) The biggest of all is Sandip's