More Traditional Way Of Indian Life example essay topic

England and India never did understand one another. (Prasad 37) Undiluted East had always been too much for the West; and soulful East always came lap-dog fashion to the West, mutually asking to be not too little and not too much, but just right. (Prasad 37) The struggle of individuals caught between tradition and modernity, or between India and the west, is a very common theme in Indian literature. This struggle is evident in Nectar in a Sieve, as Rukmani often finds herself battling between her traditional views and opinions, and the various modern forces that seem to be taking over her life. On the one hand, Rukmani yearns for the traditional way of life she has always known and loved, while at certain times she acknowledges the benefits modernity can bring. In contrast, in The Painter of Signs, Daisy is the symbol of modernity as she does her best to fight against traditional ways of life; however, she is met with opposition by people who adhere to a more traditional lifestyle.

The conflict between tradition and modernity becomes a force in Rukmani's life even when she is a young girl. Rukmani's father is the headman of their village, which gives her family prestige. This prestige allows for Rukmani's elder sisters to have grand weddings and marry fittingly. However, with the abolition of zamindar i system, "the headman of the village was no longer of consequence" (Srivastava 9). Because of this, Rukmani was without a dowry, and had to be married off below the family status, to a tenant farmer "who was poor in everything but in love and care for [Rukmani]" (Markandaya 8). After Rukmani has her first child, a daughter named Irawaddy, she does not conceive again for about seven years.

This is tragic because in Indian culture it is very important to have many children, especially sons (Srivastava 14). During this time, Rukmani's mother takes her to a temple and together they pray before the deity " imploring for help" to conceive sons (Markandaya 22). Rukmani's mother also gives her a small stone lingam, the symbol of fertility, to wear for good luck. When this traditional approach to conceive does not seem to be working, Rukmani seeks the help of Kenny, the Western missionary-doctor in her village. After Kenny gives her fertility treatment of some kind, Rukmani bears many sons. This becomes Rukmani's first experience with the benefits that modernity can bring to Indian life.

Rukmani's greatest struggle against modernity begins with the construction of the tannery in her village. The tannery symbolizes "mechanical power" and it quickly" [changes] the face of [the] village beyond recognition" (Markandaya 135). Not only does the tannery invade the village with "clatter and din", and take away the maidan where the children used to play, and make the bazaar prices too high, but it also causes the beautiful birds such as the kingfishers and flamingo es to be replaced by "crows, kites, and other scavenging birds, eager for the filth and garbage of the town" (Srivastava 10). However, the tannery becomes a greater threat to Rukmani's life on an individual level, as it is, directly or indirectly, responsible for many of the hardships she experiences.

Her two eldest sons, Arjun and Thambi, move to the tea plantations of Ceylon for work, after the tannery refuses to give them a raise. Rukmani's other son, Raja, is brutally murdered by "the tannery guards who had caught the lad in the act of stealing" (Prasad 250). Irawaddy ruins herself by turning to prostitution, which was only made possible since the tannery brought men of low morality and non-traditional Indian views with it. The final blow is when Nathan and Rukmani are evicted from their beloved land because their landlord sells it to the tannery owners at a good price (Prasad 250). Even though Rukmani feels so strongly about the destruction that the tannery has caused her village, and especially her family, she is still able to recognize that it did bring some benefits with it.

The tannery offers a source of income to able men in times of need, who are not able to find employment elsewhere or who do not make enough money at their other jobs. Once Arjun and Thambi begin working at the tannery, Rukmanirealizes that she is thankful for the money they are bringing home from the tannery, asher family " [begins] once again to live well" (Markandaya 57). Rukmani also finds herself struggling as she witnesses the breakdown of traditional Indian roles and practices. Firstly, Rukmani comes to realize that none of her sons are going to follow in Nathan's footsteps and work on the land for a living. This causes Nathan to feel as if "the children in whom he lives have forsaken him" because its traditional practice for the sons of a farmer to work alongside their father and take overworking the land once their father passes on (Srivastava 38).

Secondly, the crumbling of well-established traditions is evident to Rukmani when she learns of the marriage of her son Murugan. Rukmani was brought up with the widespread practice of arranged marriage; however, with the sudden displacement of many village people into cities, "the practice of arranged marriage... was having a setback" (Srivastava 9). After Murugan's move to the city to become a servant, he arranges his own marriage. In addition to this, Murugan "deserts his wife and takes another woman without any compunction" (Srivastava 9). Rukmani is in disbelief as she views marriage "as a sacred covenant which [binds two people] together in sun and in rain" (Srivastava 9). Similarly, in The Painter of Signs, Daisy is also struggling between tradition and modernity; however, she is trying to fight against the traditional ways of life that seem to be blocking her modern goals.

Even as a young girl, Daisy had challenged the traditional Indian norms that she felt were governing her life. Daisy lived in a large joint family consisting of "numerous brothers, sisters, uncles, sister-in-law, grandaunts, and cousins" (Narayan 100). Even though joint families were very common in traditional Indian society, Daisy had hated living with no privacy. As well, when Daisy meets her prospective husband and his parents, she does not "conduct herself in the traditional manner" and damages the family reputation (Sharan 282). Her conduct towards her prospective in-laws shows how "reverence to elders in the family is gradually losing ground" (Sharan 283).

She then runs away from home. Daisy's very job as a social worker for the Family Planning Centre counters the traditional religious view in Indian society that large families are a blessing, and not a hindrance. Daisy considers large families to be the reason for the disintegrating standard of living in Indian society. However, she faces a lot of opposition regarding her position on population control. The teacher in the mountain village that she visits does not see a reason for limiting family size, as he states, "We have enough space in this country - still so many undeveloped areas" (Narayan 55). In addition, the sadhu at the temple for barren women blatantly disagrees with the work Daisy is pursuing.

He adheres to the traditional religious beliefs of Indian society and states, "Our shastra's say that the more children in a home, the more blessed it becomes" (Narayan 58). If The Painter of Signs had been written only ten years earlier, Daisy would not have enjoyed such freedom in her dealings. However, the character of Daisy is symbolic of "the striking massive effect of modernity" on Indian society (Sharan 281). She is able to work in an office, orders Raman to make her a signboard, and "goes to the extent of inviting Raman into her apartment" when they are not yet married or engaged (Sharan 281). Traditionally these practices would have been inconceivable, and even ten years earlier, a well brought up Indian girl would have never partaken in such modern things (Sharan 281).

Similarly to Nectar in a Sieve, in The Painter of Signs the "institution of marriage is no longer imbued with religious colour and traditional form' (Sharan 283). Daisy decides to marry Raman, but only on her own terms. Daisy chooses to marry Raman in the Gandharvas-style which is "when two souls [meet] in harmony... and no further rite or ceremony [is] called for" (Narayan 124). In addition, Daisy refuses to change her last name once she marries Raman, a decision that goes directly against the traditional Indian marriage customs. Daisy does not want the typical life of a married Indian woman in which motherhood and raising numerous children become her main duty. In fact, not only does Daisy not see motherhood as a blessing; she sees it as a burden.

She tells Raman that she will have no children, and if "by mischance one was born she would give the child away" (Narayan 124). She wants the freedom to pursue her career in social work, which is avery modern aspiration for an Indian woman to have. Daisy is met with extreme opposition from Raman's aunt who is "an advocate of orthodox values of life" (Sharan 284). She follows the traditional Indian customs in everything she does, including attending nightly programmes at the temple "listening to a pundit's narration of the epics" (Narayan 26). Her "old cherished values begin to show cracks" when she find out Raman is going to "marry a casteless girl with a Christian name" (Sharan 284).

When an individual is faced with change, they have two choices: they can either embrace the change or struggle against it. Rukmani demonstrates that while she is a very traditional woman and struggles against the modern forces that are enveloping her traditional way of life, she is willing to accept that some of the changes modernity brings are beneficial. In contrast, Daisy is a character that embraces modernity with full force as she constantly battles against traditional ways of life, even if it means clashing with people who follow a more traditional way of Indian life.

Bibliography

Markandaya, Kamala. Nectar In A Sieve. New York: Signet Fiction, 1995.
Narayan, R.K. The Painter of Signs. London: Penguin Books, 1976.
Prasad, Madhu sudan. Perspectives on Kamala Markandaya. India: Vital, 1984.
Sharan, Narendra Nath. A Critical Study of the Novels of R.K. Narayan. New Delhi: Classical Publishing, 1993.
Srivastava, Ramesh K. The Novels of Kamala Markandaya: A Critical Study. Amritsar: Guru Nanak Dev University, 1998.