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A review by maketeaa
Chokher Bali by Rabindranath Tagore
dark
sad
fast-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? No
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
4.75
this book was an unsettling web of unchecked desires and explores the potential for destruction in their indulgence. tagore does this particularly through mahendra's relationships with the two women of the story -- asha and binodini.
mahendra, pampered and doted on by his mother, rajalakshmi, lives a life characterised by indulgence. we see the effect of this uncontrolled indulgence when asha is first brought back to the marital home, in the absence of his aunt, annapurna, and rajalakshmi. the housework is neglected, along with mahendra's studies -- 'unless it is rooted in purposeful activity, its delights are neither fulfilling or lasting'.
with the return of rajalakshmi and the cataclysmic binodini, a sense of control brings such indulgence back into line. binodini is hardworking and takes care of the domestic chores, and develops a strong friendship with asha. but as her fascination with asha and mahendra's relationship grows, so does her own desire. using frequent imagery of fire, tagore highlights its uncontrollability -- and, forebodingly, its capacity to destroy. as this desire spills over to mahendra, too, the true potential of indulgent destruction becomes clear -- mahendra, who is one to take pride in his fierce principles of loyalty, gives into his feelings for binodini once in the absence of his mother and his wife, and takes the decision to run away with her.
in their abode away from everyone, exiled to a space for their own shame, we are given a sense of the reality of indulgence, of the gritty underbelly of was once so coveted. binodini's feelings for mahendra were temporary, transitory, fuelled by her want for something better than the cards she was dealt, not to be taken as sustainable. mahendra's frustration, often expressed through violent inner monologue, is a shock to what was once a playful, amorous connection -- in their desolate flat, when the haze of desire has dissipated, all that is left is binodini's scattered garlands and emptiness. mahendra begins to see binodini as simply an ordinary woman. the spell is broken.
it is their return to their home that returns structure to their lives, rajalakshmi's deteriorating health a unifying factor that creates purpose in all the characters. in her sorrow, asha becomes closer to her mother in law, taking on the role of the woman of the house, even shocking mahendra upon his return by the ease at which she forbids him from seeing his mother in case it worsens her health. asha takes on the appearance of an ascetic -- as her own spell is broken of her husband, she replaces her religious devotion of him with her religious devotion to god. the purposeful effect of religion guides her, empowers her, and symbolises a departure from the indulgence of her newlywed life, spending days overwhelmed with her love for mahendra. heeding annapurna's advice to forget mahendra and binodini's misdeeds, to not check their expressions as they are in the same room together, asha displays a key moment of self control -- the lack of indulgence in her own sorrow. contrasting with the myriad moments we are shown her tearfulness and desperation through the story, this is a clear example of her development as a character.
at the end, when the characters decide to work with bihari in his medical endeavours, we are left with the same sentiment as we started -- 'unless it is rooted in purposeful activity, its delights are neither fulfilling or lasting.'
mahendra, pampered and doted on by his mother, rajalakshmi, lives a life characterised by indulgence. we see the effect of this uncontrolled indulgence when asha is first brought back to the marital home, in the absence of his aunt, annapurna, and rajalakshmi. the housework is neglected, along with mahendra's studies -- 'unless it is rooted in purposeful activity, its delights are neither fulfilling or lasting'.
with the return of rajalakshmi and the cataclysmic binodini, a sense of control brings such indulgence back into line. binodini is hardworking and takes care of the domestic chores, and develops a strong friendship with asha. but as her fascination with asha and mahendra's relationship grows, so does her own desire. using frequent imagery of fire, tagore highlights its uncontrollability -- and, forebodingly, its capacity to destroy. as this desire spills over to mahendra, too, the true potential of indulgent destruction becomes clear -- mahendra, who is one to take pride in his fierce principles of loyalty, gives into his feelings for binodini once in the absence of his mother and his wife, and takes the decision to run away with her.
in their abode away from everyone, exiled to a space for their own shame, we are given a sense of the reality of indulgence, of the gritty underbelly of was once so coveted. binodini's feelings for mahendra were temporary, transitory, fuelled by her want for something better than the cards she was dealt, not to be taken as sustainable. mahendra's frustration, often expressed through violent inner monologue, is a shock to what was once a playful, amorous connection -- in their desolate flat, when the haze of desire has dissipated, all that is left is binodini's scattered garlands and emptiness. mahendra begins to see binodini as simply an ordinary woman. the spell is broken.
it is their return to their home that returns structure to their lives, rajalakshmi's deteriorating health a unifying factor that creates purpose in all the characters. in her sorrow, asha becomes closer to her mother in law, taking on the role of the woman of the house, even shocking mahendra upon his return by the ease at which she forbids him from seeing his mother in case it worsens her health. asha takes on the appearance of an ascetic -- as her own spell is broken of her husband, she replaces her religious devotion of him with her religious devotion to god. the purposeful effect of religion guides her, empowers her, and symbolises a departure from the indulgence of her newlywed life, spending days overwhelmed with her love for mahendra. heeding annapurna's advice to forget mahendra and binodini's misdeeds, to not check their expressions as they are in the same room together, asha displays a key moment of self control -- the lack of indulgence in her own sorrow. contrasting with the myriad moments we are shown her tearfulness and desperation through the story, this is a clear example of her development as a character.
at the end, when the characters decide to work with bihari in his medical endeavours, we are left with the same sentiment as we started -- 'unless it is rooted in purposeful activity, its delights are neither fulfilling or lasting.'