Forbidden Love
The short story “Dhowli,” is a tragic tale about a woman who puts her trust and faith into a love that is forbidden, and how she is ultimately betrayed by that love. The story demonstrates how some of the choices that she made, and her own selfish pride led to the injustices she received.
Misrilal is a young Brahman who is captivated by a young Dusad widow. In the Indian culture, the Brahman caste is one of the highest castes, and the Dusads are one of the lowest. Because of the difference in castes, a relationship between the two is forbidden. Although Misrilal is aware of this, he nonetheless persists in pursuing Dhowli.
Dhowli is tormented with his proclamations of love and wanton lust.
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Misrilal’s family demanded that he go to another village for a month and still he reassures Dhowli that they will be together as soon as he returns. In the meantime, Dhowli has to not only suffer the knowledge that Misrilal is a coward, but she also has to deal with the fact that she is now an outcast to her own people. The menfolk plot to make her a whore for their enjoyment, and the women cease to acknowledge her. Even her own mother blames her for the difficulties that lay ahead and beseeches her to take the medicine that will “get rid of the thorn in her womb” (Devi 244). Dhowli refuses to take any such measures. She can not imagine destroying something that was created through their love.
Thrice the time has passed since Misrilal said he would return, and in the meantime, Dhowli has given birth to a beautiful baby boy. News of Misrilals impending marriage reaches her. Her heart is torn and finally the anger and bitterness set in. She now realizes that Misrilal does not truly love her and he is not coming back for her. Now she must forget him and concern herself with feeding her baby.
After the wedding, Misrilal returns and Dhowli sends for him. Dhowli asks with bitterness and regret what Misrilal is planning to do to help her raise the child now that he has ruined her and made her an outcast. Even now, Misrilal attempts to tell Dhowli that he had
“They wept together, for the things they now knew.”(104) The last sentence of the first story in Interpreter of Maladies, reveals the cruelty of the elapsed romance in a marriage. In the two collections, A Temporary Matter and The Third and Final Continent, Jhumpa Lahiri demonstrates that a marriage can be either uplifting or discouraging depends on the mindset held by the couple and the strength of human bonding. Lahiri emphasizes the significance of mindset and human bondings through the ending of the two stories. The endings of the two stories are polar opposite : In A Temporary Matter, Shukumar and Shobha weeps for the termination of their relationship; The Third and Final Continent, by contrast, the protagonist(MIT) enjoys a fairytale-like
The merchant claims that he knows nothing of long-suffering wives. Rather, if his wife were to marry the devil, she would overmatch even him. The Merchant claims that there is a great difference between Griselde's exceptional obedience and his wife's more common cruelty. The Merchant has been married two months and has loathed every minute of it. The Host asks the Merchant to tell a tale of his horrid wife.
Her unforeseen actions are due to the rest care tradition, which has progressively worsened her mental state and caused her to overlook her role as a caring wife in desperation to escape the imprisonment of the tradition. As witnessed from the two short stories, conflicts arise amidst families due to the events of old traditions, establishing a divide between family members that is difficult to overcome once constructed.
Jhumpa Lahiri’s short story, “A Temporary Matter,” presents the failing marriage of an Indian couple, Shoba and Shukumar. Lahiri illustrates how the grief of losing someone can lead to a broken relationship. Shukumar and Shoba have been ignoring each other since Shoba had a miscarriage. The tragedy changes the way they treat each other. Their grief makes both of them become two different people. A temporary matter has forced them to communicate with each other and since then, Shukumar and Shoba are comfortable talking to each other and even making love with each other. This temporary matter has somehow temporarily reconnected them together. Jhumpa Lahiri intentionally uses the symbols of darkness, light, house, the baby and neighbors to represent a broken relationship of a married couple.
Lawrence portrays Mrs Morel's turning to her children particularly to Paul as an exceptionally unpredictable and uncommon procedure. Lawrence alongside portraying the unpredictable and abnormal connection also finds numerous unusual factors behind this bizarre connection. Among all the factors, the most well-known one is Mrs. Morel's moving her fascination or desire from spouse to child which was the result of the bizarre relation or mismatch between her spouse in regards to character, family status, training, keenness and so on. While she is an exceedingly religious lady, her spouse is hard lush, her refined way additionally negates with his profanity. The marriage life of Mrs. Morel is actually loaded with clashes and disappointments. "Their marriage life has been one carnal bloody fight."(Lawrence, D.H. 1985) Along with the mental tormenting Mr. Morel also frequently beats her seriously and puts her out of home. "The mother is unsatisfied and angry with the coal miner, because he not only fails to live up to her bourgeois idea, but also hurts her in body and mind" (Lawrence, D.H. 1985). All these stinging and anguishing certainties ultimately make her substitute or to move enthusiastically towards her child to discover a bit fulfillment into the world
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