Cultural Phenomena and Patriarchal Practices in Mallika Sengupta's The Bard and His Sister-in-law
Reviewed by Gargi Saha
From childhood I was fascinated by Tagore stories and today reading, 'The Bard and His Sister-in-law' by Mallika Sengupta and translated by Lopamudra Banerjee, I am totally trransfixed by the historical, biogaphical, non fiction which takes us back to the lives of the characters amid the backdrop of the Renaissance in Bengal.
Kabir Bouthan focuses on the multifaceted history of the illustrous Jorasanko Thakurbari, Kolkata. the birthplace of Noble Laureate, Rabindranath Tagore. The narrrative chronicles the interpersonal relationships between men and women inside that mansion and their personal jouneys which became historically significant in terms of the development of gender and culture studies of the pre independence era in India and also in terms of development of Tagore's poetic persona.
The book depicts Tagore's composition of several songs in concordance to the mood of the situation. Tagore known as 'Rabi' was loved by his sister in laws Gynanda and Kadambari. Kadambari was also known as 'Notun Bouthan 'meaning newly married bride. Rabi had deep affection for Kadambari. In fact after Kadambari's first attempt to commit suicide, Rabi composed the lines in his long poem titled, 'Suicide of the Star '.
After Rabi married Mrinalini, when they were together in conjugal love, Rabi felt Kadambari appeared standing in front of him like a fairy, a faint apparition. Rabi asked her to leave, as a new episode of their life had begun. At Rabi's request Kadambari melted into nothingness leaving Jorasanko Thakurbari to a new realm of happiness, joy and prosperity.
The book is a mosaic of history and hysteria, elan and illusions, pathos and power, a fitting description of the Kabir Bouthan.
I enjoyed the dramatic and inspiring transformation of women like Gyanadanandini, who is a symbol of emancipation of women from the clutches of traditions, myths, superstitions and illiteracy. Her husband Satyendranath gave wings to her imagination and freedom. She visited many places with her husband, got acquainted with many people, whose customs, culture she tried to emulate. She also travelled alone to England with her children, when she was pregnant. Hats off to her courage.
Gyanadanandini slowly got 'Westernised'. She learnt to drape her sari in neat pleats, to pin up her pallu and wear socks. Gradually even jackets, now known as blouses were paired with the sari. However she had the grief of losing three children.
Another female character, Kadambari loved Jyoti dearly and her affinity for her young brother in law was influenced by her husband's great affection for him. Jyotirindranath loved everything created by his little brother, who had no interest in academic studies , but was devoted to literature. According to this book the marriage actually began to deteriorate in England, when Jyoti slowly turned cold towards his wife and she began suspecting him of having affairs with other women. When Jyoti married Kadambari, Gyanada (sister in law) came in conflict with Kadambari being constantly belittled for her failure to produce offspring.
The book presents the practice of sons-in-law moving into the Thakurbari, instead of the daughters moving out. Jorasanko Thakurbari was extremely conservative with women themselves perpetuating patriarchal practices even though they read infinite books bought home to them by Malini, the book seller.
Binodini, a beautiful actress is a victim to men of higher strata for wealth, sex, avarice. The women and men have themselves inspired the journeys of many people in Bengal and women have played pioneering roles in shaping the contours of society beyond their life times and these phenomenal journeys form the premise of this book.
While reading the title of the book, 'The Bard and His Sister-in-law' I felt that the book was about the relationship between young Rabi and his beautiful sister in law, Kadambari. But it is actually the story of women of Tagore's household at Jorasanko in Kolkata across three to four generations.
The occupants of the Thakurbari were originally Vaishnavites but later Debendranath had initiated himself to the Brahmo Samaj rejecting all forms of idol worship.
I must congratulate Lopamudra Banerjee for providing substantial descriptions of the lives of the women of the Thakurbari. I am grateful to her for translating this book into English and building bridges between cultures. It allowed myriad non Bengali readers to experience the cultural phenomena which would otherwise be too foreign and remote to grasp through one's cultural lens.
I was fascinated by the book's evolution in dress and fashion, changes in food habits, their travels to Gujrat, Mumbai and abroad. In the beginning women were behind the purdah the 'Andarmahal' but with time many emerged to dance at parties, drink alcohol, much to the chagrin of traditional Bengali society. Most of the book's nineteen chapters are titled after women or female characters like Bioyini or Birohini.
I am grateful to Lopamudra Banerjee for translating this classic book which unfolds the subtle nuances of the socio political history of Bengal in those times while retaining its originality in characterization, theme and plot. I wish her all success in future endeavours in enriching the garden of English and Bengali literature.
Gargi Saha
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