‘Nastanirh (The Broken Nest)’ by Tagor is a book famous for its feminist approach in a time when even the mere existence of women was unacknowledged. Generally, the comments on this book cling around the untold female emotions which was seldom a topic for writers. The life of an ordinary Bengali woman and the intricacies of her emotional universe provides the canvas for the story in which all the major 3 male characters are giving nothing but agony to Charulatha – the main character.
The story largely paints a picture of the socio-cultural environment of Bengal particularly and India generally in the 19th century. It depicts the rich and culturally blessed panorama of Bengal and the evolution of Bengali literature through romanticism and naturality all while reflecting on the state of the women.
”It depicts the rich and culturally blessed panorama of Bengal and the evolution of Bengali literature through romanticism and naturality all while reflecting on the state of the women.
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Charulatha – the young wife of a wealthy man seeks companionship from her brother-in-law to fill the void that her husband’s ignorance creates in her life. Despite being a woman of wisdom she has never been treated on par with the male members of her family until the younger brother of her husband Amal enters her life. The agony and the emptiness created by her husband in her life are depicted through the complex emotional space Charu shares with Amal.
Initially, my scepticism enveloped the novel, as its historical context seemed distant and challenging to grasp. The narrative unfolded in an era seemingly ages away, seemingly disconnected from the contemporary social landscape. Despite this, the poignant agony experienced by Charu resonated deeply within me, creating an unexpected sense of familiarity. Tagore’s envisioned portrayal of women and their roles in society, however, left me unsettled. The stark contrast between my perspective and Tagore’s vision left me emotionally detached from the protagonist, even though the core emotions she grappled with felt universally relatable.
In traversing the novel, I remained oblivious to any literary precedents or the perspectives of intellectuals. Yet, within my contemplation, the exploration of womanhood through the divergent lenses of Charulatha and Mandakini, both inhabiting the same physical realm but possessing distinct emotions and mindsets, appeared underutilized by Tagore. The characters, particularly the protagonist, seemed lacking in depth, their portrayal veering towards the superficial.
The denouement, however, proved to be both meaningful and thought-provoking. My curiosity lingered on the untold scenes and the potential trajectories of their lives in a broader context. While Bhupati, Charulatha’s husband, showcased commendable characterization, there remained an undeniable shallowness. He embodied more of an elder brother figure in the eyes of someone like Amal, the younger brother. Similarly, Manda’s character, while offering a canvas for comparison through her appearance and mannerisms, mirrored the life of any woman from that era without truly capturing the authentic essence.
In the end, Charulatha’s decisive act of denying her husband’s call, after a pregnant pause and evident confusion, served as a clarion call. It illuminated her position, embodying self-realization and articulating the idea of choice and the inherent rights of women within a patriarchal, misogynistic society. The novel, despite its shortcomings, managed to deliver a powerful message about the resilience and agency of women, leaving me pondering over the complexities of their roles in society.
