The Home and the World is a 1916 novel by Rabindranath Tagore. The book illustrates the battle Tagore had with himself, between the ideas of Western culture and revolution against the Western culture. These two ideas are portrayed in two of the main characters, Nikhil, who is rational and opposes violence, and Sandip, who will let nothing stand in his way from reaching his goals.
These two opposing ideals are very important in understanding the history of this region and its contemporary problems. There is much controversy over whether or not Tagore was attempting represent Gandhi in Sandip but many argue that Tagore would not even venture to personify Sandip as Gandhi because Tagore was a large admirer of Gandhi and Gandhi was anti-violence while Sandip would use violence in any respect to get what he wanted. The book shows “the clash between new and old, realism and idealism, the means and the end, good and evil” within India and southern Asia.
The novel’s setting is in early 20th century India. The story line coincides with the National Independence Movement taking place in the country at the time, which was sparked by the Indian National Congress. There were various national and regional campaigns of both militant and non-violent ideas which all had the common goal of ending British colonial rule.
Militant nationalism had a strong showing in the early part of the 20th century, especially during the World War I period. Some examples of this movement are the Indo-German Pact and Ghadar Conspiracy, unfortunately both of these failed.
The latter stages of the movement saw a transition to non-violent forms of resistance led by Mohandas Gandhi.
India remained a British colony until 1947, when Pakistan (August 14) and India (August 15) gained their freedom. On January 26, 1950, India adopted a constitution and became its own republic. At the time of Indian Independence, the Muslim dominated north west and eastern parts of the country were separated to form West Pakistan and East Pakistan (which later became Bangladesh). Particularly important to the novel is an understanding of the Swadeshi movement, as a part of the Indian Nationalist Movement.
The Swadeshi Movement started in response to the Partition of Bengal by Lord Curzon which occurred in 1905. The Swadeshi movement was a successful resistance policy against the British colonization. Indian citizens were encouraged to boycott British goods in order to foster Indian identity and independence. This movement was important in fostering “the new spirit in India,” and separating India from Britain, which was largely thought to be responsible for the subsequent widespread poverty.
Family structures in traditional India consists of not only the nuclear family but also grandparents, parents-in-law, and unmarried sister-in-laws as well. Though the joint-family is linked to ancient India, its still prevalent in modern day India.
Traditionally, baby boys were preferable to baby girls since boys were able to earn money and support the family. Girls on the other hand, were expensive to raise. They didn’t bring home the bread and the girl’s marriage dowry required a hefty amount of money and other luxury goods such as valuable jewelries and saris. Once girls were married off to the other families, they would have to address their new parents-in-law as “father” and “mother”.
As home maker of the family, the wife’s duty was to supervise the household and take care of the children, she also had to try hard to please her new in-laws.
The Home and the World tells us not only the personal struggles of the three main characters, but also little details of the family structure and how traditional Indian households were like. In the book, Bimala starts off as a traditional, obedient house wife who is faithful to her husband and even forces herself to be respectful towards her nagging sister-in-law. “I would cautiously and silently get up and take the dust of my husband’s feet without waking him, how at such moments I could feel the vermilion mark upon my forehead shining out like the morning star”. However as she falls “in love” with Sandip, she slowly weens away from her traditional housewife role. She becomes more daring, more confidently brushes off her sister-in-law’s criticisms, and crosses outside the women’s quarter of the house, and easily converses with another man, Sandip, who is not her husband.
Through her dilemma, the readers are able to learn about the traditional ways of the Indian household through Bimala’s change from the good house wife to an independent, more modern woman.
Plot summary The novel is set in early 20th century India in the estate of the Bengali zamindar Nikhil. He marries Bimala, a woman who is both of a lower status and of a darker complexion, which is contradictory to his family traditions.
Their love is idyllic and both are dedicated to one another until the appearance of his friend and radical revolutionist, Sandip. Sandip, a passionate and active man, is a contradiction to the peace-loving and somewhat passive Nikhil. His charismatic speech, support of the Swadeshi movement, and a renewed appreciation of everything Indian while denying everything British garnered support from local natives across the province. After hearing Sandip speak at a rally, Bimala insists that Sandip visit Nikhil’s estate.
While visiting, Sandip’s influential nature easily attracts the innocent and unsuspecting Bimala, and she suggests he make his headquarters at their house.
Once empowered by the inside world, knowing only her husband and home, she becomes engaged with the outside world, taking part in the Swadeshi movement by working with Sandip. As the novel develops, Bimala is drawn to Sandip’s passion and the attraction between the two becomes inevitable, producing a love triangle. She begins to question her marriage with Nikhil and finds in Sandip what she has always sought after in a man: zeal, ambition, and a hint of danger. She begins to help Sandip by stealing money from Nikhil’s treasury, convinced that if it is not equally his money as well as hers, then it belongs to the country. While Bimala claims her national duty as motivation, her true intentions lie in pleasing Sandip.
Nikhil subsequently discovers their actions, but grants Bimala freedom to grow and choose what she wants in her life (as their marriage was arranged when she was a young girl).
Meanwhile, Bimala experiences love for the first time, which ultimately helps her understand that it is indeed her husband Nikhil who really loves her. The novel ends with a riot, resulting in Sandip fleeing the city. Nikhil is mortally wounded in the head. Amulya, a young follower of Sandip’s movement who considered Bimala as his sister, and whom Bimala thinks of as her son (since she has no children), dies by a bullet through his heart.
Near the beginning of the novel, Nikhil brings his wife Bimala to a political rally in an attempt to get her to join the outside world and get in touch better with “reality.
” Though Bimala had heard of Sandip before this time, and developed a somewhat negative opinion of him, this was the first time she heard Sandip speak. This event not only changes her opinion of Sandip, but affects her entire outlook on her life both at home and in the outside world. “I was no longer the lady of the Rajah’s house, but the sole representative of Bengal’s womanhood,” Bimala says.
returned home that evening radiant with a new pride and joy. ” After returning home, Bimala asks her husband to invite Sandip to their home for dinner, setting the plot of the novel in motion. Bimala’s Realization Towards the end of the book Sandip convinces Bimala to steal from her husband, Nikhil.
While in the act of stealing 6000 rupees, she comes to a realization of the terrible crime she is committing, “I could not think of my house as separate from my country: I had robbed my house, I had robbed my country. For this sin my house had ceased to be mine, my country also was estranged from me”.
This represents a character turning point for Bimala: While in the act of thieving, she realizes that Sandip is not only corrupting and robbing the nation, but encouraging her and others to do the same.
Ultimately, she ends up giving the money to Sandip and receives unceasing praise from both Sandip and Amulya for her newly recognized sin. However, Bimala realizes that she has made a mistake by stealing the money from Nikhil and attempts to have Amulya pawn off some of her jewelry in order to replace the money. Amulya attempts to give the box back, but Sandip steals it and gives it back himself. This event allows both Amulya and Bimala to see that Sandip is concerned only with himself, thus allowing them to break free from part of his web.
It is during this time that Bimala realizes her power over Sandip by being able to easily make him jealous. Characters  Nikhil – Husband of Bimala Nikhil is seen and described as an educated and gentle man. The reader can see that as the story is told from his point of view. His words flow more poetically, as if possessing a higher proficiency of language. He is from an aristocratic family of landlords, and his family prides themselves in beautiful women.
However, Nikhil is different in that he married not only a poor woman, but also one who was not particularly attractive.
Nikhil loves his wife very much as he likes to buy her European style dresses and other modern gifts. He also tries to educate her about the outside world and bring her away from the traditional female life in India. However, due to his gentle and soft nature, he cannot do anything but watch and standby as he sees a relationship unfolding between his wife and his old friend, Sandip. He is also unpopular in the town because he has not joined them stating, “I am not running amuck crying Bande Mataram.
In light of this, the police also suspect him of harboring some “hidden protest. ” In reality, Nikhil considers himself to be more aware of his country’s role in a broader sense, and refuses to take part in Swadeshi. He claims that ” ‘[He] is willing… to serve [his] country; but [his] worship he reserves for Right which is far greater than [his] country. ‘ ”
In traditional texts Nikhil’s full name reads as Nikhilesh. Its literal translation is “Lord of the Universe” with Nikhil being literally translated to ‘”whole” and insinuating harmony, wisdom, and awareness.
edit] Bimala – Wife of Nikhil Bimala is described as not very pretty and from a much more humble background than Nikhil. She loves her husband dearly, and enjoys being completely devoted to him.
At the beginning of the novel, she seems to be confined to the traditional female role, and has no thoughts of entering the real world, even with persuasion from her husband. Her feelings make a rapid change with the occurrence of the Swadeshi movement. “My sight and my mind, my hopes and my desires, became red with the passion of this new age”. When she meets Sandip, her new ideals are fueled by his zealous nature and a fiery, shameless side of her emerges.
As time goes on she becomes more interested and involved in the Swadeshi movement; it is at this time that she starts to develop romantic feelings for Sandip.
Literally translated Bimala means “without mal or blemish”. It is often used to mean clean, pure, and immaculate. Oftentimes the name is shortened to Bimal. Although Bimala is married to Nikhil and their marriage was arranged since she was a little girl, Nikhil believes that Bimala is free to make her own decisions to her life. I was married into a Rajah’s house.
When I was a child, I was quite familiar with the description of the Prince of the fairy story”. Therefore, Bimala is very dedicated to her husband, her marriage, and most importantly, her family values.
However, Nikhil sometimes questions her view of him, basically that of a traditional woman. She cannot stand her husband’s idleness, and unwillingness to participate in more “patriotic” endeavors. “Bimala has no patience with patience.
She loves to find in men the turbulent, the angry, the unjust. Her respect must have its element of fear. Bimala was not raised the way her husband was raised: well and educated. However, she understands the social differences between her and her husband. “My husband’s grandmother and mother were both renowned for their beauty… only the auspicious marks with which I was endowed gained me an entry into this family – otherwise, I had no claim to be here”.
Sandip Sandip is the third major character in the novel, completing the love triangle. He is a guest in the home of Nikhil and Bimala and his revolutionary ideas and speeches have a significant impact on Bimala.
He is very vocal in his anti-imperialistic views and is a skilled orator. Sandip represents characteristics that are directly opposite to those Nikhil possesses, thus drawing Bimala to Sandip.
Bimala gets caught up in the ideas that Sandip presents as well as the man himself. Her seemingly increasing patriotism causes her to spend more and more time with Sandip, thereby solidifying the love triangle conflict. Where her husband is reserved and proper, Sandip is impassioned and stis the emotions not only of Bimala, but the people of Bengal.
He spreads the notion of “Swadeshi”, or using goods made locally and boycotting British goods. However, his character is far from the ideal patriot. His motivations are selfish at times, prompted by the need to better himself socially. He fools people with his mask of goodness, something that Nikhil sees through at the beginnings of Sandip’s relationship with his wife. “I have been noticing for some time that there is a gross cupidity about Sandip.
His fleshly feelings make him harbor delusions about his religion and impel him into a tyrannical attitude in his patriotism. His nature is coarse, and so he glorifies his selfish lusts under high-sounding names”. At one point he convinces Bimala to steal from her house and her husband for the “cause”. Sandip’s presence in the novel concludes with him fleeing while his speeches and ideas result in communal riots.
Sandip’s full name is Sandip Babu. His first name is translated to “with dipa(light fire flame)”.
According to the notes in the novel this is used to describe him as “inflaming, exciting, arousing”. Sandip’s last name “Babu” originated as an aristocratic title however has come to describe Bengali’s educated in the west, or comparable settings. The British used “Babu” as a patronizing term however, its usage as an honorific title still survives in India today. Bara Rani (Bimala’s sister-in-law) Bimala and her sister-in-law’s relationship is strained at best.
Bimala’s sister-in-law causes a lot of tension in the household. Bara Rani also uses Nikhil to get the material items that she desires.
Bimala constantly complains about her to Nikhil. Bara Rani taunts Bimala for her mingling with Sandip Babu. Amulya Bimala considers Amulya to be her adoptive son, whom she met from the Swadeshi Movement. When first they meet, Bimala asks him to acquire money for their cause.
He lists wild schemes and plans, to which Bimala replies “you must not be childish” After pondering their situation, Amulya resolves to murder the cashier for the money. Tagore uses him to symbolize the raw emotion and passion, yet lack of sympathy for others often emcompassed by group or riot mentality. Tagore also characterizes Amulya as the typical idealistic youth when Amulya rationalizes the murder with a phrase from the Bhagavad-Gita stating “Who kills the body kills naught!
Amulya is used as a parallel to Sandip, comparing follower to leader. When Bimala shows such sympathy by calling him “little brother”, he is caught off guard, suggesting that the youth is even more impressionable with emotions than Sandip’s ideals. Amulya struggles, as any youth, between completing the goals of the movement and developing strong relationships on an individual level, such as with Bimala; this is made extremely difficult by Sandip’s powerful influence.
Amulya frequently accepts Sandip’s motives by rationalizing the necessary actions. In a sense, he can be considered a pawn used by Bimala and Sandip in their strategic power struggle, particularly when Bimala requests he sell her jewels.
While the entire novel centers around the Swadeshi movement, the author of the novel is not advocating it but rather warning his audience of the dangers of such a movement. Tagore knows that it is possible for even a seemingly peaceful movement to turn quickly into aggressive nationalism. Such a change would do the country more harm than good.
The character named Sandip is the vivacious and ardent leader of Swadeshi. He knows that his movement has the potential to turn ugly. He fervently believes however that freedom must be achieved no matter the cost. On page 123-4, Sandip cites a story from the Bhagavad Gita in support of his own path.
The story tells of the Hindu Lord Krishna advising Arjuna to perform his duty as a warrior regardless of the result. Sandip’s use of the Hindu epic poetry to support his movement illustrates the tendency of individuals to use religion as a basis for nationalism.
The use of excerpts from the Indian epic poem was indicative of the blending tradition elements of Indian culture with the ideals and goals of modern Indian Independence movement. As both have the potential to yield individuals claiming an unshakable fervor for their cause, this can be a rather dangerous combination, a fact clearly acknowledged by the novel’s author.
Nationalism is also expressed through the rejection of foreign goods, which was a part of the Swadeshi movement. Sandip was strongly against the sale of foreign goods as Bimala stated that “Sandip laid it down that all foreign articles, together with the demon of foreign influence, must be driven out of our territory”. Nikhil on the other hand felt the opposite. He stated that in terms of banishing foreign goods from his Suskar market that he “could not do it” and he refused to “tyrannize”.
Bimala even pleaded with her husband to “order them to be cleared out! ” ).
She also stated that banishing foreign goods “would not be tyranny for selfish gain, but for the sake of the country” (109).  Tradition vs. Modernism As the title suggests, a major theme is the relationship of the home with the outside world. Nikhil enjoys the modern, western goods and clothing and lavishes Bimala with them. However, Bimala, in the Hindu tradition, never goes outside of the house complex.
Her world is a clash of western and traditional Indian life. She enjoys the modern things that Nikhil brings to her, but when Sandip comes and speaks of nationalism with such fire, she sees these things as a threat to her way of life. Bimala’s struggle is with identity. She is part of the country, but only knows the home and her home is a mix of cultures.
She is torn between supporting the ideal of a country that she knows she should love, or working toward ensuring that her home, her whole world, is free from strife and supporting her husband like a traditional Indian woman should. Bimala is forced to try to understand how her traditional life can mix with a modern world and not be undermined.
This theme ties in with the nationalism theme because it is another way that Tagore is warning against the possibility that nationalism can do more harm than good. Sandip vs. Nikhil Nikhil and Sandip have extremely different views for the growth of the nation. Nikhil believes in a nation that is peaceful, demonstrates the equality of individuals, and respects social harmony.
Nikhil demonstrates these beliefs in him marrying Bimala, an “unattractive” woman because of her skin color. In the novel, Nikhil talks about disliking an intense patriotism nation, “Use force? But for what? Can force prevail against Truth? “(45).
On the other hand, Sandip has contrasting views for the growth of the nation believing in power and force, “My country does not become mine simply because it is the country of my birth. It becomes mine on the day when I am able to win it by force”
The contradicting views of Nikhil and Sandip set up the story and constructs an interesting dilemma for Bimala. Unfortunately for Nikhil, he has already tried to show Bimala the outside world, and stir some sort of emotion within her since the beginning of the novel, and failed. Sandip possesses great oratory skill, that wins Bimala over simply because of his passion and ferocity, something that her husband may lack.
 Illusions The constant forming of illusions in the novel grows to be a major recurring theme. Sandip tends to create illusions that almost always have negative affects on his followers and on the nation of Bengal. He builds an illusion of his beliefs that sucks the people of Bengal into a sort of cult. His illusion is complete sovereignty, free of all other worlds, and an endless supply of wealth and self enjoyment. This illusion, as many are, is a fake and a lie.
It ultimately sells these people a front row ticket to watch their nation fall into complete chaos and civil war among people with different beliefs. He constructs an illusion for Bimala to believe, saying she is the future, women are the future, they are the chosen path to salvation. Bimala builds an illusion that she is to blame for this war, it is solely her doing. That she has done all wrong and no right.
She refuses to accept that she too was a victim of Bande Mataram. ” I now fear nothing-neither myself, nor anybody else.
I have passed through fire. What was inflammable has been burnt to ashes; what is left is deathless. I have dedicated myself to the feet of him, who has received all my sin into the depths of his own pain. ” (199)The biggest illusion of all of is his mask of caring and passion, while he hides his own selfishness and desire for the world.
Truth In more than one way, this novel is a comparison of different views of truth. Which reality is truer is up to the reader’s interpretation.
Nikhil maintains an idealistic view of the world while Sandip takes a radical, nature-worshiping view. He feels Nikhil’s view of the world is inferior to the real, raw world in which he lives as a radical leader. Bimala as well must compare truths. Through her interactions with Sandip, she is introduced to the truth of “sakti” (female power), yet her life with Nikhil is centered on the truth of conjugality.
Each of these instances is a comparison of truth as being something simply objective to being something with a more spiritual or moral dimension. While the story ends in tragedy, both views of truth are important players in the story’s outcome, and it is left to the reader to ponder with which he or she agrees or disagrees. Love/Union From page one of the novel, the love and union between Nikhil and Bimala is illustrated as something sacred.
Nikhil proved throughout the story that he was undeniably devoted to his wife. He proved this first by marrying a woman who hailed from a poor family, along with accepting her darker skin. He made great effort to not only educate her, but also for her to understand her place in the world and not just her place in the captivity of their house.
He shows his love by giving her freedom. Bimala also adores her husband, but in a less material manner. This is demonstrated in Bimala’s daily ritual of “taking the dust”, an Indian ritual of reverence not usually performed by a wife to her husband. Due to Bimala’s extreme devotion to Nikhil, In the beginning of the novel, the union between the two of them is seen as one that cannot be broken.
However as, the story progresses, Bimala is slowly overcome by her feelings for Sandip. She eventually realizes that she has found in Sandip what she longed for in Nikhil, fierce ambition and even violent defense of ones ideals. Her deep desire for Sandip led her to completely break her scared union with Nikhil, going as far as to steal money from her household funds. Sandip shows his love for Bimala through idolization. This idolization comes about due to her freedom though.
The tale clearly presents the theme of love and union time and time again, going from Nikhil and Bimala’s marriage, through the love triangle created by Sandip, and once again returning to Bimala’s love for Nikhil at the very end.
This story tests the boundaries of the union of marriage. It stretches and twists it to the point where a 9 year marriage is nearly destroyed simply because of a raw temptation.
In addition to the idea of romantic love, there is a sense of love of owns country depicted throughout the novel. Questions such as, is it best to love ones country through action, perhaps even violence, or by passive tolerance are posed in the arguments of Nikhil and Sandip. While love and worship seem parallel in marriage, Nikhil believes these feelings cannot apply to ones country. To worship my country as a god is to bring a curse upon it”(29).
The Role of Women Throughout the novel as stated earlier a strong sense of devotion is seen in the relationship between Bimala and Nikhil. It is key to notice that an indirect evaluation of the role of women is seen in this novel also, in a very subtle manner.
In the society described, Bimala, like most women, blindly worships her husband. This can be seen when, Bimala is described, “taking the dust of my husband’s feet without waking him,” and when she is caught doing this act of kindness, her reaction is, “That had nothing to do with merit. It was a woman’s heart, which must worship in order to love. “.
This seen shows the average woman in this society who believes love will happen and worship is a given in a marriage. She blindly respects her husband without understanding or having a grasp of who he is. Another one of the many scenes that alludes to a woman’s place in this society is when Nikhil and Sandip Babu argue and Bimala is asked her opinion, which she finds unusual, in addition to “Never before had I [Bimala] had an opportunity of being present at a discussion between my husband and his men friends”. This line shows how there is a strong disconnect and there is no place, usually, for a woman in real world conversations.
To further prove this,in Nikhil’s story, the role of a woman is seen clearly,”Up till now Bimala was my home-made Bimala, the product of the confined space and the daily routine of small duties”.
The indirect references and descriptions are quite frequent throughout the novel and clearly allows the reader to get a sense of what women were subject to and their overall role in the society.  Religion versus Nationalism One major theme in the novel is the importance of religion and on the other hand nationalism. In this novel, religion can be seen as the more “spiritual view” while nationalism can be seen more as the “worldly view. ” Nikhil’s main perspective in life is by the moral and intangible while Sandip is more concerned about the tangible things, which to him is reality. Sandip believes that this outlook on life, living in a way where one may follow his or her passions and seek immediate gratification, is what gives strength and portrays reality, which is linked to his strong belief in nationalism.
From Sandip’s point of view, “when reality has to meet the unreal, deception is its principal weapon; for its enemies always try to shame Reality by calling it gross, and so it needs must hide itself, or else put on some disguise” (Tagore 55). To Sandip, reality consists of being “gross,” “true,” “flesh,” “passion,” “hunger, unashamed and cruel” (Tagore 55).
On the other hand, Nikhi’s view is more concerned with controlling one’s passions and living life in a moral way. He believes that it is, “a part of human nature to try and rise superior to itself,” rather than living recklessly by acting on instinct and fleshly desires (Tagore 57).
Nikhil argues that a person must learn to control their passions and “recognize the truth of restraint” and that “by pressing what we want to see right into our eyes we only injure them: we do not see” (Tagore 60). All these moral precepts tie in with his faith. Nikhil also speaks from a more religious perspective when he speaks of how “all at once my heart was full with the thought that my Eternal Love was steadfastly waiting for me through the ages, behind the veil of material things” (Tagore 66).
This shows that Nikhil does not live morally just for the sake of trying to be good but that it is grounded in his religious views. Sandip reiterates the fact that in their country, they have both “religion and also our nationalism” and that “the result is that both of them suffer” (Tagore 80).
Film, TV or theatrical adaptations Ghare Baire was first released at the Cannes Film Festival in France on May 22, 1984, under the direction of Satyajit Ray. It was also nominated for the Golden Palm award, one of the highest awards received at the Cannes Film Festival. It was later released in the United States on June 21, 1985. The scriptwriters were Satyajit Ray (writer) and Rabindranath Tagore (novel).
Sandip was played by Soumitra Chatterjee, Nikhilesh was played by Victor Banerjee and Bimala was played by Swatilekha Chatterjee. At the beginning of the movie a woman tells the story of the events in her life and how they changed her perspective on the world. She recalls how her husband challenged traditions by providing her with education and letting her, a married woman, out of seclusion. Her husband’s friend is a leader in the rebellion against the British when they come to visit and the movie takes off from there.
The story of The Home and the World takes place in 1916 in the Bangladesh Region.
From the period of 1858 to 1947, the British Empire ruled 8 major provinces throughout the region of India. These regions include Pakistan, Bangladesh, Singapore, and Burma. Drawn to region for trading purposes, the British soon had set up an expansive empire most noteworthy the East India Trading Company. Not only was it one of the biggest trading powers in the world, it also allowed Britain to enlarge its already huge Navy. The majority of the local people in India did not like being under Colonial Rule resulting in many rebellions.
These uprising became known as the Indian Independence Movement. This movement included a variety of political parties, ideas, and movements that all strived to end British rule.
Perhaps the greatest influence on the people of India came from the ideas and beliefs of Mohandas Gandhi who stressed that non violence was the ultimate tool to opposing foreign rule.
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