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Application of key terms of Post Colonialism on

Water by Bapsi Sidhwa




Submitted to:
Dr. Saiyma Aslam
Submitted by:
Syeda Saira Batool
Asma
Abida Parveen
Submitted on:
February 25, 2014

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Summary

Water, set in 1938, is a story of a child named Chuyia, Little Mouse, who is betrothed at age 6
and widowed at age 8. According to Hindu traditions, she is discarded to a widow-ashram, her
head shorn, and her life given over to penitence. The story revolves around orthodox Indian
customs, with the backdrop of Indian freedom struggle at its peak. Chuyia befriends Kalyani
who is forced into prostitution to support the ashram, Shakuntala, one of the widows, and
Narayan, a young and charming upper-class follower of Gandhism. The book tells us about her
struggle in the ashram and society and the problems a widow faced in pre-partitioned India.

Kalyani fell in love with Narayan and Chuyia acted as their secret messenger. Narayan wishes to
marry Kalyani, but she refuses to accompany him to his house when she comes to know that he
was the son of Seth Dwarkanath. Narayan comes to take her away with her even after he
comes to know that she is a prostitute, but that was too late as Kalyani had committed suicide
by that time. Shakuntala was busy in the funeral pyres when Madhumati sends Chuyia to
someones house in place of Kalyani. The condition of Chuyia is worse when she returns to the
asharm. Shakuntala is too much worried. After listening to Gandhi she is determined to send
Chuyia with Gandhi to save her from a bad fate. She finds Narayan in Gandhis train and hands
him Chuyia so that he may look after her.

Characters:

1. Chuyia: eight years old widow.
2. Bhagya: mother of Chuyia.
3. Somnath: Father of Chuyia.
4. Parsad and Mohan: Chuyias brothers.
5. Kalyani: Chuyias friend, a prostitute and a widow.
6. Madhumati: head of asharm.
7. Shankuntala: a motherly figure at asharm.
8. Narayan: lover of Kalyani.
9. Bhagwati: mother of Narayan.
10. Rabindra: friend of Narayan.




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Application of Key concepts of Post Colonialism on Water by
Bapsi Sidhwa

Aboriginal/indigenous peoples
Bhagya, Somnath, Chuhiya, Hira Lal, Shakuntala, Kalyani, Narayan, Madhumati, Kunti,
Rabindar, Ghulabi, Mohan, Parsad etc

Agency
The English Sarkar thinks he is a trouble maker He wants people to unite in their
struggle against the English raj (9). (A statement by Somnath)

His followers, in white homespun khaddar and white cloth caps, hustled him onto the
dilapidated green train, which consisted of two carriages (168).
(It was agency that made the followers of Gandhi to wear homespun cloth rather than the
cloth exported by the Europeans in India)

Allegory
A corner of Chuyias sari was tied to a long stole wrapped around Hira Lals neck and
shoulders, and they were made to stand (17).
This symbolized the culture of India in which a woman was considered as a slave of man.

Chuyia turned to face Shakuntala, You saved me like the Goddess Durga, she said, her
eyes round with the beginnings of trust (38).
This symbolized the struggle that Shakuntala did and will do to save the widows from
the dark destiny at the asharm.

The day that had started off for her as white, a milky, disorienting white, with its white
temples and white goats and white steps, was now beating down on her in a blinding
glare that skewered her to the darkest reality (98).
This statement may allegorically stand for the loosening power of the White people over
the natives of India and also the destruction that was in the offing as a result of their
rule.




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Ambivalence
Ambivalence is found in the characters of Narayan. Narayan, on the one hand spoke English,
praised the attitude of the English towards widows and the serene atmosphere in which they
lived in India. On the other hand he was a follower of Gandhi and was a member of the
movement launched against the Brishers to freed India.

The friends (Narayan and Rabindra) conversed in English (63).

Some people loitering along the steps looked their way, but they couldnt follow the
English words and lost interest in the drunken behavior of the two men (Narayan and
Rabindra) (65).

Narayan guessed the cause of her ( Kalyani) alarm. They dont care if youre a widow,
he assured her.
Why? Dont they have widows? Kalyani asked.
Of course they do. But not like ours; they dont treat them like we do, said Narayan
(113).
(In this conversation it is vivid that Narayan is inspired by some of the ways of the
English, however he criticizes other ways of English, like invading the land of India. So
we observe that to fight against such ways he followed Gandhi in like a lunatic).

Gandhi has turned you into a lunatic! (119). (Bhagwati to Narayan)

Anti-colonialism
He (Gandhi) wants us to weave our own cloth- the English Sarkar thinks he is a trouble
maker- but I (Somnath) hear he is a good man. He says all religions are true. He wants
people to unite in their struggle against the British raj (91).

Clearly Seth Bhupindernaths mansion has seen better days. Chipped busts of Englishmen
filled every recessed nook, and the dusty bric-a-brac crowded on tables and mantels
gave it a cluttered look (91).
(the disgust shown by the people and the narrator for the ways of the English)

What does he say, then?
He (Gandhi) talks about freedom, about truth (117). (Narayan talking to Bhagwati)

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National liberation movements

If Gandhi can free India, think how Byron will sound when you recite him as a free
man (65). (Narayan to Rabindra)

The British, cognizant of his power, had resignedly allotted the train to carry him and
his followers across India to meet with a populace clamouring to see him (168).
(narratorP

The untouchables are the children of God (89). (Gandhi)

Apartheid
Apartheid means segregation. The segregation was not only seen at the level of legislation but
also at the level of schooling, living places, transportation etc. in this novel the Whites and the
Indians have separate places of living.

We are at the edge of the city, he explained. Where British live (113). (Narayan to
Kalyani)

Narayan directed the driver to take a turn and they clip clopped along a stately
boulevard in the British cantonment. Graceful eucalyptus trees stood erect in orderly
rows in their appointed grooves along the pavement, and the bases of their trunks
were painted white. A ribbon of red paint circled the white at the top, and the same
red ran alsong the side of the pavement. The atmosphere was serene and orderly: a
world apart from the crowded, raucous city with its temples, food stalls, animal
and human traffic, lean-tos and open drains (112).

Appropriation

The normal structure of a novel does not have any prologue. However, Bapsi Sidhwa ha
appropriated the structure of the novel and has included a prologue at the start of the
novel, in which she talked about the childish activities of Chuhiya (1).

She will! She will! SHE WILL! Go drown yourself! Liar! (123).

Sumangali (an auspicious woman) (6) , saubhagyavati (a fortunate woman) (6),
swastikas (an ancient holy symbol) (33) , Agni (the sacred fire) (17)
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Metonymic gap

Ghee, Dal, Laddoo, Ghulab jamun, Mishit doi, Haldi uptan, Kheer, Mangalsutra, Sari,
Sindoor Dan, Karma, Badam Mithai, Bitiya, Bhaiyya, Dhoti, Sadhus, Pheras, Mitthu, Bua,
Mandir, Chhotay Babu, Thali, Puris, Karahi

Chromatism

In her early thirties, Kunti had brown skin the color of creamed coffee, and black cropped
hair (34). (narrator)

It was an oval portrait of a pink cheeked English girl, clasping a bouquet of flowers in her
white hands (40). (narrator)

You really are a brown Englishman (93). (Narayan to Rabindra)

A tall ebony skinned woman rose out of water beneath them (163). (narrator)

The skinny dark old man was naked except for the white dhoti covering his hips and
thighs (168). (narrator)

Cultural diversity / cultural difference

Bells in hundreds of temples rang throughout the city to awaken the populace and recall
them to worship. A muezzins cry, fragmented by the breeze, summoned the faithful to
prayer (67). (narrator)

Euro-centrism, Binarism, Manicheanism, metropolis / metropolitan

The world at the boundaries of civilization is perceived as uncontrollable, chaotic, unattainable
and ultimately evil, while the civilized culture is the embodiment of good.

The English Sarkar thinks he is a trouble maker (9). (A statement by Somnath).
Here Gandhi is thought of as uncontrollable and one creating chaos.


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It was an oval portrait of a pink cheeked English girl, clasping a bouquet of flowers in her
white hands. She had luxuriant chestnut-brown hair, crowned by a flaming red cap. Even
though this strange goddess did not inspire confidence, Chuyia touched the shabby
frame and prayed to the image to take her home (40). (narrator)

Stand beneath her (Kalyanis) balcony and quote Romeo. People here dont know
Shakespeare (93).
This statement by Rabindra shows that native people are ignorant.

Subaltern, feminism and post-colonialism
The novel voices the opinions and lives of the women, who are the marginalized group, the
subaltern. In this novel women are doubly marginalized, firstly because they are women and
secondly because they are widows. The novel describes the lives and endeavors of the
subaltern to gain freedom and rights.
The condition of women in Hindu traditions and cultures
It will be as you say- you are her (Chuyias) father (7). (Submissiveness of Bhagya)

A woman is recognized as a person only when she is one with her husband. Only then
does she become a sumangali, an auspicious woman, and a saubhagyavati, a fortunate
woman (6). (A statement by Somnath)

Outside of marriage the wife has no recognized existence in our tradition. A womans
role in life Is to get married and have sons. That is why she is created to have sons! That
is all! (7). (A statement by Somnath)

A girl carried within her seeds of dishonor, and the burden of responsibility was to be
borne by her parents until she was married (7). (Bhagyas thoughts)

Status of Widows in Hindu culture and traditions

There was no place for her (a widow) in the community, and she was viewed as a threat
to society. A womans sexuality and fertility, which was so valuable to her husband in his
lifetime, was converted upon his death into a potential danger to the morality of the
community (21). (Bhagyas thoughts)

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According to the Manusmriti, the foremost Sanskrit text in the orthodox tradition, a
widows head is shaved, her ornaments removed, and she is expected to remain in
perpetual mourning. She is to observe fasts, give up eating hot foods in order to cool
her sexual energy, avoid auspicious occasions before she is considered inauspicious (for
having caused her husbands death), and to remain celibate, devout and loyal to her
husbands memory.
The later Vriddha Hirata was more explicit. She should give up chewing betel nut,
wearing perfumes, flowers, ornaments and dyed clothes, taking food from a vessel of
bronze, taking two meals a day, applying kohl to the eyes; she should wear only a white
garmnet, curb her senses and anger, and sleep on the ground (126).

The brahmanical tradition in the stri-dharma says a widow has two options: she can
commit sati and mount her husbands pyre, or lead a life of self denial and pray for her
husbands soul. In some cases, if the family allows it, she may marry her husbands
brother (136).

Madhumati snorted, shell get married over my dead body! Widows dont get married
(122).

The widows were given a cup of rice and a fistful of lentils for every eight hour session of
singing and dancing. For many widows, this was their only means of sustenance. On
those days when a widow was too sick to perform, she starved (42). (Narrator)

Aggression and opinion of Widows about their status

When the family forced him to get me (Madhumati) married, he gave me a dowry like I
was a kings daughter! Where is the kings daughter now? In this dung heap! (60).

Madhumati let go of her hand, My husband, the old bastard, was so horny. The minute
he climbed on me, instead of coming, he went! Straight to heaven! Bastard! Pleasuring
himself in heaven and me, stuck in this hell! (60).

She (Kalyani) went to the single barred window in the storeroom and looked out,
realizing she was imprisioned as much by culture and tradition as by the bars and locks
on her room (132).

To even rethink of marriage is a sin. Shakuntala replied, her thoughts in turmoil- her
love for Kalyani at odds with her deeply held religious beliefs.
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why? asked Chuyia,
Ask God, Shakuntala snapped, impatient with herself for doubting what she believed
was written in the scriptures (125).

If self liberation means detachment from worldly desires, then no, Im (Shakuntala) no
closer to it (82).

Liberation movement for widows

Seth Bhupindernath and Gandhi hand in hand, will liberate the widows of India from
their plight! (65). (A statement by Narayan.)

Gandhi has turned you into a lunatic! Marry a widow? How can you even think of it? Its
a sin! You should know that! (119). (Bhagwati to Narayan)

Many of the old traditions are dying out, Narayan said, speaking with a sobriety that
underlined his assurance (109).

A law was recently passed which favors widows remarriage.
A law? Shakuntala said surprised. why dont we know about it? Shouldnt we have
been told?
Sadananda gave a sardonic, lopsisded grin and replied, We ignore the laws that dont
suit us.
Shakuntala stared at him, turning Sadanandas words over in her mind, allowing the
truth of his statement to sink in : the law did not suit certain people in the asharm
Madhumati had deliberately withheld the information from Klayani.. Kalyani raked in
more money than the other widows pimped out put together (136).

What are you waiting for? Go. No one will stop you, Shakuntala said. Dont worry. Ill
send word to Narayan. Shakuntala gave her (Kalyani) a small smile of encouragement
and a nod to go on (139).

Filiation/affiliation
Filiation refers to lines of descent in nature, affiliation refers to a process of identification
through culture. From the point of view of filiation both Narayan and Rabindra were hindus but
from the point of view of affiliation Narayan identifies himself with his own culture while
Rabindra identifies himself with the western culture.

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(Rabindra to Narayan) Youve gone totally native, man: khaddar clothes, jhola bags,
playing raags on bansuris (65).

He (Rabindra) was dressed Western-style with dark slacks, loafers and a shirt-collar left
unbuttoned at the top (63).

Frontier
Frontier is a boundary or a limiting zone to distinguish one space or people from another. The
setting of the novel is A village on the Bihar- Bengal border (1). This shows that the village is
located at the frontier.

Hegemony
Hegemony is domination by consent. In the novel Madhumati is the person who has
internalized the hegemony of the English power and ruling. Thats why she does not like the
freedom fighter Gandhi, who was trying to liberate the country. Rabindra has also internalized
the hegemony and superiority of the Britishers thats why he likes English ways and always
quotes the English poet in his talks.

This Gandhi is going to sink India (89). ( Madhumati)

Disgusting! Before he came everything ran like an English clock. Tick tock (89).
(Madhumati)

Ill tell you one thing, Rabindra, your precious English are not going to last! Narayan
was almost shouting.
And whos going to take their place? Your Gandhi? said Rabindra sarcastically (93).

Narayan shrugged. Passive Resistance! he said. Think about it. How long can the
British fight someone who refuses to fight? Gandhi is a modern day prphet! A prophet
for our times! (65). (Narayan to Rabindra)

Mimicry

He (Rabindra) was dressed Western-style with dark slacks, loafers and a shirt-collar left
unbuttoned at the top (63).

The friends (Narayan and Rabindra) conversed in English (63).
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Rabindra, a head shorter, decked out in Western clothes ill-suited to his sloping
shoulders and protruding paunch (64).

I (Rabindra) happen to like English ways: their cricket, their whisky-and what poets they
have! (65).

In imitation of a love struck Juliet, he (Rabindra) recited in falsetto, Romeo, O Romeo,
wherefore art thou, Romeo? (92).

Orientalism

The Orient is timeless
The colonial writers project the notion that West is the place of historical progress and scientific
development and the Orient was deemed remote from the influence of historical change,
timeless and static. Since Bapsi Sidhwa is a Post colonial writer so she has subverted this notion
of Orient as timeless and static. Contrarily Water by Bapsi Sidhwa relates a momentous
historical change that took place in the land of Sub Continent. Moreover the change was not an
ordinary change, the change was such that it challenged the religious, cultural and societal
norms and traditions. The novels depicts the passing of the law of remarriage of widows.

A law was recently passed which favors widows remarriage (136). (Sadandna)

Secondly the novel also portrays the struggle of Gandhi and the people of the Sub continent to
liberate them from the Bristish raj. The nationalist movements vividly seen in the novel subvert
that idea of the Orient as being static, timeless and passive.

The Orient is strange
Orientalism highlights the eccentricity of the Orient. If the Occident was rational, sensible and
familiar, the Orient was irrational, extraordinary and abnormal.
In this novel the qualities are reversed, the Orient is shown as rational and familiar. Narayan
acts sensibly and rationally while talking to her mother in order to bring her round the point
that marrying a widow is not a bad thing.
He (Narayan) said, It is not terrible as you think, Ma- old ways and ideas have changed.
Raja Ramohan Roy says widows should get remarried. Bhagwati wiped her nose on her
sari and retorted disgustedly, And Raja whoever- what does he know about our
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traditions? What will your father say? Hell be pleased. Hes a freethinker, Narayan
replied.
youll find how freethinking he is when he hears this! Hell throw you out of the house!
Hai Bhagwan, show mercy, Bhagwati said, weeping. Narayan offered her his
handkerchief, but she pushed it away, wailing, stop it!
Narayan picked up his flute again and began to play. Bhagwati snatched the flute from
his hand. Oh God! What will happen to your sisters? Have you thought of them? No one
wants a girl whose family spits on tradition and religion!
Theyre pretty, theyll bring big dowries. I wouldnt worry about them (119).

Orientalism makes assumptions about Indian race:
Oriental peoples often appeared in western representations as examples of various invidious
racial stereotypes. Assumptions were often made about the inherent racial characteristics of
Orientals: stocking figures included the murderous and violent Arab, the lazy Indian and the
inscrutable Chinaman.
Sidhwa in this novel has subverted this notion and has portrayed Indians as active and agile
rather than lazy. Gandhi was an active freedom fighter as well as the fighter for the liberation of
widows from the strict principles set by religion and traditions. Narayan was also an active
participant of Gandhis movement for the liberation of widows. He himself began to act upon
the principle of remarriage of widows. The followers of Gandhi were also quite active,
distributing the pamphlets and conveying the news about Gandhi.

All at once the calm of the late afternoon was broken by a young man rushing through
the crowded ghats, distributing pamphlets and shouting, The British have let Gandhi ji
out of jail! He is free! He thrust a pamphlet at Shakuntala and she took it. His train will
stop here on his way from Allahabad, he shouted, as if directing the message at the
woman and the priest. The young man continued yelling the news of Gandhis arrival
down the ghats, too excited to have any qualms about disrupting the prayers of the
pious (158). (narrator)

Sidhwa has not only shown men as active but also women. One of the followers of Gandhi
actively participates in Gandhis movement for widows. She helps Shakuntala and gives her
water to bring Chuyia to consciousness and behaves quite affectionately towards Chuyia.

The woman lightly ran down the steps and fetched more water. Chuyia hadnt even
opened her eyes. I will hold her while you bathe in the river, the woman offered, sitting
next to her. we are widows, Shakuntala said, looking squarely at the woman. I know,
the woman said. I am Gandhis follower. I see things differently. This women did not
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care if their shadows fell on her and jinxed the rest of her day; she wasnt afraid to touch
them (163).

By the end of the novel it is the same woman who takes the responsibility of taking care of
Chuiya.

Orientalism makes assumptions about gender:
Orientalism circulates certain gendered stereotypes. Such as the effeminate Oriental male or
the sexually promiscuous exotic Oriental female. The Oriental male was frequently deemed
insufficiently manly and displayed a luxuriousness and floppishness that made him appear a
grotesque parody of gentler female sex. According to the western standards men are meant to
be active, courageous and strong; by the same token women are meant to be passive, moral
and chaste. But Oriental men and women do not comply with these gender roles.
Since Sidhwa is a post colonial writer so she has subverted these gendered stereotypes. She has
shown men as active, courageous and strong while women are shown as moral and chaste.

Somnath, though numbed with sorrow, was resigned to fulfilling his and his daughters
proper duty to the sick man and his family (21).

Ma, caste doesnt matter to me. You should know that by now (118). (Narayan to
Bhagwati)

She (Bhagya) was surely as pure as the goddess Sita (4).

She (Bhagya) brought her sari forward to cover her bare shoulder and head (4).

Although he (Somnath) well knew his wifes passionate nature and discreetly relished it,
her lust was contained within the parameters sanctioned by marriage (7).

The Orient is degenerate

Oriental stereotypes fixed typical weaknesses as cowardliness, laziness, untrustworthiness,
fickleness, laxity, violence and lust. Contrary to these stereotypes Sidhwa has shown the
Oriental males as well as females as courageous as opposed to cowardliness, active as
opposed to laziness, trustworthy as opposed to untrustworthy, true as opposed to fickle, firm
as opposed to being lax.

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Im not going anywhere without you, he said with quiet certainty, as if he were uttering
an oath (114). (Narayan to Kalyani)

Narayan stood on the other side. He was unshaven, his kurta and dhoti rumpled, but his
eyes were calm. A suitcase stood at his feet. Narayan saw Shakuntalas pale, staring face
in the opening and said simply, Ive come for Kalyani (154).
(The instance when Narayan comes to take away Kalyani after he has discovered the
truth about her)

Cuhiyas mother in law wishes her son to die on the banks of the Ganga so he can
liberate his soul and attain moksha. Hira Lals wife must be at his side. It is a moral thing
to do.
of course. Mumbled Bhagya, sitting stiff, as if she were frozen (20).

Women are also shown as strong who can argue men, which shows the developing strength of
the subaltern.

She (Chuhiya) is only six. Bhagya said, Ive heard that Hira Lal is grandfather.
Hes younger than me , about forty-four, Somnath said. they dont want a dowry; they will
pay for the wedding. She will be well cared for. Hira Lals mother is a kind woman. She will
be good to our girl.
Shouldnt you have consulted me? said Bhagya.
Somnath stretched his legs out and, adjusting the sacred thread that ran diagonally across
his bare chest, leaned back. Although the flesh on his chest was spare, his stomach
protruded in a small, spongy roll. He swallowed the juice that had collected in his mouth
and, tucking the betel into one cheek, said, how could I refuse Hira Lals mother?
Bhagya drew her sari forward so that her face was in a shadow. it is settled then! Why
bother to tell me? So what if I have never set eyes on the man? she had not spoken to him
so harshly in a long while (5).









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Native othering
Native othering is the othering done by the natives against the natives. In Water three types of
native othering is seen: othering done by Brahmins against other castes of Hindus, othering of
daughters in favor of sons and othering of widows in the whole community.

Only Brahmins were allowed inside the temple (17). (Narrator)

Bhagya knew that she must have looked like this at Chuyias age. Then why did she not
lavish on her the affection and attention she lavished on her sons? Feel the same surge
of love and pride for her daughter? Was it because her heart knew that a daughter was
only a guest and never belonged to the house into which she was born? (8).

She (Bhagya) knew that in Brahmin culture, once widowed, a woman was deprived of
her useful function in society- that of reproducing and fulfilling her duties to her
husband. She ceased to exist as a person, she was no longer either daughter or
daughter-in-law (21).

Essentialism
Essentialism is the assumption that groups, categories or classes of objects have one or several
defining features exclusive to all members of that category. In Water Bapsi Sidhwa has
specifically focused on the traditions, customs and religious injunctions about the Brahmins,
amongst all the castes of Hindus. The novel has depicted in great detail the customs of
Brahmins about widows .

In the Brahmanical traditiona woman is recognized as a person only when she is one
with her husband (6). (Statement by Somnath)

You cant wear colours or stitched clothes (28). (the message given to Chuyia at the
ghat)

(A woman at asharm to Kalyani) You have no morals! You are a widow, and yet you run
around like you are an unmarried girl? (51).

Kalyani, prohibited by tradition from addressing a stranger directly, spoke to Narayan
through Chuyia (55)




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Bibliography

Sidhwa, Bapsi. Water. Lahore: Ilqa Publications, 2013.