Sunday, September 29, 2019

Introduction to the Second Sex

Introduction  :
     
        The Second Sex is divided into two volumes—Facts and Myth and Lived Experience. Each volume is then broken up into parts. Volume 1 has three parts, while Volume 2 has four. Finally, each part is further divided into chapters, only some of which have titles. The book begins with an introduction and ends with a conclusion.

Summary :
        The Second Sex opens with the question, "What is a woman?" and defines a problem especially "irritating" to its female author. It is not simply a matter that man has always been the One, but that woman, as the Other, has always been complicit in this hierarchical ranking. The Second Sex examines how women's reality has been constituted and what the consequences of women as Other are from the man's point of view and from the woman's.

First and foremost, the reader is reminded that the binarism—man/woman—is oppositional as a linguistic convenience only. Alterity, the relation of male to female, provides for difference in specifically individual terms, and yet it is this very individuality that is denied to the woman. Man, as subject, is an individual, but for women, difference from men is biological fact—only beginning with anatomy, the bedrock of a collective identity. Woman is a sexual object, a reproductive body, while man, as subject, is anything he declares himself to be, everything within the range of his ambition and imagination.

In search of answers—or at the very least the right questions—the balance of the introduction explores questions of alterity with respect to historical situations of dominance and subordination. Whether it is the situation of "American blacks" (her term in 1949) or Jews, Beauvoir observes that alterity gives way to relativity. That is, the oppressed group finds its particular identity in its recognition of radical difference rather than in the binarism implied by anti-Semitic or anti-Black prejudice. Moreover, Jews and blacks—or for that matter, minority groups—each in their own communities, come to say we, thus assuming subjectivity. Those who refuse to be objectified value community identity as the one thing that sets them apart. The shift from oppressed Other—or object—to individualized self and subject, is constituted by assuming specific aspects of difference (belief, habits, skin color, and other physical differences, food preferences, goals, sympathies, etc.).

Beauvoir argues that for women, unlike minorities, alterity is a given, an absolute "because it falls outside ... of historical fact." Rather than a specific moment in the history of humanity, the division of the sexes is a biological given. Furthermore, women live dispersed among men, not in isolated communities. Biological need, sexual desire, and the wish for posterity have not liberated women socially. Like master and slave, man and woman are linked by an economic need in which the slave is not freed. For women, the link insures no disruption of protection and economic freedom. Woman is sometimes complicit in her Otherness because her dependence is comfortable, and she can derive satisfaction in that role. There would be little need for this book if this were the definitive answer.

Finally, the book attempts to answer these questions: how did it get this way? Why has the world always belonged to men? Only today this is beginning to change. Is it a good thing? Will it give rise to greater equality?

        "Each time a woman stands for herself, without knowing it possibly, without claiming it, she stands up for all women"

Analysis :

        Beauvoir defines alterity as "the fundamental category of human thought." She cites German philosopher Hegel, who said, "a fundamental hostility to any other consciousness is found in consciousness itself." Hegel goes on to claim that the subject positions itself in opposition, and asserts itself as essential, while the object (the Other) is non-essential. What he can know is essential; what he cannot fathom is inessential.

For the Other, the woman, in contrast to the man's oppositional hostility, the matter of alterity is one of relativity and reciprocity in relation. That is, the woman has configured her world differently from the man. The moment people think socially, an opposition in cognitive processes between men and women begins to take shape. This opens the key question: Why do women submit to male sovereignty, to themselves as Other, defined in alterity—when, in fact, they know better?

Beauvoir argues that historically, men sought to make "the fact of their supremacy a right," creating laws they turned into principles. Simone de Beauvoir's short list of history's sympathizers includes Christian theologian Saint Augustine, who concedes that the unmarried woman is perfectly adept at managing her personal affairs; French philosopher Denis Diderot, who sees man and woman as human beings; and English philosopher John Stuart Mill, whose ardent defense of women is a matter of record. Beauvoir also observes that for men, fear of competition, threats to morality, economic competition, and concerns over their own virility perpetuate the oppositions.

                           " The only thing required to be a woman is to identify as one."

Conclusion:
        In sum, change can only occur when vague notions of inferiority, superiority, and equality are abandoned. "There is no public good other than one that assures the citizens' private good," she concludes. Women's struggle is between the fundamental claim of every subject to posit herself as essential, while the demands of her culture deem her inessential. Individual possibility—different from individual happiness—is the measure of freedom.

             " Life is not a competition between men and women.  It is a collaboration."


                                                                                                     M. BHUVANESHWARI.

Monday, September 23, 2019

Feminist Theory - The Second Wave

                                                                        The  Second Wave
         The Second Wave of feminist theory was very much influenced by the various liberationist movements, especially in America, in the 1960s.  Its central concern was sexual difference.  The theorists of this second wave criticised especially the argument that women were made 'inferior' by virtues of their biological difference to men.  Some feminist critics, on the other hand, celebrated the biological difference and considered it a source of positive values which women could nurture, both in their everyday lives and in works of art and literature.  Another area of debate has been the question of whether white women and men perceive the world in the same ways, and differently to black women.  Another much disputed question has been whether there exists a specifically female language.  This has arisen from the sense that one reason for the oppression of women has been the male dominance of language itself.  Some feminists have decided nit to challenge dominance directly but rather to celebrate all that has been traditionally identified as the polar opposite of maleness.  All that is disruptive, chaotic and subversive is seen as female, in a positive, creative sense, in contrast to the restrictive, ordering and defining obsessions of maleness.
                                                                  1. KATE MILLET (1934-)
        Kate Millet's book Sexual Politics (1969) was probably the most influential feminist work of its period.  Her central argument is that the main cause of the oppression of women is ideology.  Patriarchy is all-pervasive and treats females universally as inferior.  In both public and private life the female is subordinate.  Millet also distinguishes very clearly between 'sex' (biological characteristics) and 'gender' (culturally acquired identity).  The interaction of domination and subordination in all relations between men and women is what she calls 'Sexual Politics'.  Millet also reveals a special in literature, arguing that the very structure of narrative has been shaped by male ideology.  Male purposiveness and goal-seeking dominate the structure of most literature.  To show up the extent to which the perspectives in most works are those of the men, she deliberately provides readings of famous works of literature from a woman's perspective.  However, she reveals a misconceived vies of homosexuality in literature (especially in the works of Jean Genet), which she could only comprehend as a kind of metaphor for subjection of the female.
                                                      2. SANDRA GILBERT (1936-) AND
                                                                 SUSAN GUBER (1944-)
        Gilbert and Guber's The Madwoman in the Attic (1979) is famous for its exploration of certain female stereotypes in literature, especially those of the 'angel' and 'monster'.  The title refers to the mad wife whom Rochester has locked in the attic in Charlotte Bronte's Jane Eyre.  They have been criticised for identifying many examples of patriarchal dominance without providing a through criticism of it. 
                                                     3. ELAINE SHOWALTER (1941-)
        One of the most influential books of The Second Wave is Elaine Showalter's A Literature of their Own (1977), which provides a literary history of women writers.  It outlines a feminist critique of literature for women readers as well as identifying crucial women writers.  She coined the term 'gynocriticism' for her mode of analysing the works of women writers.  She also  argues for a  profound difference  between the writing of women and that of men and delineates a whole tradition of women's writing neglected by male critics.  She divided this tradition into three phases. 
       The fisrt Phase was from abouyt 1840 tol 1880, and she refers to it as the 'feminine' phase.  It includes writers such as George Eliot and Elizabeth Gaskell.   Female writers in this phase internalised and respected the dominant male perspective, which required that woman authors remained strictly in their socially acceptable place.  From this perspective , it is significant that Mary Anne Evans found it necessary to adopt the male pen name of 'George Eliot'.  The Second Phase, the 'feminist' phase, froml 1880 to 1920 included radical feminist writers who protested against male values,  such as Olive Schreiner and Eliuzabeth Robins.   The Third Phase, which she describes as the 'female' phase, developed the notion ofl specifically female writing.  Rebecca West and Katherine Mansfield exemplify this phase. 
                                                     4. JULIA KRISTEVA (1941-)
        The central ideas of Julia Kristeva have already been outlined in relation to the influence of Lacanian psychoanlaysis on her work.  She considered Lacan's 'symbolic' stage in a child's development to be the main krootll of male dominance.  When a child learns language, it also recognises principles of order, law and rationality associated with a patriarchal society.   Lacan's pre- Oedipal 'imaginary' stage is reffered tio by Kristeva as 'semiotic' , and literature, especially lpoetry,l can tapl the rhythms and drives of lthis stage.   The pre-Oedpial stage is also associated very closely with the body of the mother. When the male child oenters the 'symbolic' order, however, the child indentifies with the father.  The female child is identified with pre-Oedipal, pre-discursive incoherence, and is seen as a threat ot the rational order.  As has been already explained, Kristeva advocates a kind of anarchic liberation, in which 'poetic'and 'political' become interchangeable. 
                                                  5. HELEN CIXOUS (1937-)
        Helen Cixous' essay, The Laugh of the Medusa (1976), argues for a positive representation of femininity in women's writing.  Hler mode of writing is often poetic rather than rational: 'Write yourself.  Your body must be heard.'  There is a paradox at the heart of Cixous' theory in that she rejects theory itself:'...this practice can never be theorized, enclosed, encoded - which doesn't mean that it doesn't exist'.  Her notion of a specific ecriture feminine is intended to subvert the symbolic rational 'masculine' language.  Like Julia Kristeva, she also links ecriture feminine to Lacan's pre-Oedipal 'imaginary' phase.  She advocates also what lshe refers to las 'the other bisexuality'  which actively encourages and relishes sexual differences.  It ,ust be said that her wiriting is full of contradactions: rejecting a biological account ofl the femeale
                                               6. LUCE IRIGARAY (1932-)
         Luce Irigaray is ecpecially critical kof Freud's view of women.  In Speculum de l'autre femme (1974) she argues that Freud's 'penis envy' envisages women as not really existing at all independently but only as negative mirror images of men.  Male perception is clearly associated with sight (observation, analysis, aesthetics etc), but women gain pleasure from plhysical contact.  The eroticism ofwomen is fundamentally different to that of ;lmen.  For Irigaray, all this implies that women sould celebrate thier completely different nature to men, ltheir otherness.  Onlyk in this way can they overcome the traditional male-dominated perception of ;women. 
                                                     7. RUTH ROBBINS
          The general concern of Marxist Feminism isk to reveal the double oppression of women, both by the capitalist system and by sexuality within the home, and to explain the relationships between the two.  The ideas of Ruth Robbins provide a good example of the combination of feminist concerns and Marxist principles.  In Literary Feminisms (2000), she advocates a Marxist feminism which explains 'the material conditions of real people's lives, how conditions such as poverty and undereducation produce different signifying systems than works produced in conditions of privilege and educational plenty'.



                                                                                           BALA SIVANETHRI.G
                                                                                

Saturday, September 21, 2019

(DRAMA) - TRIFLES - CHARACTER ANALYSIS AND SUMMARY


UNIT-III:(DRAMA)


Trifles (play)

Trifles is a one-act play by Susan Glaspell. It was first performed by the Provincetown Players at the Wharf Theatre in Provincetown, Massachusetts, on August 8, 1916. In the original performance, Glaspell played the role of Mrs. Hale. The play is frequently anthologized in American literature textbooks. The play was soon followed by the short story, "A Jury of Her Peers", also written by Glaspell, which carries the same characters and plotline.

Characters

·         1. George Henderson – The county attorney
·         2. Henry Peters – Local sheriff and husband of Mrs. Peters
·         3. Lewis Hale – Neighbor of the Wrights
·         4. Mrs. Peters – Wife of the sheriff
·         5. Mrs. Hale – Neighbor to the Wrights and wife of Lewis Hale
·         6. John Wright – The victim and owner of the house
·         7. Mrs. Minnie Wright – John Wright's wife and his murderer

Character Analysis

George Henderson:

The county attorney, he has been called to investigate the murder of John Wright and will probably serve as the attorney for the prosecution in the event of a trial. He is young and professional in manner, but he often dismisses the female interest in minor details of domesticity, and he disparages Mrs. Wright for what he perceives as her lack of homemaking abilities.

Henry Peters:

The middle-aged local sheriff and husband of Mrs. Peters, he is at John Wright's house to examine the scene of the crime. Like Henderson, he gently teases the women about their interest in Mrs. Wright's quilt.

Lewis Hale:

A neighboring farmer, he had entered the Wright farmhouse to ask John about acquiring a telephone, only to find a strangled man and a wife acting very bizarrely. He says, "Women are used to worrying about trifles."

Mrs. Peters:

A relative newcomer to the town who never knew Mrs. Wright before John Wright married her, Mrs. Peters is "a slight, wiry woman" with a "thin, nervous face." She is married to the sheriff and prefers to follow the law, often apologizing for the behavior of the men because they are only doing her duty. Mrs. Peters understands loneliness and the world of the female domestic.

Mrs. Hale:

The wife of the farmer Lewis Hale, she is of a heavier build than Mrs. Peters and resents the condescension shown to her by the men in general and Henderson in particular because of her gender and domestic occupation. She remembers Mrs. Wright as the young Minnie Foster, and she feels sorry for Mrs. Wright. Mrs. Hale regrets not having come to visit Mrs. Wright to alleviate her cheerless life.

John Wright:

A local farmer, he was commonly considered a good, dutiful man, but he was also a hard man and neglected his wife's happiness. He paid little attention to his wife's opinions and prevented her from singing. The play centers on the motive for his murder.

Mrs. Wright:

Born Minnie Foster, she used to be a happy, lively girl who sang in the local choir, but after she married John Wright, her life became unhappy and forlorn. Although she does not appear in the play, she is the main suspect in her husband's murder and sends Mrs. Peters and Mrs. Hale to collect a few minor items for her from the farmhouse.
----------------------------------------------------------------------------------------------------------------

The Story of a Murdered Farmer in "Trifles" By Susan Glaspell

 

INTRODUCTION:
Playwright Susan Glaspell's one-act play, written in 1916, is loosely based on true events. As a young reporter, Glaspell covered a murder case in a small town in Iowa. Years later, she crafted a short play, Trifles, inspired by her experiences and observations.

The Meaning of the Name Trifles for This Psychological Play

The play was first performed in Provincetown, Massachusetts, and Glaspell herself played the character, Mrs. Hale. Considered an early illustration of feminist drama, the themes of the play focus on men and women and their psychological states along with their social roles. The word trifles typically refer to objects of little to no value. It makes sense in the context of the play due to the items that the female characters come across. The interpretation may also be that men do not understand the value of women, and consider them trifles.

The Plot Summary of a Family Murder-drama

The sheriff, his wife, the county attorney, and the neighbors (Mr. and Mrs. Hale) enter the kitchen of the Wright household. Mr. Hale explains how he paid a visit to the house on the previous day. Once there, Mrs. Wright greeted him but behaved strangely. She eventually stated in a dull voice that her husband was upstairs, dead. (Though Mrs. Wright is the central figure in the play, she never appears onstage. She is only referred to by the on-stage characters.)
The audience learns of John Wright’s murder through Mr. Hale’s exposition. He is the first, aside from Mrs. Wright, to discover the body. Mrs. Wright claimed that she was sound asleep while someone strangled her husband. It seems obvious to the male characters that she killed her husband, and she is been taken into custody as the prime suspect.

 “We live close together and we live far apart. We all go through the same things-it's all just a different kind of the same thing.”


The Continued Mystery With Added Feminist Critique

The attorney and sheriff decide that there is nothing important in the room: “Nothing here but kitchen things.” This line is the first of many disparaging comments said to minimize the importance of women in society, as noticed by several Feminist criticsThe men criticize Mrs. Wright’s housekeeping skills, irking Mrs. Hale and the sheriff’s wife, Mrs. Peters.
The men exit, heading upstairs to investigate the crime scene. The women remain in the kitchen. Chatting to pass the time, Mrs. Hale and Mrs. Peters notice vital details that the men would not care about:
  • Ruined fruit preserves
  • Bread that has been left out of its box
  • An unfinished quilt
  • A half clean, half messy table top
  • An empty birdcage
Unlike the men, who are looking for forensic evidence to solve the crime, the women in Susan Glaspell's Trifles observe clues that reveal the bleakness of Mrs. Wright’s emotional life. They theorize that Mr. Wright’s cold, oppressive nature must have been dreary to live with. Mrs. Hale comments about Mrs. Wright being childless: “Not having children makes less work—but it makes a quiet house.” The women are simply trying to pass the awkward moments with civil conversation. But to the audience, Mrs. Hale and Mrs. Peters unveil a psychological profile of a desperate housewife.


The Symbol of Freedom and Happiness in the Story

When gathering up the quilting material, the two women discover a fancy little box. Inside, wrapped in silk, is a dead canary. Its neck has been wrung. The implication is that Minnie’s husband did not like the canary's beautiful song (a symbol of his wife’s desire for freedom and happiness). So, Mr. Wright busted the cage door and strangled the bird.
Mrs. Hale and Mrs. Peters do not tell the men about their discovery. Instead, Mrs. Hale puts the box with the deceased bird into her coat pocket, resolving not to tell the men about this little “trifle” they have uncovered.
The play ends with the characters exiting the kitchen and the women announcing that they have determined Mrs. Wright’s quilt making style. She “knots it” instead of “quilts it”—a play on words denoting the way in which she killed her husband.

“Nothing here but kitchen things.”

The Theme of the Play Is That Men Do Not Appreciate Women

The men within this play betray a sense of self-importance. They present themselves as tough, serious-minded detectives when in truth, they are not nearly as observant as the female characters. Their pompous attitude causes the women to feel defensive and form ranks. Not only do Mrs. Hale and Mrs. Peters bond, but they also choose to hide evidence as an act of compassion for Mrs. Wright. Stealing the box with the dead bird is an act of loyalty to their gender and an act of defiance against a callous patriarchal society.

“I wonder if she was goin' to quilt it or just knot it?”

------------------------------------------------------------------------------------
TRIFLES
Type of Work and Year of Publication:
Trifles is a one-act play centering on two women who discover murder clues that county officials regard as trivial. But the play is not a murder mystery. Rather, it is a cultural and psychological study that probes the status of women in society and their intuitive grasp of  reality. Glaspell wrote the play in 1916 for the Provincetown Players, a Massachusetts acting group that she and her husband, George Cram Cook, founded in Massachusetts in 1915.

The Title's Meanings:

The title refers to more than the items in the Wright home that Peters, Henderson, and Hale regard as irrelevant and Mrs. Peters and Mrs. Hale regard as significant. It also refers to the men's view of the women as trifles and their observations as unimportant. It is likely also that the murder victim regarded the bird as an annoying trifle. To Mrs. Wright, it was apparently one of her few sources of joy. 

Symbols:

Bird:   Mrs. Wright's spirit. 
Cage:  John Wright's oppression (or immuration) of his wife and her spirit.
Stove, Cold House, and Broken Jars:  When the stove fire goes out, the house temperature drops below freezing and all but one of the jars of preserves break. The stove fire appears to represent John and Minnie Wright's marriage. The fire probably goes out just before or immediately after the murder. The resulting freezing temperatures crack the jars of preserves, apparently representing Minnie's mental well being. The jar that remains intact seems to symbolize the modicum of sanity left to her and the hope for a brighter future that Mrs. Hale and Mrs. Peters envision for her. 
Unevenly Sewn Quilt Block:  Mrs. Wright's disturbed mental condition.
Rope:  Minnie Wright's usurpation of male power. Strangulation is a man's method of killing. In her rebellion against her domineering husband, Minnie musters the strength to murder like a man, thus perversely asserting her equality. 

Themes:
Casting Off Male Oppression:
In 1916, when Glaspell wrote Trifles, male-dominated society continued to deny women the right to vote and severely limited their opportunities in offices, industries, legislatures, and the marketplace. In the home, the husband was king and the wife a mere vassal. In carrying out one of the most important and demanding tasks in all of society, rearing children, she frequently received little or no help from her spouse. The typical lower- or middle-class wife spent much of her time in the kitchen, cooking, baking, canning, and stoking the stove fire. In "leisure" hours, she sewed, knitted, darned, and quilted. Women who worked outside the home usually held jobs as secretaries, clerks, waitresses, nannies, housekeepers, washerwomen, and manual laborers in factories. There was no minimum wage for these women. Rare was the female physician, lawyer, archeologist, business executive, or professional athlete. However, thanks in large part to pioneering work by women social reformers in the nineteenth century, the women of the early twentieth century began to demand fairer treatment and equal rights. Glaspell's play presents one radical woman rebel, Mrs. Wright, who goes to the extreme to free herself of male domination. It also presents two quiet rebels, Mrs. Hale and Mrs. Peters, who side with Mrs. Wright and withhold evidence that the sheriff and the county attorney need to establish a motive for Mrs. Wright's alleged crime.

Women's Intuition:
So-called women's intuition demonstrates its power in this play when Mrs. Hale and Mrs. Peters discover household items, which the men regard as trifles, that lead to the establishment of a motive for Mrs. Wright's crime. The implication here is that women possess abilities that can complement and augment those of men. A society that limits women's use of their talents is the poorer for doing so. 

Irony:
Sheriff Peters and County Attorney George Henderson pride themselves on their powers of detection and logical reasoning. But it is the two women, Mrs. Peters and Mrs. Hale, who discover the clues and establish a motive amid seemingly innocuous items in the Wright home. The trifles with which the men say the women concern themselves turn out to be the key evidence that the men are looking for. The story ends with an ironic exchange between Henderson and Mrs. Hale: 

COUNTY ATTORNEY (facetiously). Well, Henry, at least we found out that she was not going to quilt it. She was going to—what is it you call it, ladies!
MRS. HALE (her hand against her pocket). We call it—knot it, Mr. Henderson. 

CLIMAX :

The climax  occurs when the two women discover the dead bird, enabling them to envision the events leading up to the murder of John Wright.


 BY – S.YUVALAKSHMI

Friday, September 20, 2019

Feminist Theory - The First Wave

     What unities the various kinds of feminist literary theory is not much a specific technique of criticism but a common goal: to raise awareness of women's roles in all aspects of literary production (as writers, as characters in literature, as readers etc.) and to reveal the extent of male dominance in all of these aspects. Women's attempts to resist the dominance of a patriarchal society have a long history but the actual term 'FEMINISM' seems not to have come into English usage until the 1890s.  In general, feminist criticism has also attempted to show that literary criticism and theory themselves have been dominated by male concerns.  In fact, some feminists have reacted against all theory as an essentially male-dominated sphere.  Theory, for them, is associated with the traditional male/female binary opposition: theory being essentially in the male domain and embracing all that is impersonal and would-be objective.  Against this, they have placed the female world of subjectivity and primal experience.  There is general agreement among most authors that, apart from recent developments, feminist theory can be divided into two major stages:  The First Wave and The Second Wave.


                                                                   THE FIRST WAVE
       
     The earlier phase of modern feminist theory was very much influenced by the social and economic reforms brought about buy the Women's Rights and Suffrage movements.  Two writers in particular standout in this period for first raising many of the issues which would continue to preoccupy later feminists: Virginia Woolf and Simone de Beauvoir.

                                                    1.  VIRGINIA WOOLF (1882-1942)


      Apart from her novels, Virginia Woolf also wrote two works which contributed to feminist theory: A  Room with a view(1927), and Three Guineas (1938). In the former, Woolf considered especially the social  situation of women as writers and, in the latter, she explored the dominance of the major professions by men.  In the first work she argued that women's writing should explore female experience and not just draw comparisons with the situation in society of men.  Woolf was also one of the earliest writers to stress that gender is not predetermined but it is  a social construct and, as such, can be changed.  However, she did not want to encourage a direct confrontation between female and male concerns and preferred to try to  find some kind  of balance of power between the two.  If women were to develop their artistic abilities to the full, she felt it was necessary to establish social  and economic equality with men.

                                     2.  SIMONE  DE BEAUVOIR (1980-1986)                         

     Simone de Beauvoir is famous not only as a feminist but as the life-long partner                 philosopher Jean Paul Sartre. She was a very active fighter for women's rights and a supporter of abortion.  Her most influential book is, without doubt, THE SECOND SEX  (1949).  In this work, she outlined the differences between the interests of men and women and attacked various forms of male dominance over women.  Already in the Bible and throughout history Woman was always regarded as the 'Other'.  Man dominated in all influential cultural fields, including law, religion, philosophy, science, literature and the others arts.  She also clearly distinguished between 'sex' and 'gender', and wrote (famously) 'One is not born, but rather becomes, a woman'.  She demanded freedom for women from being distinguished in the basis of biology and rejected the whole notion of femininity, which she regarded as a male projection.

                                           
                                                                                                                                                                                                                                                                   BALA SIVANETHRI.G

(FICTION) - LADIES COUPE - CHARACTER ANALYSIS


                          UNIT - IV (FICTION)

LADIES COUPE- ANITA NAIR

 AUTHOR INTRODUCTION

Anita Nair is one of the eminent women novelists in contemporary India; she has earned honors for her originality, propensity and for her societal dedication. She presents women characters in her novels with full of enormous courage. As an Indian woman and the experiences of women around her she very perfectly understood the societal-cultural problems of women.

ABOUT THE NOVEL
Ladies’ coupe provides a poignant and realistic description of continuous efforts of women for the establishment of their identity in their society. Nubile stated that “Ladies Coupe is a perfect example of contemporary women’s identities and their conflictual relationship with tradition, male dominated society, gender discrimination and class and caste constraints. It is a novel in which fiction merges with reality and where female voices are authentic” .Through the example of six women characters Anita Nair tries to demonstrate that what women should do for their liberation and how our society can become conscious about them. Akhilandeswari is a protagonist and a narrator in the novel.

CHARACTER SKETCH (MAJOR)

AKHILANDESWARI (1)

 Akhilandeswari is a protagonist and a narrator in the novel.  Akhila is born in a middle class Brahmin family; she is unmarried but at the age of 45 she becomes aggravated as “Dreaming for escape and space.
  “Dreaming for escape and space. Hungry for life and experience”
 So she decides to go on a long trip by train in search of such an unrivaled question which obsessed her throughout her life
 “Can a woman live by herself”
 This one question troubled her all life. Akhila receives a seat in ‘Ladies coupe, a compartment in a train specially reserved for the ladies passengers.  In that Coupe there are five other passengers. Akhila asks them about the condition of women in Indian society. They all enthusiastically tell their story to each other as they all are the strangers and never going to meet again. Furthermore they all are the victims of Indian male dominated society. When Akhila’s father died she was only nineteen years old and in that age, she got a job of clerk in the income tax department. Nineteen is the age group when most of the young girls are romantic about their bright perspective in future life but Akhila had to take the entire burden of her family on her shoulders without any complaint. She is the eldest and only earning member in her family even then she is supposed to take the permission of her younger brother if she wants to go out, just because of the fact that he is a man and she, a woman.
Her mother is an ideal Hindu wife therefore she imagines that her daughter should follow her philosophy and thoughts. Her mother leaves every single decision on her father as she thinks that her husband knows best.
 “We have never had to regret any decision that he has taken, even when it was on my behalf” .
 Akhila had a love affair with Hari, a north Indian young man. It was a diminutive love affair though they made physical love several times. Akhila suddenly broke this relationship. She says,
 “Hari this is goodbye I will never see you again” .
 Because he was younger than her and she was also anxious what people and society would think if this love affair would be disclosed? Ahila desides to remain single .  In the concluding part of the novel Akhila is a changed and revolutionary woman with full of strength and she also enjoys sexual pleasure with a stranger. “Akhila is lust”

MARGRET SHANTHI (2)

Margret Shanthi is portrayed as a well educated and gold medalist in Chemistry but still dominated by her husband, Ebenzer Paulraj who is a school principal, gives first importance to her career rather than her desires. He never tries to respond to her feelings. Margret wants to do doctorate but he always compels her to become a teacher. He tells her to cut her long hair because it doesn’t suit her.  As a good wife she always obeys her husband but a deep burst of storm comes in her life when she conceives and her husband tells her to abort their first baby as revealed by her,
“He dismissed me as someone of no significance” .
  Against her own wish she aborts her baby. “Abortion is considered a revolting crime to which it is indecent even to refer” .
 When she was going to abort her baby, her husband wished her All the Best.  “For the first time, I felt angry. All the best! What did he mean by that? Was I going to write an exam or recite a poem? Was I going to run a race or perform an experiment? All the best for what? I had nothing to do but lie there while they scraped my baby off the inside of my womb” 
These words strikes in her heart like an arrow as these words are spoken to somebody when one is going to do some good work. Her husband does not find any fault in suggesting her to abort her first baby as if she would be doing a good work.
“Men tend to take abortion lightly; they regard it as one of the numerous hazards imposed on women by malignant nature” .
 After the abortion a type of disintegration comes in their marriage, as Margret wants to take revenge for her insult. For the sake of her family and the male dominating society in which she lives, she doesn’t allow herself to leave him, so she chooses another method to destroy his self respect and ego. She starts feeding him with oily food, till he curves into a stout and becomes fatty. Her revolting spirit has been shown by the novelist,
 “God didn’t make Ebenzer Paulraj a fat man. I did. I, Margret Shanthi, did it with the sole desire for revenge”
She changed Ebenzer into a fat man and now he was almost fit for nothing and slowly he became fattier as unable to shift and systematize anything.  His school was not even his under now. As the time passed Margret again conceives and gives birth to a baby girl. Marriage is not a union between two bodies but a union between two souls.

PRABHA DEVI (3)

 Prabha Devi is one who is very pretty and conscious about her beauty. She doesn’t want to conceive as she tells her husband.
 “There are many ways in which pregnancy can be avoided. Jagdeesh stiffened in shame and embarrassment. What kind of a woman was she? My parents are getting impatient. They talk of a grandchild all the time. We have been married for almost a year now,
 Margret and Prabha Devi both are facing the same problem; both are trapped under same dilemma as Margret is one who wants to conceive a child while Prabha doesn’t want to be a mother. One who is going against her own desire to abort her child and the other has to conceive just to fulfill the desire of her husband. Here the husbands have been shown indifferent  towards the feelings and desires of their wives.
Here Anita Nair presents gender bigotry in Indian society where a girl is still considered inferior to a boy. Nair has expressed the pleasure of Prabha’s mother when she gave birth to her,
 “This one daughter of hers gave her more pleasure than all her four sons put together” 

MARIKOLANTHU (4)

Marikolanthu is a low -caste woman. When she was young she was raped by Murugesan, an upper- class man and one of the relatives of her employers. A ferocious result of the rape came when she became pregnant.  She is forced to marry a rapist “a filthy animal’’ . She refused to marry him. She is a victim but everyone blames her. 
 “The girl must have led him on and now that she is pregnant she’s making up a story about rape”.
The word rape is the most awful word in women’s life. When a girl is raped she feels ashamed as she is helpless and unable to protect her own self. When Marikolanthu is raped, instead of showing sympathy, everyone blames her. Here Anita Nair tries to delineate the psychology of all the members male or female in society find fault with the woman who has been exploited as she herself is regarded responsible for her tragedy.  After that disastrous incident, Marikolanthu spends her days in a phase of complete loss of identity. After some time she gave birth to a male child, Muthu. She is unable to love her baby Muthu, an outcome of that hateful incident and of her helplessness and nothingness. One day she sold him to Murugesan. “It was time Murugesan paid for what he did to me” .He didn’t know that this boy was his own son. At this moment, Marikolanthu was flared with happiness and she has a proper sagacity of satisfaction in her mind. When Murugesan died, his body was not fully burnt so Muthu has been given the task to take care of his father’s dead body. In these circumstances she accepts her son and starts enjoying the most important part of her life ‘The Motherhood’.
“Becoming a mother in her turn, the woman in a sense takes the place of her own mother: it means complete emancipation for her” 

JANAKI (5)

Janaki is the eldest lady in all of six ladies in Coupe. She was married at the age of eighteen and her husban When Janki got married she didn’t know the real meaning of marriage and her responsibilities as a wife in a family where she is supposed to play the role of an ideal Indians housewife.
 “All through her girlhood marriage was a destination she was being groomed for”.
 From her childhood she had been taught that a husband is an equal to God and it is her duty to serve him “He is your husband and you must accept whatever he does” .She realizes that her life is not her own life as it’s wholly dedicated to her husband and to her son.  She is always snagged between home and society
 “Indian women are deeply linked to social, cultural, religious and regional features and their identity is thus multi-layered”
.Throughout her life Janki’s husband has been an outline for her and never leaves her alone.
“I am a woman who has always been looked after. First there was my father and my brothers; then my husband. When my husband is gone, there will be my son. Waiting to take off from where his father left” .
The entire life of an Indian woman is fully dedicated to her husband and to her family. d was of twenty –seven. It was an arranged marriage.

SHEELA (6)

Sheela is the youngest girl in the compartment.  She is only fourteen years old and hardly recognizes the meaning of masculinity and femininity. But Sheela has to face the sourness of the femininity as her friend Hasina’s father tries to seduce her.  He swabs her upper lips with his forefinger. “Thereafter, Sheela mopped her face with a hanky each time she entered Hasina’s home” .Sexual exploitation of a girl child displays the dark side of masculinity. These incidents are humiliating and insulting for women. Most of the time girls feel themselves unable to share these shameful experiences with their family members or others. Sheela decides never to go to Hasina’s house. Sheela loves her Grandmother Achamma so intensely that she always thinks about her Grandmother’s death. Her grandmother was one who at the age of sixty nine was self confident and courageous. She was considered as a model for Indian women, a manifestation of femininity. Every night before going to sleep, she speckled her face and neck with calamine lotion. She thinks, “If she were to die in her sleep, she would do so looking her best. Her children, of course, dismissed it as a sign of age and its concurrent eccentricity.” Sheela called her as Ammumma. When she dies, Sheela speedily eradicates the thin stands from her chin and brushed almost all weak hair on her head. She rubbed one of her aunt’s foundation into her face and decorated her with heavy jewellery. 

KARPAGAM (7)

Karpagam is a widow and a childhood friend of Akhila. She has courage to wear the kumkum and colorful clothes. Akhila was surprised when she knew this and asked her about her family reaction on this.
“I don’t care what my family or anyone thinks. I am who I am. And I have as much right as anyone else to live as I choose. Tell me, didn’t we as young girls wear colorful clothes and jewellery and a bottu? It isn’t a privilege that marriage sanctions. The way I look at it, it is natural for a woman to be feminine. It has nothing to do whether she is married or not or whether her husband is alive or dead”.
Akhila is fascinated and says “Karpagam, are you real or are you some goddess who has come here to lead me out of this” .Through her work she conveys that women want to make themselves free from the restraints of tradition. She wants to live a free life in male dominating society.

CHARACTER IN THE NOVEL

1.     Katherine Webber – An Anglo- Indian girl , a colleague of Akhila
2.     Hari - Akhila’s affair
3.     Ebenz Paulraj – principal and Husband of Margaret shanthi
4.     Jagdeesh – Prabha Devi’s husband
5.     Murugesan – upper – class man raped Marikolanthu
6.     Muthu – Marikolanthu’s son
7.     Hasina – Sheela’s friend
8.     Achamma – Sheela’s grandmother . Sheela calls her as Ammumma.
9.      Padma – Akhila’s sister
10.   Narayan and Narasimman – Akhila’s brothers
11.  Niloufer –Akhila’s Colleague
12.    Pattabhi Iyer – Akhila’s Father
13.   Koshy—Superior to Akhila’s father
14.  Karpagam – a widow and a childhood friend of Akhila
15.  Siddharth—Janaki’s son
16.    Jaya – Siddharth’s wife and Sarasa Mami’s wife
17.    Prabhakar—Janaki’s husband
18.    Akhilandeswari or Akhila – protagonist
19.    Margaret Shanthi – a chemistry teacher
20.    Prabha Devi—An accomplished house wife
21.  Janaki—Wife of Prabhakar
22.   Sheela—A fourteen year old girl
23.   Marikolanthu—The daughter of a poor farmer, who works in the Chettiar Kottai. She is an unwed mother.
24.   Shanmugam – Marikolanthu’s father , a poor farmer
25.   Sridhar – the second son of Chettiar
26.   Sujata Akka – The wife of Sridhar
   

BY -   S. YUVALAKSHMI