A glimpse at the flourished Downtrodden: with reference to Urmilla Pawar’s The Fourth Wall
Brindha S 1, Dr. Ramya S 2, T. Sathyaseelan 3
1Assistant Professor, Department of English, KPR Institute of Engineering and Technology, Coimbatore - 641047.Email Id: [email protected]
2Assistant Professor (Sr.G), Department of English, KPR Institute of Engineering and Technology, Coimbatore - 641047. Email Id: [email protected]
3 Assistant Professor, Department of English, Rathinavel Subramanian College of Arts & Science, Coimbatore- 641 402.Email: [email protected]
Abstract
Literature signals and signifies the crux of human existence. Needless to say, this mirror reflects the motive and meaning of the multitude’s behavior. Dalit literature indicates not only the trials and tribulations of the Dalits but also paves way for emancipation and empowerment. This paper illustrates the marginalization of dalits and also explores the measures that leads to the empowerment of Dalits, through Urmilla Pawar’s short Story, The Fourth Wall. Simple in narration but profound in thoughts, the story deals with the life of the Dalits under new light. The paper also deals with the concept so Neo Dalitism and Dalit Consciousness as pictured in the short story. Having traced the principles and ideologies upheld by Pawar in the short story as well as in real life, it also highlights the portrayal of women characters. The paper also unravels the spiritual and religious perceptions of Pawar.
Key words: Neo Dalitism, Dalit Consciousness, Political Consciousness
Literature signals and signifies the crux of human existence. Needless to say, this mirror reflects the motive and meaning of the multitude’s behavior. As human beings evolve, Literature also undergoes the metamorphosis, showcasing the vivid patterns of changes. In its portrayal, literature expresses the emotional, intellectual, social and national quotient of the human survival. These parameters design the survival of the human existence and determine the nature of their progressive life. The critique of literature is sharp and crude as it not only professes the decent side of life, but also professes the brutal side. To be specific, Dalit literature elucidates in detail, the discrimination and humiliation experienced by the community and it also manifests the fine development of the masses.
“Caste is not a physical object like a wall of bricks or a line of barbed wire which prevents Hindus from co- mingling and which has therefore, to be pulled down. Caste is a notion; it is a state of mind” says, Dr. B. R. Ambedkar in his book Annihilation of Caste. (Ambedkar 46).
Dalits are people who are underprivileged and marginalized due to caste and are subjected to discrimination and oppression. Dalits were addressed as ‘Depressed Classes’, as they fall under the lowest strata in the hierarchy of Hindu religion. This term was first used by Anne Besant in her article in the Indian Review during 1909 and it was in use till 1930. Later, Narasimha Mehta coined the term Harijans, meaning Children of God and it was then used by Mahatma Gandhi during 1933. During 1935, in the Government of India Act, the term ‘Scheduled Castes’.
The word ‘Dalit’ is originated from the Sanskrit, meaning broken, downtrodden or oppressed.
The word was first used by the social reformer Mahatma Jyotirao Phule. The word became popular in 1970’s and it was used in Hindi and Marathi. The Dalit panthers are those who work actively for the betterment of Dalits and in their manifesto, they included scheduled
caste, scheduled tribes, labourers without lands and nomadic tribes as Dalits. “To me Dalit is not a caste. He is a man exploited by the social and economic traditions of this country. He does not believe in God, rebirth, soul, and holy books teaching separatism, fate and heaven because they have made him a slave. He does believe in humanism. Dalit is a symbol of change and revolution” (Trivedi 3), remarks the revered editor of Asmitadarsh, Professor Gangadhar Pantawane, in Eleanor Zelliot’s compilation.
As the father of Dalit movement, Dr. B. K. Ambedkar formed the ‘Bahishkrit Hitkarmi Sabha’
for the development and empowerment of Dalits. After joining hands with Mahatma Phule, Dr.
B.R. Amdedkar incepted a political movement that fought for the liberty and equality of the Dalits. This movement played a vital role in creating a literature for voicing their trials and tribulations and to seek identity of their own. According to the editor of the Poisoned Bread, Arjun Dangle, “Dalit Literature is not simply literature, it is associated with a movement to bring change. It represents the hopes and ambitions of a new society and new people.” (Trivedi 3)
In the year 1958, the term Dalit literature came into use in the first conference of Maharashtra Dalit Sahitya Sangha. This literature founded its roots in Marathi language and later Hindi, Tamil and Malayam. Initially, Dalit literature manifested the discrimination of the downtrodden; misery of the minorities, alienation of the agitated, poverty of the exploited, humiliation of the homeless, and injustice of the underprivileged. Later, it took shape as a declaration of benefits being misused for monetary growth and sustainability. The most prominent writers who sketched the life of Dalits were Omprakash Valmiki, Sharankumar Limbale, Namdeo Dhasal, Daya Pawar, Bama, Imayam, Meena Kandasamy, Baburao Bagul, Sivakami. One such noteworthy Dalit writer is Urmilla Pawar, whose craftsmanship has never failed to carve a niche in the hearts of the readers.
Urmilla Pawar is a renowned Dalit writer and an activist of feminist movements in India. She was born in 1945; grew up at the Konkan coast, near Mumbai. Her contributions in Marathi language for the freedom and equality of the Dalits have been remarkable and are hailed as rich in criticism against exploitation. Needless to say, her magnum opus and autobiography, Aidan was well received and she won the Laxmibai Tilak award, which she denied to accept.
Nevertheless, the book was translated in English by Wandana Sonalkar and was titled as The Weave of My Life: A Dalit Woman’s Memoirs. Further, her literary career shines with few other heart wrenching short stories namely, Kavach and A Childhood Tale and The Fourth Wall.
The short story, Chauthi Bhint in Marathi was translated as The Fourth Wall by Gail Omvedt.
It is a brief portrayal of an aged Dalit named, Pandurang Medhakar also called Nana, a retired postal department employee. The story traces how his life turns upside down when he offers his retirement fund of Rs.50,000 to the welfare society of Dalits named, Dr. Babasaheb Ambedkar Cultural Centre, during his felicitation of his retirement from postal service. His philanthropic act creates commotion in the family, leaving him unnoticed by the family members and as a result he gets severed from the family after facing severe criticism.
Nonetheless, his determination makes him get enrolled in an old age home, where people get suspicious of his caste and try to outcast him. At the end of the story, after hearing the words
Simple in narration but profound in thoughts, the story deals with the life of the Dalits under new light. When Dalit novels and short stories highlight the discrimination, oppression, poverty and miseries of the Dalits, this short story throws light upon the upliftment, social responsibility and family situation of the Dalits. In contrast to the works that illustrate the humiliation and exploitation of women, this short story picturizes women as a strong persona with an optimistic outlook about life. This short story is an evidence to validate that the plight of Dalits has changed across time and there has been room for growth and development of Dalits. The changed scenario of Dalits gives rise to a literature that is anew and fresh. This approach of literature that focusses on the diverse aspects of Dalits’ life style is called ‘Neo- Dalitism’.
In their article, ‘Neo Dalitism: A New Approach to Dalit Literature’, Yatendra Kumar Nigam and Vijay Kumar Roy, define this concept as follows,
Contrary to the Dalitism which is to highlight the disabilities and difficulties and seek sympathy, Neo Dalitism is to question the very literature which justifies this caste hierarchy.
It is to develop not only a healthy (not sympathy) image for dalit but an image of appreciation for the people who have been unjustly victimised over the centuries and endured it. It is not to artistically portray the sorrows, tribulations, slavery, degradation and poverty endured by Dalits, but question them and rewrite them from dalit points of view. It is critically examining and pointing out the flaws on the basis of which this caste system is based. (Nigam 264)
As quoted earlier, the story stories imply Neo- Dalitism vividly through various factors. This is evident when the story opens; Nana alias Pandurang Medhekar, the protagonist, after denouncing and leaving the house, calls for a taxi to go to the old aged home. This is so unnatural in the lives of the dalits. They have never bequeathed the opportunity to hire or travel by taxi as it is considered that they are crossing of their limits.
This particular episode breaks the conservative norms imposed on the dalits and proves the fact that the community has experienced a remarkable change in their survival, thereby leading to a change in the Dalit consciousness. The shift and transition of the community paves way for comprehending the Dalit consciousness; the consciousness from being identified as a suppressed group to being recognized as an emerging cult. The empowerment of Dalits is obvious through their education, economical independence, employability and empathy towards others, despite empathizing their self. The Dalit consciousness is broadly understood by the political consciousness of the dalits. The political consciousness implies quest for identity, knowledge transmission from one generation to the other, awareness of the social, economic, political and cultural conditions of the society, relationship with other communities and bringing about a positive change in the society through a visionary movement.
The political consciousness of Pandurang Madhekar substantiates the Dalit consciousness. He proves to be a self- made man, whose consciousness not only makes his family stable but also makes his community stable after donating his retirement amount of Rs.50,000 to Dr.
Babasaheb Ambedkar Cultural Centre. Rather than being identified as a commoner in Dalit community, he wants to identify himself as an employed dalit who could contribute to his community. Just before donating the sum of money his mind is filled with thoughts so profound, “Up till now you’ve done a lot for yourself and your children. Your sons are well-
educated. They’ve got high-class employment. Do something for the society. Now is the time!
Get up! Speak!” His feelings overwhelmed him.” (Pawar 25).
The fact that the Dalit community is towards bringing a positive change in the society is obvious when Madhekar’s sons initiate Dr. Babasaheb Ambedkar Cultural Centre. They make this initiative in order to create awareness about their plight and also establish relationship with other people. Inviting Tatyasaheb Chitale, who has been elected as MP, to felicitate him on the occasion of their father’s retirement; is a thoughtful act of empowerment. Through this it is evident that the short story also implies the characteristics of Neo Dalitism, where the victim is portrayed as victorious and is offered a healthy image.
However, Pawar never fails to elucidate the familial issues of people, in particular the dalits.
Despite having enough education and a decent job, the sons of Madhekar fall a prey to avarice.
They even consider themselves as deprived and underprivileged, and expect that they have to be empowered by people of other community rather by a dalit. They even argue with Madhekar for donating the retirement amount saying, “whatever modest help we get for the centre we collect through donations. And we had a big campaign. We invited big donors. Why? Because isn’t theirs the real responsibility to bring up people from the bottom? Shouldn’t you at least see what those big people have to give?” (Pawar 25) Through illustrating the characters of Madhekar’s sons, Pawar provides a glimpse of those majority who are ruled by the thought of being suppressed and manipulated.
Discrimination is like a dust that is prevalent in the air. Though people overlook its presence, the ones who are allergic, is always affected. It is necessary to dust the society from being messy out of discrimination. Pawar even demonstrations the discrimination of the dalits when Madhekar joins the old aged home. Everyone there seems to be curious about knowing the caste of Madhekar. His roommates Joshi, Savant and Rasal, who are brahmins, feel compelled about being aware of Madhekar’s caste. “Joshi who had gone after him to wash his face began to dig for information. ‘Medhekar, are you named after your village Medha? Are people from every caste and religion from there named Medhekar or only you…?’ “No, everyone from Medha has the surname Medhekar’… Savant, who was shaving, looked at Medhekar in the mirror and said, “But what castes and religions are in Medha? That is how many of your people?” (Pawar 28 &29)
Despite having questioned and taunted in several ways to reveal the caste of Madhekar, he never let others know of his caste. He feels that he would be forced to leave the old aged home, if he discloses his caste. Rather than being identified as a Dalit, he wishes to be identified as a homeless old man. This consciousness of projecting oneself as a dalit, reveals the implication of political consciousness; that is the consciousness of being aware of the social and cultural conditions and of making an effort to establish relationship with the brahmin community.
Another such episode that reveals the political consciousness is when Madhekar remains quiet about hanging the portrait of a deity on the fourth wall. The short story in fact revolves around the idea of the roommates that praying to God is a necessary daily routine that one should perform failing which one’s life serves no purpose. Each of the roommates choose a wall for them to hang their deity’s portraits, and they leave the fourth wall for Madhekar to do the same.
Contradictory to the perceptions of his roommates, Madhekar pays no heed to their words of hanging the deity’s photo and dissents from paying the poja fees of Rs. 50.
Soon after this act of disagreement, Madhekar is considered to be an outcaste and the housemates start judging him. People abuse him for staying there and criticise him for making them uncomfortable. “Seeing Nana, they seemed to smile, and then suddenly ignoring him they kept talking among themselves. When Nana went to pick up his meal from a table near the door, he over-heard a discussion behind him. ‘Yes, yes, that’s right, that’s how we should act.
He should be shown his place. And if at each place there’s a stop-sign, so what? Really, we are the ones who are insulted.’ (Pawar 30) Even after facing such discrimination neither did Madhekar hang the portrait of the deity nor did he disclose his identity.
This attitude of being unmindful to the theological aspects of life is actually a trait of the writer herself. Madhekar acts as a mouthpiece in voicing out the perceptions of Pawar. According to Pawar, the act of doing puja by chanting mantras reveals the ideology of one particular religion and fails to enhance the spiritual dimension of a human being. This is evident through a real- life incident of Pawar. When Pawar was bestowed with the honorary Laxmibai Tilak award by the Maharashtra Sahitya Parishad (Maharashtra Literary Conference) for her masterpiece Aaidan, she rejected the award through a letter saying that the prayer to goddess Saraswathi during the start of the program attempted to highlight the symbols and metaphors of a single religion. This short story The Fourth Wall is certainly a manifestation of the above-mentioned idea of Pawar, that spirituality and religion are two different entities and praying to a God need not hold relevance to a particular religion. Pawar’s political consciousness of being ware of the social and cultural conditions is neatly reflected through the portrayal of Madhekar.
Dalit literature is an expression of the exploitation of women. In other words, it mainly focuses on the harassment and ill- treatment of women, where are depicted as victims. In contrast to the stereotyped portrayal of women characters in Dalit literature, Pawar represents women in a new light, where women emerge strong with sublime thoughts and views. This feature of Neo Dalitism is quite obvious through the aunt portrayed by Pawar. The aunt of Madhekar represents women of empowerment who guides Madhekar and supports him at the end. When Madhekar was marginalised by everyone at the old aged home, it is she who kindles the courage in him to come out of the home. While handing over the invitation of the inauguration of a
‘Balwadi’ (Kindergarten) at their home town, she shows Madhekar, the photos of Phule, Ambedkar and Buddha in the invitation, promising that the villagers will make Madhekar as the president of the event. She enlightened and motivated Madhekar not to give money, but to give knowledge and wisdom to the youngsters of Dalit community. Thus, Pawar displays women as a beacon of support to men.
With those thought provoking words of his aunt, Madhekar finally makes up his mind to leave the home. While leaving he utters to his roommates and inmates of the house,
“Friends, do you remember that you told me to do one experiment? Keep a god’s photo in front of me and meditate. I did that experiment, and should I tell you what I became conscious of? I became conscious that this was my body. This, my sight that is fixed on the photo is still good. I was conscious that my memory is still very good and I can hear quite well, and the blood running through me gave me the consciousness that I am whole and active. Folks, I am very grateful to you. I learned from you that my body is not worn out. It can still do much work and so I have decided from today that I should use my
body for others until I die.” (Pawar 31) Having been enlightened by the words of his aunt he fixes the portraits on his fourth wall, but of not deity but of Mahatma Phule, Dr. Ambedkar and Lord Buddha. Finally, while make a move Mahdekar points out that rather than praying God, he would seek solace by serving the community. Through this action, Pawar signals the thought that the service these great souls are more appealing for the dalits than the portraits of Gods.
The writing caliber of Pawar puts forth not only the characteristics of Neo Dalitism but also the political consciousness of Dalits. The story voices out a new dimension of a Dalit’s life that is not frequently touched or told. Needless to say, The Fourth Wall is just an account of Pawar’s ideologies and principles. The craft of Pawar is a must read for those dalits who consider that the people from other community must empower them. With a simple and a neat narration, Pawar has shown new horizons that are unseen and untravelled. No doubt, the words of Pawar articulates emancipation of Dalits in a different perspective and dalits are left with no choice but to read between the lines to comprehend the idea.
References:
[1] Ambedkar, B R. Annihilation of Caste with a Reply to Mahatma Gandhi. Gowtham Book Centre, 1936.
[2] “Dalit Consciousness.” Sociologyguide.com, www.sociologyguide.com/basic- concepts/dalit-consciousness.php.
[3] K, Priscilla. “Dalit Consciousness and Literature.” 23 Dec. 2017, www.conferenceworld.in.
[4] Nigam, Yatendra Kumar, and Vijay Kumar Roy. “Neo Dalitism: A New Approach to Dalit Literature.” International Journal of Innovative Research and Studies, vol. 3, no. 8, pp 262–
269., file:///D:/Brindha's Doc/New folder/NeoDalitismPaperwithYKNigam.pdf.
[5] Parameswaran, Pari. “Dalit Consciousness in Society and Literature: An Overview.”
Language in India, Paradigms of Marginality in Literature - Exploring the Nuances, Sept.
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[6] Pawar, Urmilla. “Chauthi Bhint (The Fourth Wall).” Manushi , 122nd ed., Manushi , pp.
23–31.
[7] Trivedi, Darshana. “Literature of Their Own: Dalit Literary Theory in Indian Context.”
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