Living or Dead by Rabindranath Tagore | Jibito o Mrito | Summary | Plot | Characters | Themes | Symbolism | Questions Answers | Free PDF Download – Easy Literary Lessons
Living or Dead
“Jibita o Mrita” (Living or Dead) is a Bengali-language short story written by Rabindranath Tagore in 1892.
The story revolves around Kadambini, a widow with no child. She has a great bond with her brother-in-law’s son. One night, suddenly she dies. The four Brahmins take her for ritual cremation. But she regains her life back and walks out. She does not go to her home as she thinks herself a ghost. With the help of a man, she comes to her friend Jogamaya’s home. But she leads an uneasy life and so she has to leave the company of Jogamaya. She returns at her own in-laws home. But the family members do not take her as a living being. At last, after committing suicide, she proved that she was alive.
The story combines the two unique forms of literature: the supernatural tale and the ironic parable. But it is not a perfect supernatural story. The existence of Kadambini is supernatural. It depicts the idea of being stuck between life and death. In short, it deals with the mystery of death. The punch line of the story is “Kadambini moriya praman korilo, she more nai” (By dying, Kadambini proved that she did not die).
Plot
1
The widow in the house of Saradasankar, the Ranihat zemindar, had no kinsmen of her father’s family. One after another all had died. Nor had she in her husband’s family any one she could call her own, neither husband nor son. The child of her brother-in-law Saradasankar was her darling. Far a long time after his birth, his mother had been very ill, and the widow, his aunt Kadambini, had fostered him. If a woman fosters another’s child, her love for him is all the stronger because she has no claim upon him-no claim of kinship, that is, but simply the claim of love. Love cannot prove its claim by any document which society accepts, and does not wish to prove it; it merely worships with double passion its life’s uncertain treasure. Thus all the widow’s thwarted love went out to wards this little child. One night in Sraban Kadambini died suddenly. For some reason her heart stopped beating. Everywhere else the world held on its course; only m this gentle little breast, suffering with love, the watch of time stood still for ever.
Lest they should be harassed by the poike, four of the zemindar’s Brahmin servants took away the body, without ceremony, to be burned. The burning-ground of Ranihat was very far from the village. There was a hut beside a tank, a huge banian near it, and nothing more. Formerly a river, now completely dried up, ran through the ground, and part of the watercourse had been dug out to make a tank for the performance of funeral rites. The people considered the tank as part of the river and reverenced it as such.
Taking the body into the hut, the four men sat down to wait for the wood. The time seemed so long that two of the four grew restless, and went to see why it did not come. Nitai and Gurucharan being gone, Bidhu and Banamali remained to watch over the body.
It was a dark night of Sraban. Heavy clouds hung In a starless sky. The two men sat silent in the dark room. Their matches and lamp were useless. The matches were damp, and would not light, for all their efforts, and the lantern went out.
After a long silence, one said: “Brother, it would be good if we had a bowl of tobacco. In our hurry we brought none.”
The other answered: “I can run and bring all we want.”
Understanding why Banamali wanted to go (From fear of ghosts, the burning-ground being considered haunted.), Bidhu said: “I daresay! Meanwhile, I suppose I am to sit here alone!”
Conversation ceased again. Five minutes seemed like an hour. In their minds they cursed the two, who had gone to fetch the wood, and they began to suspect that they sat gossiping in some pleasant nook. There was no sound anywhere, except the incessant noise of frogs and crickets from the tank. Then suddenly they fancied that the bed shook slightly, as if the dead body had turned on its side. Bidhu and Banamali trembled, and began muttering: “Ram, Ram.” A deep sigh was heard in the room. In a moment the watchers leapt out of the hut, and raced for the village.
After running aboat three miles, they met their colleagues coming back with a lantern. As a matter of fact, they had gone to smoke, and knew nothing about the wood. But they declared that a tree had been cut down, and that, when it was split up, it would be brought along at once. Then Bidhu and Banamali told them what had happened in the hut. Nitai and Gurucharan scoffed at the story, and abused Bidhu and Banamali angrily for leaving their duty.
Without delay all four returned to the hut. As they entered, they saw at once that the body was gone; nothing but an empty bed remained. They stared at one another. Could a jackal have taken it? But there was no scrap of clothing anywhere. Going outside, they saw that on the mud that had collected at the door of the but there were a woman’s tiny footprints, newly made. Saradasankar was no fool, and they could hardly persuade him to believe in this ghost story. So after much discussion the four decided that it would be best to say that the body had been burnt.
Towards dawn, when the men with the wood arrived they were told that, owing to their delay, the work had been done without them; there had been some wood in the but after all. No one was likely to question this, since a dead body is not such a valuable property that any one would steal it.
2
Everyone knows that, even when there is no sign, life is often secretly present, and may begin again in an apparently dead body. Kadambini was not dead; only the machine of her life had for some reason suddenly stopped.
When consciousness returned, she saw dense darkness on all sides. It occurred to her that she was not lying in her usual place. She called out ” Sister,” but no answer came from the darkness. As she sat up, terror-stricken, she remembered her death-bed, the sudden pain at her breast, the beginning of a choking sensation. Her elder sister-in-law was warming some milk for the child, when Kadambini became faint, and fell on the bed, saying with a choking voice: “Sister, bring the child here. I am worried.” After that everything was black, as when an inkpot is upset over an exercise-book. Kadambini’s memory and consciousness, all the letters of the world’s book, in a moment became formless. The widow could not remember whether the child, in the sweet voice of love, called her ” Auntie,” as if for the last time, or not; she could not remember whether, as she left the world she knew for death’s endless unknown journey, she had received a parting gift of affection, love’s passage-money for the silent land. At first, I fancy, she thought the lonely dark place was the House of Yama, where there is nothing to see, nothing to hear, nothing to do, only an eternal watch. But when a cold damp wind drove through the open door, and she heard the croaking of frogs, she remembered vividly and in a moment all the rains of her short life, and could feel her kinship with the earth. Then came a flash of lightning, and she saw the tank, the banian, the great plain, the far-off trees. She remembered how at full moon she had sometimes come to bathe in this tank, and how dreadful death had seemed when she saw a corpse on the burning-ground.
Her first thought was to return home. But then she reflected: “I am dead. How can I return home? That would bring disaster on them. I have left the kingdom of the living; I am my own ghost!” If this were not so, she reasoned, how could she have got out of Saradasankar’s well-guarded zenana, and come to this distant burningground at midnight? Also, if her funeral rites had not been finished, where had the men gone who should burn her? Recalling her death-moment in Saradasankar’s brightly-lit house, she now found herself alone in a distant, deserted, dark burning. ground. Surely she was no member of earthly society! Surely she was a creature of horror, of ill-omen, her own ghost!
At this thought, all the bonds were snapped which bound her to the world. She felt that she had marvellous strength, endless freedom. She could do what she liked, go where she pleased. Mad with the inspiration of this new idea, she rushed from the but like a gust of wind, and stood upon the burning. ground. All trace of shame or fear had left her. But as she walked on and on, her feet grew tired, her body weak. The plain stretched on endlessly; here and there were paddy-fields; sometimes she found herself standing knee-deep in water.
At the first glimmer of dawn she heard one or two birds cry from the bamboo-clumps 6y the distant houses. Then terror seized her. She could not tell in what new relation she stood to the earth and to living folk. So long as she had been on the plain, on the burning-ground, covered by the dark night of Sraban, so long she had been fearless, a denizen of her own kingdom. By daylight the homes of men filled her with fear. Men and ghosts dread each other, for their tribes inhabit different banks of the river of death.
3
Her clothes were clotted in the mud; strange thoughts and walking by night had given her the aspect of a madwoman; truly, her apparition was such that folk might have been afraid of her, and children might have stoned her or run away. Luckily, the first to catch sight of her was a traveller. He came up, and said: “Mother, you look a respectable woman. Wherever are you going, alone and in this guise?”
Kadambini, unable to collect her thoughts, stared at him in silence. She could not think that she was still in touch with the world, that she looked like a respectable woman, that a traveller was asking her questions.
Again the min said: “Come, mother, I will see you home. Tell me where you live.”
Kadambini thought. To return to her father-in-law’s house would be absurd, and she had no father’s house. Then she remembered the friend of her childhood. She had not seen Jogmaya since the days of her youth, but from time to time they had exchanged letters. Occasionally there had been quarrels between them, as was only right, since Kadambini wished to make it dear that her love for Jogmaya was unbounded, while her friend complained that Kadambini did not return a love equal to her own. They were both sure that, if they once met, they would be inseparable.
Kadambini said to the traveller: “I will go to Sripati’s house at Nisindapur.”
As he was going to Calcutta, Nisindapur, though not near, was on his way. So he took Kadambini to Sripati s house, and the friends met again. At first they did not recognise one another, but gradually each recognised the features of the other’s childhood.
“What luck!” said Jogmaya. “I never dreamt that I should see you again. But how hate you come here, sister? Your father-in-law’s folk surely didn’t let you go!”
Kadambini remained silent, and at last said: “Sister, do not ask about my father-in-law. Give me a corner, and treat me as a servant: I will do your work.”
“What?” cried Jogmaya. “Keep you like a servant! Why, you are my closest friend, you are my –” and so on and so on.
Just then Sripati came in. Kadambini stared at him for some time, and then went out very slowly. She kept her head uncovered, and showed not the slightest modesty or respect. Jogmaya, fearing that Sripati would be prejudiced against her friend, began an elaborate explanation. But Sripati, who readily agreed to anything Jogmaya said, cut short her story, and left his wife uneasy in her mind.
Kadambini had come, but she was not at one with her friend: death was between them. She could feel no intimacy for others so long as her existence perplexed her and consciousness remained. Kadambini would look at Jogmaya, and brood. She would think: ” She has her husband and her work, she lives in a world far away from mine. She shares affection and duty with the people of the world; I am an empty shadow. She is among the living; I am in eternity.”
Jogmaya also was uneasy, but could not explain why. Women do not love mystery, because, though uncertainty may be transmuted into poetry, into heroism, into scholarship, it cannot be turned to account in household work. So, when a woman cannot understand a thing, she either destroys and forgets it, or she shapes it anew for her own use; if she fails to deal with it in one of these ways, she loses her temper with it. The greater Kadambini’s abstraction became, the more impatient was Jogmaya with her, wondering what trouble weighed upon her mind. Then a new danger arose. Kadambini was afraid of herself; yet she could not flee from herself. Those who fear ghosts fear those who are behind them; wherever they cannot see there is fear. But Kadambini’s chief terror lay in herself, for she dreaded nothing external. At the dead of night, when alone in her room, she screamed; in the evening, when she saw her shadow in the lamp-light, her whole body shook. Watching her fearfulness, the rest of the house fell into a sort of terror. The servants and Jogmaya herself began to see ghosts.
One midnight, Kadambini came out from her bedroom weeping, and wailed at Jogmaya’s door: “Sister, sister, let me lie at your feet! Do not put me by myself!”
Jogmaya’s anger was no less than her fear. She would have liked to drive Kadambini from the house that very second. The good-natured Sripati, after much effort, succeeded in quieting their guest, and put her in the next room.
Next day Sripati was unexpectedly summoned to his wife’s apartments. She began to upbraid him: ” You, do you call yourself a man? A woman runs away from her father-in-law, and enters your house; a month passes, and you haven’t hinted that she should go away, nor have I heard the slightest protest from you. I should cake it as a favour if you would explain yourself. You men are all alike.”
Men, as a race, have a natural partiality for womankind in general, foe which women themselves hold them accountable. Although Sripati was prepared to touch Jogmaya’s body, and swear that his kind feeling towards the helpless but beautiful Kadambini was no whit greater than it should be, he could not prove it by his behaviour. He thought that her father-in-law’s people must have treated this forlorn widow abominably, if she could bear it no longer, and was driven to take refuge with him. As she had neither father nor mother, how could he desert her? So saying, he let the matter drop, far he had no mind to distress Kadambini by asking her unpleasant questions.
His wife, then, tried other means of her sluggish lord, until at last he saw that for the sake of peace he must send word to Kadambini’s father-in-law. The result of a letter, he thought, might not be satisfactory; so he resolved to go to Ranihat, and act on what he learnt.
So Sripati went, and Jogmaya on her part said to Kadambini “Friend, it hardly seems proper for you to stop here any longer. What will people say? “
Kadambini stared solemnly at Jogmaya, and said: “What have I to do with people?”
Jogmaya was astounded. Then she said sharply: “If you have nothing to do with people, we have. How can we explain the detention of a woman belonging to another house?”
Kadambini said: “Where is my father-in-law’s house?”
“Confound it!” thought Jogmaya. “What will the wretched woman say next?”
Very slowly Kadambini said: “What have I to do with you? Am I of the earth? You laugh, weep, love; each grips and holds his own; I merely look. You are human, I a shadow. I cannot understand why God has kept me in this world of yours.”
So strange were her look and speech that Jogmaya understood something of her drift, though not all. Unable either to dismiss her, or to ask her any more questions, she went away, oppressed with thought.
4
It was nearly ten o’clock at night when Sripati returned from Ranihat. The earth was drowned in torrents of rain. It seemed that the downpour would never stop, that the night would never end.
Jogmaya asked: “Well?”
“I’ve lots to say, presently.”
So saying, Sripati changed his clothes, and sat down to supper; then he lay dawn for a smoke. His mind was perplexed.
His wife stilled her curiosity for a long time; then she came to his couch and demanded: “What did you hear?”
“That you have certainly made a mistake.”
Jogmaya was nettled. Women never make mistakes, or, if they do, a sensible man never mentions them; it is better to take them on his own shoulders. Jogmaya snapped: “May I be permitted to hear how?”
Sripati replied: “The woman you have taken into your house is not your Kadambini.”
Hearing this, she was greatly annoyed, especially since it was her husband who said it. “What! I don’t know my own friend? I must come to you to recognise her! You are clever, indeed!”
Sripati explained that there was no need to quarrel about his cleverness. He could prove what he said. There was no doubt that Jogmaya’s Kadambini was dead.
Jogmaya replied: “Listen! You’ve certainly made some huge mistake. You’ve been to the wrong house, or are confused as to what you have heard. Who told you to go yourself? Write a letter, and everything will be cleared up.”
Sripati was hurt by his wife’s lack of faith in his executive ability; he produced all sorts of proof, without result. Midnight found them still asserting and contradicting. Although they were both agreed now that Kadambini should be got out of the house, although Sripati believed that their guest had deceived his wife all the time by a pretended acquaintance, and Jogmaya that she was a prostitute, yet in the present discussion neither would acknowledge defeat. By degrees their voices became so loud that they forgot that Kadambini was sleeping in the next room.
The one said: “We’re in a nice fix! I tell you, I heard it with my own ears!” And the other answered angrily: “What do I care about that? I can see with my own eyes, surely.”
At length Jogmaya said: “Very well. Tell me when Kadambini died.” She thought that if she could find a discrepancy between the day of death and the date of some letter from Kadambini, she could prove that Sripati erred.
He told her the date of Kadambini’s death, and they both saw that it fell on the very day before she came to their house. Jogmaya’s heart trembled, even Sripati was not unmoved.
Just then the door flew open; a damp wind swept in and blew the lamp out. The darkness rushed after it, and filled the whole house. Kadambini stood in the room. It was nearly one o’clock, the rain was pelting outside.
Kadambini spoke: “Friend, I am your Kadambini, but I am no longer living. I am dead.”
Jogmaya screamed with terror; Sripati could speak.
“But, save in being dead, I have done you no wrong. If I have no place among the living, I have none among the dead. Oh! whither shall I go?”
Crying as if to wake the sleeping Creator in the dense night of rain, she asked again: ” Oh! whither shall I go? “
So saying Kadambini left her friend fainting in the dark house, and went out into the world, seeking her own place.
5
It is hard to say how Kadambini reached Ranihat. At first she showed herself to no one, but spent the whole day in a ruined temple, starving. When the untimely afternoon of the rains was pitch-black, and people huddled into their houses for fear of the impending storm, then Kadambini came forth. Her heart trembled as she reached her father-in- law’s house; and when, drawing a thick veil over her face, she entered, none of the doorkeepers objected, since they took her for a servant. And the rain was pouring down, and the wind howled.
The mistress, Saradasankar’s wife, was playing cards with her widowed sister. A servant was in the kitchen, the sick child was sleeping in the bedroom. Kadambini, escaping every one’s notice, entered this room. I do not know why she had come to her father-in-law’s house; she herself did not know; she felt only that she wanted to see her child again. She had no thought where to go next, or what to do.
In the lighted room she saw the child sleeping, his fists clenched, his body wasted with fever. At sight of him, her heart became parched and thirsty. If only she could press that tortured body to her breast! Immediately the thought followed: “I do not exist. Who would see it? His mother loves company, loves gossip and cards. All the time that she left me in charge, she was herself free from anxiety, nor was she troubled about him in the least. Who will look after him now as I did?”
The child turned on his side, and cried, half-asleep: “Auntie, give me water.” Her darling had not yet forgotten his auntie! In a fever of excitement, she poured out some water, and, taking him to her breast, she gave it him.
As long as he was asleep, the child felt no strangeness in taking water from the accustomed hand. But when Kadambini satisfied her long-starved longing, and kissed him and began rocking him asleep again, he awoke and embraced her. “Did you die, Auntie?” he asked.
“Yes, darling.”
“And you have come back? Do not die again.”
Before she could answer disaster overtook her. One of the maidservants coming in with a cup of sago dropped it, and fell down. At the crash the mistress left her cards, and entered the room. She stood like a pillar of wood, unable to flee or speak. Seeing all this, the child, too, became terrified, and burst out weeping: ” Go away, Auntie,” he said, “go away!”
Now at last Kadambini understood that she had not died. The old room, the old things, the same child, the same love, all returned to their living state, without change or difference between her and them. In her friend’s house she had felt that her childhood’s companion was dead. In her child’s room she knew that the boy’s “Auntie” was not dead at all. In anguished tones she said: “Sister, why do you dread me? See, I am as you knew me.”
Her sister-in-law could endure no longer, and fell into a faint. Saradasankar himself entered the zenana. With folded hands, he said piteously: “Is this right? Satis is my only son. Why do you show yourself to him? Are we not your own kin? Since you went, he has wasted away daily; his fever has been incessant; day and night he cries: `Auntie, Auntie.’ You have left the world; break these bonds of maya (Illusory affection binding a soul to the world). We will perform all funeral honours.”
Kadambini could bear no more. She said: “Oh, I am not dead, I am not dead. Oh, how can I persuade you that I am not dead? I am living, living!” She lifted a brass pot from the ground and dashed it against her forehead. The blood ran from her brow. “Look!” she cried, “I am living!” Saradasankar stood like an image; the child screamed with fear, the two fainting women lay still.
Then Kadambini, shouting “I am not dead, I am not dead,” went down the steps to the zenana well, and plunged in. From the upper storey Saradasankar heard the splash.
All night the rain poured; it poured next day at dawn, was pouring still at noon. By dying, Kadambini had given proof that she was not dead.
CHARACTERS
Kadambini:
Kadambini is the protagonist of the story. She is a widow with no child. She has a great bond with her brother-in-law’s son. One night, suddenly she dies. The four Brahmins take her for ritual cremation. But she regains her life back and walks out. She does not go to her home as she thinks herself a ghost. With the help of a man, she comes to her friend Jogamaya’s home. But she leads an uneasy life and so she has to leave the company of Jogamaya. She returns at her own in-laws home. But the family members do not take her as a living being. At last, after committing suicide, she proved that she was alive. Kadambini’s character symbolizes the struggle of widows in society and their desire for recognition and dignity.
Mrs. Jogmaya:
Jogamaya is Kadambini’s friend. Kadambini comes to her home after leaving the cremation ground. However, Kadambini leads an uneasy life and so she has to leave the company of Jogamaya. Jogamaya’s character represents the societal norms and conventions of the time. She is a symbol of the societal expectations and pressures faced by women. Mrs. Jogmaya embodies traditional values and societal expectations. She reacts with fear and skepticism to Kadambini’s return, representing the conservative mindset.
Jogmaya’s character symbolizes the resistance to change and the struggle against unconventional ideas. Her reactions highlight the clash between the established order and the unexplained, contributing to the story’s exploration of societal tensions.
Mr. Sripati:
Sripati is a more progressive and open-minded individual. He shelters Kadambini without judgment and is willing to consider supernatural possibilities. Sripati represents the changing ethos of the time, challenging traditional beliefs. His character serves as a foil to Jogmaya, reflecting the evolving mindset in society and encouraging readers to embrace new perspectives.
Shatish (the little boy):
Shatish is Kadambini’s nephew, displaying enduring affection for her even after her death. His character emphasizes the purity of love. Shatish represents innocence and the timeless nature of genuine relationships. His unwavering connection with Kadambini transcends societal norms, underlining the enduring power of emotional bonds.
The In-Laws:
Kadambini’s in-laws are minor characters in the story. They do not take Kadambini as a living being when she returns at her own in-laws home. Their character represents the societal norms and conventions of the time. They symbolize the societal norms that marginalize and oppress widows.
Themes
“Living or Dead” by Rabindranath Tagore is a powerful exploration of societal norms and feminist themes. The story is set in late nineteenth and early twentieth-century Bengali society, a time when widows, especially young ones, were marginalized and their needs ignored.
The protagonist, Kadambini, is a childless widow who is treated as a sub-human by society. She is only remembered because she was dispensable even though she seems to be the only person who adores her nephew Shatish and looks after him while his mother spends her time socializing and playing card games.
Kadambini’s sudden death and subsequent resurrection symbolize her struggle against these societal norms. Her life in her in-law’s place was far from happy, and her only comfort was the little boy Shatish, the sole male heir to the property. When she goes into a comatose state after a bout of heart pain, she wakes up to find herself evacuated from her home and at the cremation grounds.
She realizes that her family had not even decided to give her a decent funeral and have done away with her even though she was not exactly dead but was in a sort of suspended animation. She was dead while alive because she was a childless young widow in Bengali Hindu society. Now she was deemed dead by all the living males who made the rules for women like her, and suddenly she felt exhilarated and free from all social bonds and conventions.
Tagore uses the words ‘living’ and ‘dead’ to indicate how Kadambini is hesitant to regard herself as in the world of the living or the dead. The story is a critique of the social and cultural issues concerning widowhood, especially the position of young widows in Bengali society. It highlights how a woman, once termed a widow and childless by society, is disregarded and her needs ignored1. Society looks down upon her, and worse deems her a sub-human.
In conclusion, “Living or Dead” is a powerful critique of societal norms and conventions that oppress widows and highlights their struggle for recognition and dignity. Through the character of Kadambini, Tagore brings to light the struggles faced by widows in society and their desire for recognition and dignity.
Symbolism
Rabindranath Tagore’s “Living or Dead” is rich in symbolism, which he uses to critique societal norms and highlight the struggles of widows in Bengali society. Here’s a detailed analysis of the symbolism used in the story:
1. Kadambini’s Death and Resurrection: Kadambini’s death and subsequent resurrection are symbolic of her struggle against societal norms and expectations1. Her death represents the societal death of a widow, who is often disregarded and treated as a non-entity. Her resurrection symbolizes her defiance against these norms and her struggle for recognition and dignity. It represents her desire to be seen as a living, breathing individual with her own needs and desires.
2. The Empty Bed: The empty bed in the cremation ground is a powerful symbol of Kadambini’s rejection of societal norms. It signifies her decision to break free from the societal chains that had confined her. The bed, which was meant to be her final resting place, is left empty, symbolizing that Kadambini has chosen to not accept the fate society has imposed on her.
3. The Monsoon and Sravan Season: The monsoon and Sravan season in the story symbolize a time of change and upheaval. It is during this season that Kadambini dies and is resurrected. The monsoon, with its powerful storms, can be seen as a symbol of the turmoil Kadambini experiences in her life. The Sravan season, which is often associated with the divine and the supernatural in Indian culture, underscores the otherworldly nature of Kadambini’s resurrection.
4. The Words ‘Living’ and ‘Dead’: Tagore’s repeated use of the words ‘living’ and ‘dead’ throughout the story serves to highlight the ambiguity of Kadambini’s existence. As a widow, she is treated as if she is dead to society, yet she is very much alive. This constant shifting between the world of the living and the dead symbolizes the uncertainty and marginalization faced by widows in society.
Through these symbols, Tagore critiques the societal norms and conventions that oppress widows and highlights their struggle for recognition and dignity. The story combines the two unique forms of literature: the supernatural tale and the ironic parable. But it is not a perfect supernatural story. The existence of Kadambini is supernatural. It depicts the idea of being stuck between life and death. In short, it deals with the mystery of death. The punch line of the story is “Kadambini moriya praman korilo, she more nai” (By dying, Kadambini proved that she did not die).
Very Short Answer Questions
Q: Who is the author of “Living or Dead”?
A: Rabindranath Tagore.
Q: Who is the protagonist of the story?
A: Kadambini.
Q: What is Kadambini’s relation to the little boy in the story?
A: She is his aunt.
Q: What happens to Kadambini one night?
A: She suddenly dies.
Q: Who takes Kadambini’s body for cremation?
A: Four Brahmin employees of the zamindar.
Q: What happens at the cremation ground?
A: Kadambini regains her life.
Q: Does Kadambini return to her in-laws’ home after her resurrection?
A: No, she does not.
Q: Where does Kadambini go after leaving the cremation ground?
A: She goes to her friend Jogamaya’s home.
Q: How does Kadambini prove that she was alive?
A: By dying.
Q: What is the punch line of the story?
A: “Kadambini moriya praman korilo, she more nai” (By dying, Kadambini proved that she did not die).
Q: What does Kadambini’s death and resurrection symbolize?
A: Her struggle against societal norms and expectations.
Q: What does the empty bed in the cremation ground symbolize?
A: Kadambini’s rejection of societal norms.
Q: What does the monsoon and Sravan season symbolize in the story?
A: A time of change and upheaval.
Q: What do the words ‘living’ and ‘dead’ symbolize in the story?
A: The ambiguity of Kadambini’s existence.
Q: What societal issue does the story critique?
A: The oppression of widows.
Q: What form of literature does the story combine?
A: The supernatural tale and the ironic parable.
Q: Is Kadambini’s existence supernatural?
A: Yes.
Q: What does the story depict?
A: The idea of being stuck between life and death.
Q: What does the story deal with?
A: The mystery of death.
Q: In what language was the story originally written?
A: Bengali.
Q: What awards did Rabindranath Tagore receive?
A: Rabindranath Tagore received the Nobel Prize in Literature in 1913.
Q: In what year was “Living or Dead” written?
A: “Living or Dead” was written in 1892.
Q: How does Kadambini’s character challenge societal norms in the story?
A: Kadambini challenges societal norms by defying the traditional role of a widow and asserting her individuality.
Q: What is the significance of the title “Living or Dead”?
A: The title “Living or Dead”, symbolizing Kadambini’s state of being stuck between life and death.
Q: How does the story “Living or Dead” reflect Rabindranath Tagore’s views on society?
A: The story reflects Tagore’s critique of societal norms, particularly the treatment of widows, and his advocacy for individual freedom.
Q: What literary devices does Rabindranath Tagore use in “Living or Dead”?
A: Tagore uses symbolism, irony, and supernatural elements in “Living or Dead”.
Q: How does the setting of the story contribute to its themes?
A: The setting, particularly the cremation ground and the Sravan season, enhances the themes of death, resurrection, and societal norms.
Short Answer Questions
Q: How does “Living or Dead” compare to other works by Rabindranath Tagore?
A: Like many of Tagore’s works, “Living or Dead” explores societal norms and individual freedom, but it uniquely combines supernatural elements with an ironic parable.
Q: How does the character of Kadambini challenge societal norms in the story?
A: Kadambini, as a character, challenges societal norms through her defiance of the traditional role of a widow. In the societal context of the time, a widow was often treated as a non-entity, almost as if she were dead to society. Kadambini’s resurrection symbolizes her struggle for recognition and dignity, her desire to be seen as a living, breathing individual with her own needs and desires.
Q: What is the significance of the empty bed in the cremation ground in the story?
A: The empty bed in the cremation ground is a powerful symbol of Kadambini’s rejection of societal norms. It signifies her decision to break free from the societal chains that had confined her. The bed, which was meant to be her final resting place, is left empty, symbolizing that Kadambini has chosen to not accept the fate society has imposed on her.
Q: How does the monsoon and Sravan season contribute to the story’s themes?
A: The monsoon and Sravan season in the story symbolize a time of change and upheaval. It is during this season that Kadambini dies and is resurrected. The monsoon, with its powerful storms, can be seen as a symbol of the turmoil Kadambini experiences in her life. The Sravan season, which is often associated with the divine and the supernatural in Indian culture, underscores the otherworldly nature of Kadambini’s resurrection.
Q: What do the words ‘living’ and ‘dead’ symbolize in the story?
A: Tagore’s repeated use of the words ‘living’ and ‘dead’ throughout the story serves to highlight the ambiguity of Kadambini’s existence. As a widow, she is treated as if she is dead to society, yet she is very much alive. This constant shifting between the world of the living and the dead symbolizes the uncertainty and marginalization faced by widows in society.
Q: How does the story “Living or Dead” reflect Rabindranath Tagore’s views on society?
A: The story reflects Tagore’s critique of societal norms, particularly the treatment of widows, and his advocacy for individual freedom. Through the character of Kadambini, Tagore highlights the struggles faced by widows in society and their desire for recognition and dignity.
Q: What is the punch line of the story and what does it signify?
A: The punch line of the story is “Kadambini moriya praman korilo, she more nai” (By dying, Kadambini proved that she did not die). This line signifies the irony of Kadambini’s situation – by dying, she proves that she was alive all along, challenging the societal norms that treated her as if she were dead.
Q: How does the character of Kadambini evolve throughout the story?
A: Kadambini evolves from a marginalized widow to a defiant individual who challenges societal norms. Her death and resurrection symbolize this transformation. She rejects the societal norms that had confined her and chooses to live her life on her own terms.
Q: How does Rabindranath Tagore use irony in the story?
A: Tagore uses irony in the story through the character of Kadambini and her situation. Despite being alive, she is treated as if she is dead by society. Her resurrection after her death further highlights this irony.
Q: What role does the setting play in the story?
A: The setting, particularly the cremation ground and the Sravan season, enhances the themes of death, resurrection, and societal norms. The cremation ground symbolizes the societal death of a widow, while the Sravan season symbolizes a time of change and upheaval.
Q: How does “Living or Dead” compare to other works by Rabindranath Tagore?
A: Like many of Tagore’s works, “Living or Dead” explores societal norms and individual freedom. However, it uniquely combines supernatural elements with an ironic parable, making it stand out among Tagore’s other works.
Q: Discuss the theme of societal norms and their impact on individuals in “Living or Dead”.
A: In “Living or Dead”, Rabindranath Tagore explores the theme of societal norms and their impact on individuals through the character of Kadambini. Kadambini, a widow, is marginalized by society, treated as a non-entity, almost as if she were dead. This societal death is a reflection of the norms and expectations of the time, where a widow was often disregarded and her needs ignored. However, Kadambini defies these norms through her sudden death and subsequent resurrection. Her resurrection symbolizes her struggle for recognition and dignity, her desire to be seen as a living, breathing individual with her own needs and desires. Through Kadambini’s journey, Tagore critiques the societal norms and conventions that oppress widows and highlights their struggle for recognition and dignity.
Q: Analyze the use of symbolism in “Living or Dead”.
A: Tagore uses symbolism extensively in “Living or Dead”. Kadambini’s death and resurrection symbolize her struggle against societal norms. Her death represents the societal death of a widow, while her resurrection symbolizes her defiance against these norms and her struggle for recognition and dignity. The empty bed in the cremation ground symbolizes Kadambini’s rejection of societal norms. It signifies her decision to break free from the societal chains that had confined her. The monsoon and Sravan season symbolize a time of change and upheaval. The repeated use of the words ‘living’ and ‘dead’ highlight the ambiguity of Kadambini’s existence.
Q: How does Rabindranath Tagore portray the character of Kadambini in “Living or Dead”?
A: Kadambini, the protagonist of “Living or Dead”, is portrayed as a strong and defiant individual. Despite being marginalized by society, she refuses to accept the fate imposed on her. Her love for her nephew Shatish, her sudden death, and her subsequent resurrection all highlight her strength and defiance against societal norms. Her journey from death to life symbolizes her struggle for recognition and dignity, her desire to be seen as a living, breathing individual with her own needs and desires.
Q: Discuss the significance of the title “Living or Dead”.
A: The title “Living or Dead” is significant as it encapsulates the main theme of the story – the ambiguity of Kadambini’s existence. As a widow, she is treated as if she is dead to society, yet she is very much alive. The title highlights this paradox and underscores the critique of societal norms present in the story.
Q: How does “Living or Dead” reflect Rabindranath Tagore’s views on society?
A: “Living or Dead” reflects Tagore’s critique of societal norms, particularly the treatment of widows. Through the character of Kadambini, Tagore highlights the struggles faced by widows in society and their desire for recognition and dignity. The story reflects Tagore’s advocacy for individual freedom and his critique of societal norms that oppress individuals.
Essay Type Questions
Q. Kadambini’s plight/the irony and the pathos in the story.
A. Kadambini’s plight in “Living or Dead” is marked by profound irony and pathos, creating a poignant narrative that explores the complexities of societal expectations, personal identity, and the blurred boundaries between life and death.
Irony in Kadambini’s Plight:
Death as Liberation:
Irony: Kadambini’s physical death becomes a form of liberation for her. In returning from the dead, she challenges societal norms and expectations, gaining a newfound freedom.
Significance: The very act meant to confine her (death) becomes the catalyst for her liberation, emphasizing the irony that societal norms and expectations are not absolute.
Veil as a Mask:
Irony: Kadambini uses her veil as a mask to navigate societal expectations, concealing her true identity. The veil, traditionally a symbol of modesty for widows, becomes a tool for Kadambini to challenge norms subtly.
Significance: While the veil is meant to signify conformity, its use by Kadambini is ironic as it becomes a means of asserting her agency and defying expectations.
Return to the Inner Courtyard:
Irony: Kadambini’s return to her in-laws’ house is ironic because it challenges the expected trajectory of a widow’s life. Instead of conforming to societal norms, she confronts her past, defying the conventional expectations placed on widows.
Significance: The irony lies in the fact that her return to the inner courtyard, a symbol of traditional norms, becomes a platform for her rebellion against societal constraints.
Pathos in Kadambini’s Plight:
Loneliness and Alienation:
Pathos: Kadambini experiences profound loneliness and alienation due to her ambiguous state between life and death. She is unable to fully belong to the world of the living or the dead.
Significance: The pathos lies in the poignant portrayal of Kadambini’s emotional isolation, emphasizing the human cost of societal expectations and the struggle for personal identity.
Longing for Connection:
Pathos: Kadambini’s deep affection for her nephew, Shatish, and her desire to connect with him evoke a sense of longing and unfulfilled love. Her attempts to nurture familial bonds are thwarted by societal norms.
Significance: The pathos emerges from the thwarted yearning for connection, highlighting the emotional toll of societal expectations on personal relationships.
Desperation and Self-Harm:
Pathos: Kadambini’s desperate attempts to prove her existence, including breaking a bowl against her brow, reflect her emotional turmoil and the extreme measures taken to make others acknowledge her presence.
Significance: The pathos lies in the portrayal of Kadambini’s desperation, accentuating the emotional struggle of a woman caught between societal expectations and her own sense of self.
Conclusion:
Kadambini’s plight is characterized by the poignant interplay of irony and pathos. The irony arises from the unexpected ways in which death liberates her, while the pathos emanates from the emotional toll of societal expectations, alienation, and unfulfilled connections. The narrative invites readers to empathize with Kadambini’s internal conflict and the profound impact of societal norms on individual lives.
Q. “At the end by dying, kadambini proved that she was not dead.” Kindly explain.
A. The statement “At the end, by dying, Kadambini proved that she was not dead” refers to a critical and symbolic moment in Rabindranath Tagore’s story “Living or Dead”. This paradoxical event occurs when Kadambini, after returning to her in-laws’ house and encountering disbelief about her existence, makes a desperate attempt to prove her aliveness.
Here’s an explanation of the significance behind this statement:
Symbolism of Death and Rebirth:
Kadambini’s physical death earlier in the narrative symbolized a break from societal expectations and norms. However, her return challenged the conventional understanding of life and death.
The act of dying again serves as a symbolic gesture, representing a form of rebirth or renewal. Kadambini, by defying the certainty of death, asserts her existence and challenges societal constructs.
Desperation and Assertion:
Kadambini’s desperate act of self-harm, breaking a bowl against her brow until blood gushes out, is a dramatic attempt to make others acknowledge her presence.
This desperate act serves as a powerful assertion of her existence. By inflicting harm upon herself, Kadambini intends to prove that she can experience pain, thereby emphasizing her living, tangible reality.
Defiance of Societal Norms:
Kadambini’s actions at the end defy societal norms that dictate the expected behavior of widows. The act of breaking the bowl and shedding blood challenges the prescribed role of a grieving widow and emphasizes her agency.
This defiance is a continuation of her rebellion against societal expectations, reinforcing the idea that her existence transcends the boundaries set by societal conventions.
Metaphorical Rejection of Death:
The act of self-harm and shedding blood can be interpreted metaphorically as a rejection of death. Kadambini’s insistence on being alive, even if it means going to extreme lengths, symbolizes her determination to break free from the constraints of societal perceptions.
In conclusion, the statement encapsulates the complex interplay of symbolism and defiance in Kadambini’s character. Her act of dying, in this context, becomes a powerful tool for asserting her existence and challenging societal norms, highlighting the nuanced exploration of life, death, and societal expectations in Tagore’s narrative.
