Relationships in The God of Small Things – johnsenglishsite
The relationship between Estha and Rahel is the strongest of the book, as the two are so close as to almost consider themselves one person. Yet when the. Secondly, her relationship with Velutha destroys the one between her and her Rahel cares for Estha while he does chores for her in the. By closely connecting Rahel and Estha's sexual relationship to Ammu and Velutha's, Roy suggests that present-day events converge with the.
By closely connecting Rahel and Estha's sexual relationship to Ammu and Velutha's, Roy suggests that present-day events converge with the events surrounding Sophie Mol's death, and that each strain of the plot has the same thematic resolution.
The two instances of breaking of the Love Laws form a key to understanding the rest of the book; they are both the result and the cause of the novel's action. This is why the narrator writes that the story "really began in the days when the Love Laws were made," back through the colonial and pre-colonial history of Kerala.
A Brief Analysis of the Relation between Estha and Rahel « linguarydberg
The central action of the novel is about breaking them, and the tragedy that results from breaking them. For one thing, therefore, the forbidden love affairs at the end of the novel are crucial because they reveal the disgust and horror with the lovers that is at the root of the violence and tragedy directed against them.
Present-day Western readers probably do not consider inter-caste romance repulsive, but they are quite likely to be shocked and offended by incest.
Incest is as taboo in twenty-first-century Western society as an inter-caste sexual affair would have been in the s, and probably still is, in Kerala.
Roy allows the reader an insight into the emotional basis behind the careful, planned brutality of those dedicated to Kerala's social code, such as the Touchable Policemen who believe that in beating Velutha to death they are enforcing the Love Laws and "inoculating a community against an outbreak.
The reasons for Ammu's turn to Velutha are sharply drawn and inspire a great deal of sympathy when she studies her body, the body of an "inexperienced lover," in the mirror and peers "down the road to Age and Death through its parted strands.
It is also, however, the result of an entire lifetime of abuse, confinement, and imprisonment in a stinting social code. This code not only fails to protect Ammu against her father beating her with a brass vase, her father imprisoning her in the house even when she is an adult, and her husband beating her; it actually leads to these consequences.
When she recognizes that Kerala's social code is in the process of forcing her down Baby Kochamma's path of bitter, joyless confinement to the house until death, she acts in perfectly understandable desperation and attempts to find some brief joy with Velutha.
Similarly, Rahel's affair with Estha can be interpreted as the result of a social code, both in Kerala and in the United States, that has traumatized her and deprived her of her childhood. The "Quietness and Emptiness" that characterize Estha and Rahel stems from Velutha's death and their parents' difficulties in raising them, but also stems from a society that is cruel, harassing, and violent towards a single mother and her children.
From Baby Kochamma to Chacko to the Orangedrink Lemondrink Man, people are prejudiced towards Ammu and her children, and take advantage of them. Rahel and Estha's incestuous contact is their attempt to find comfort in each other, although, unlike Ammu and Velutha, they are not even able to reach a joyful release from their problems, and "what they shared that night was not happiness but hideous grief.
In the course of the book, both Ammu and Rahel experience identity crises whose primary goals are, in a sense, discovering who and what they are in relation to their culture and family.
Rahel travels back to Ayemenem to see her brother, but her journey is perhaps better described as a quest, through her memories, to discover herself and the roots of her history.
The third-person narrator of The God of Small Things is omniscient, and not strictly confined to any particular perspective, but the narrative voice is grounded in Rahel's memories. Events and remembrances weave into the story as they might appear in Rahel's mind, and the novel is structured around her search to understand herself and her past.
A Brief Analysis of the Relation between Estha and Rahel
Rahel's incestuous contact with Estha is so crucial and definitive in this identity search because, as the narrator stresses insistently, her brother is herself. The complementarity of Estha and Rahel is intentionally designed to emphasize the two halves of love.
The idea of fraternal twins representing love is very unorthodox, but makes sense due to their perfect complementarity. Throughout the novel the two are seen together, but when they are apart the terrible emptiness they feel is clear.
When Estha and Rahel are together they are whole, and together they represent a love that is complete. The way the twins feel as though they are one is evidence of their representing love. Throughout the novel and from the scenes that describe Estha, the audience comes to think of Estha as a kind, innocent, and methodical boy. He also takes initiative, and this can be seen in the way he feels protective over Rahel, how he is the one to decide that Sophie Mol, Rahel, and he should run away, and how he is the one to row the boat across the river.
Special Dynamics of Twin Relationship in The God of Small Things by Anna Moriarty on Prezi
It is also clear that Estha is deeply disturbed after being molested by the Orangedrink Lemondrink Man. This incident sticks with Estha for all of his life, and part of the reason he is so deeply disturbed is because molestation is a violation of innocence and love, two things that Estha helps represent in the novel. After Estha is molested he starts to feel sick and goes to the bathroom with Ammu and tries to vomit. Roy sets the background of the story with political issues in India.
In particular, the idea of Touchables and Untouchables is repeated throughout the novel, and the issue evolves with the story.