Linguistics and Literature Studies 2(6): 173-177, 2014 http://www.hrpub.

org
DOI: 10.13189/ lls.2014.020603

The Self - Effacing Role of Woman in Shashi Deshpande’s

Selected Short Stories

Sujata Bamane

Department of English, Fergusson College, Pune- 411004,University of Pune, Maharashtra, India

*Corresponding Author: bamanesujata@yahoo.co.in

Copyright © 2014 Horizon Research Publishing All rights reserved.

Abstract Human civilization is divided into two parts-

Man and Woman. Woman occupies nearly half of the a) Shashi Deshpande as an Indian Author
civilization. Hence, woman and her travails, predicaments, The widely-acclaimed and an award winning woman
turbulences have become the core part of Indian Writing in novelist, Shashi Deshpande was born in Dharward,
English in the hands of writers like Nayantara Sehegal, Anita Karnataka, India in 1938. She is the second daughter of
Desai, Shashi Deshpande ,Jai Nimbkar and so on. Indian famous Kannada dramatist and Sanskrit scholar Adya
society, being a male-ordained society causes the Rangacharya. She completed her graduation in Economics
self-effacing portrayal of woman in literature. Shashi from Bombay’s (now Mumbai) Elphinston College. She
Deshpande, the most widely acclaimed Indian woman writer holds a degree in Law too. Being interested in journalism, for
in English majorly probes into woman’s issues through her a couple of months she worked as a journalist for the
novels and short stories. The present paper is a modest magazine, ‘Onlooker’. She began her writing career in 1970
attempt to analyze the image of woman in a self-denial mode after the birth of her two sons with a collection of
as reflected in some of her short stories. The paper aims at short-stories, The Legacy published in 1978. Her stories first
studying the four selected short stories from her short story appeared in the magazines like, Femina, Eve;s Weekly, The
collection, The Intrusion and Other Stories (1993), which Illustrated Weekly of India, Deccan Herald, J.S. etc. Till the
deals with a variety of women with their both bashful and date, she wrote twelve novels of which her first novel, Roots
forceful appearances. The First Lady depicts a story of a and Shadows though published after Dark Holds No
woman, who is agreed with her husband’s decision to adopt a Terrors won prize for the best Indian Novel of 1982-83 For
celibate lifestyle on the ground that the purpose of sex i.e. her another novel, That Long Silence, she received Sahitya
‘procreation’ is served. Being a wife of a political leader, she Akademi Award in 1990 and Padmashri Award in 2009. She
desires to be in her withdrawn status, as she is fed up with has four books for children and a book of essays to her credit.
wearing masks in different occasions. The Intrusion, a title Shashi Deshpande, though was familiar with both Marathi
story deals with a newly married woman, whose self respect as her mother’s language and Kannda her father’s language,
is dishonored by the appalling treatment by her husband, she chose English for her writing. Being an Indian woman
whom she thinks as an intruder. The Wall is Safer reflects a writer, she specifically writes about Indian life in Indian
woman, who is willing to resign into isolation and rejoices at language. The beauty of Indianized English has been
the wall as a symbol of safety. The woman in Death of Child enhanced through her writing that comes in various forms of
appears to be little different comparing to the previous three literature. Deshpande’s advocacy of ‘Indian English’
female characters. Her being uninhibited while taking a primary aims at unravelling the inner landscape of
decision of abortion finally makes her diffident and weary of man-woman relationship in India. She explicitly talks of her
herself. Thus, Shashi Deshpande emphasizes the desire to write of ‘people, who were waiting inside her.’ The
self-effacing role of female protagonists in the short stories other women writers for instance, Nayantara Sehegal, Anita
under study in a trenchant manner. Desai and Jai Nimbkar too have contributed to Indian
Keywords Woman, Male-Ordained Society, Writing in English with their major thrust upon the study of
Predicaments, Self-Denial Role fluctuating status of Indian middle-class woman through
their novels and short-stories.

b) Woman: Her Role and Subservient Status

1. Introduction Human civilization is divided into two parts- Man and
174 The Self -Effacing Role of Woman in Shashi Deshpande’s Selected Short Stories

Woman. Nearly half of the world’s population has been of through her writings, Shashi Deshpande provides an insight
woman right from the dawn of civilization till today. The into various aspects of man-woman relationships and
cultural height of a society depends on the kind of status the emphasizes the self-effacing role of female characters in a
society offers to a woman, that is, the attitude particularly of trenchant manner. The Times of India (1993: cover page)
the male members of the society to a woman. Though summarizes Deshpande’s art of studying human
changing, the condition of woman in India is still far from relationship:
satisfactory on account of sex, caste, class and traditional Deshpande’s finely-honed sensibility infuses the delicate
value system. In the conventional caste system of India, interplay of human relationship with
woman herself has always been looked upon as a caste.
a realistic ambience which serves to crystallize our
Vrinda Nabar (1995:50) says, ‘To be caste as woman in
thoughts, and all at once we see in her a
India is to live out this triple-layered existence.’ The
disparity in the role of man and woman in various walks of natural extension of our own cognitive parameters.
life has always created a social imbalance all over the world.
While examining the sex-role, the society has been
compared to a bird, whose two wings Prabhati Mukherjee
3. Methodology
(1978:01) says, In order to understand the image and role of woman in
… represent two sexes, the balanced and smooth general, it is useful to study her projection in short stories in
functioning of which are absolutely necessary to both particular. Four of Shashi Deshpande’s short stories are
these cases. The two wings, to continue to simile are very selected for the present research study. The textual analysis
ill proportioned in India, which prevent Indian society is further strengthened by the supportive references of a few
from progressing smoothly. feminist critics’ observations. For instance, the image of
Woman’s social role and her social status are interrelated. women in the stories under study can be studied to certain
That is why woman’s role, which is, what the ‘mighty’ sex extent within the framework designed by a feminist thinker,
wants her to do that determines her status. Therefore, the Simon de Beauvoir. Her famous writing, The Second Sex
status of woman has to be seen in the socio-cultural, (1997) is a record of an argument on the ‘interpersonal
economic, political and psychological contexts. It is the relationships between man and woman.’ In the introduction
woman who is supposed to be the custodian of social and to this writing, Beauvoir (1997:13) probes into a question,
religious conventions. Apart from being a machine of ‘What is woman?’ Further she states, ‘It is not nature that
perpetuation, she also has to be ‘a show-piece.’ It seems that defines woman; it is she who defines herself by dealing with
even God has done a great injustice to woman by attributing nature on her own account in her emotional life.’ (P-69) In
to her the function of reproduction. In case of woman, her interpretation of Beauvoir’s feminist thoughts, Vidyut
subordination results usually from factors like Bhagwat (2004: 63) says: ‘… the woman is the other against
sex-discrimination, economic dependence, traditional which man defines himself as a subject. In expressing men’s
customs, unfavorable environment, ignorance, superstitions, otherness, women are denied their own individuality.’ In
prejudices, and so on. These factors conspire together to short in a man-made society, man exists with a consideration
mould her mental makeup in such a way that she has to of ‘transcendence’ as ‘normal’ behavior whereas woman
accept the subordinate role in the given socio-economic normally is compelled to exist with alienated, passive and
context. Hence the study of woman and her travails, immanent position.
predicaments, turbulences in comparison with that of man as
projected in literature could offer the proper diagnosis of the
ailment. 4. Discussion

a) The First Lady

2. Aim of the Study
The first story under study is The First Lady that depicts a
The present paper is a modest attempt to analyze the image story of a woman, who is agreed with her husband’s decision
of woman in a self-denial mode as reflected in some of to adopt a celibate lifestyle on the ground that the purpose of
Deshpande’s selected short stories from her haunting sex i.e. ‘procreation’ is served. Being a wife of a political
collection of short stories, The Intrusion and Other Stories leader, she desires to be in her withdrawn status, as she is fed
(1993). She explores a world blighted with ‘despair and up with wearing masks. The story opens with woman
unhappiness’ of women characters through these stories. The protagonist’s rejection to the compliment given by her
paper aims at studying the four selected short stories which servant. Instead, in a self-consoling mode she signifies her
deal with a variety of women with their both bashful and own physical appearance. Further she denies the beauty of
forceful appearances. The analysis carries its focus on the mind and says, ‘… what can you expect when you’re nearly
deepening inner urge of women characters to break out their seventy?’ (P-1) In spite of her disappointment with the
predestined roles completely. However, they are forced to ‘austere atmosphere of her husband’s home’, she appears to
face their failure due to their self-effacing stand. Thus, be a satisfied receptive of public award of ‘gracious and
 Linguistics and Literature Studies 2(6): 173-177, 2014 175

dignified first lady’ which is rather mechanical. She views Woman protagonist in the story appears to be a victim of
their life ‘too exalted, too uplifted for too long a time.’ (P-5) ‘body-mind’ conflict. Even ‘the slightly glazed look’ in her
Hence, she finds everything around ‘futile and meaningless’. husband’s eyes she finds revealing and demanding.
She denies life that ‘has lost its meaning because it relates to Neverthless, she desperately tries to underline as Vidyut
nothing but one’s own petty concerns.’ (P-4) Her judgment Bhagwat (2004:81) expresses in her analysis of Simon de
of their present life invites her husband’s aggression. Beauvoir that ‘body and sexuality are concrete expressions
Consequently, quite meticulously she trains herself to attend of existence.’ Woman in the story reads out her husband’s
the more ‘irksome’ public functions. It seems to be true what eyes and narrates her understanding, ‘… how unaware he
Simon de Beauvoir (1997: 19) investigates about women: was of everything but of what was to happen between us,
They don’t authentically assume a subjective attitude making us truly husband and wife.’ (P-38) She finds it to be
the women’s effort has never extremely startling and reproachful to see him, ‘a nameless
stranger’ calling out her name with so familiarity. She is
been anything only what men have been willing to grant,
reluctant to acknowledge his attempt of maintaining the
they have taken nothing, they
mundane affair of husband-wife relationship which is still
have only received. under construction. Out of fear of rejection that crouches in
For instance, wife in the present story easily gets agreed her, she eats all her fears of ‘exposing the mysteries of her
and grants her husband ‘a kind of perverse satisfaction in body to him.’ (P-40) However, her stammering attempt to
denying oneself pleasure, a kind of hysterical urge for convey their little acquaintance with each other receives a
self-denial..’ (P-7) As a matter of fact, her husband’s cold, little violent reaction by her husband, whereas for her it
decision of abstaining from sexual relations deprives her brings ‘a light-hearted sense of escape.’ (P-40) Her relieved
from the male touch and reduces her to long for the same by state of existence evaporates only to throw her into a daylight
her husband’s most devoted disciple. As per the reference of humiliating fact of his merciless bodily assault on her. She
Juliet Millett’s evaluation of Freud cited by Vidyut cries out ‘not for the physical pain’ but she says, ‘for the
Bhagwat (2004:208), it can be stated that the husband in the intrusion into my privacy, the violation of my right to myself.’
present story promotes a Freudian theory (actually blamed (P-41) Thus, the husband draws the boundaries of her sphere
by Millett) of ‘treating the female character as a static thing even within marriage, where the sexual act for man is legal
ordained by nature.’ And further as Freud intents ‘to limit but for woman it is rape. In order to support woman
female life to the sexual-reproductive level and also to empowerment, it is necessary to consider a feminist thinker,
persuade us that women live at a low cultural level because Tiffany K. Wayne’s (2008:50) discussion of Margaret
this is the only level that is possible for them.’ Fuller’s views on the need for the acknowledgement of
woman’s need and ability to pursue her own individual
B) The Intrusion interest expressed in her writing, Woman in the 19th
Century:
The Intrusion, a title story deals with a newly married
What woman needs is not as a woman to act or rule, but as
woman, whose self-respect is dishonored by the appalling
a nature to grow, as an intellect to discern, as a soul to live
treatment by her husband, whom she thinks as an intruder.
freely and unimpeded …
The story is replete with no of instances where a newly
married woman on the day of her honeymoon is made aware C) The Wall Is Safer
of her sexual role with which she is forced to identify herself.
Gradually, she gets sickened with the fear of impending The third story, The Wall is Safer reflects a woman
disaster in the form of ‘sex’ with a man, whom she hardly protagonist, Hema, who is willing to resign into isolation and
knows. Her husband’s emphasizing ‘complete privacy’ rejoices at the wall as a symbol of safety. The story is a
deadens her almost with ‘Fears, Tremors.’ Consequently, she depiction of highly subservient woman, whose existence is
averts her face from the beds. Woman in the story is shown genuinely valued not more than as a cook by her husband,
as a silent acquiescent, as she accepts the marriage proposal Vasant. Her conscious understanding of their visitors’ look
quite mutely. Friendship, which is the basis of husband-wife without any expectation or their getting uneasy with her
relationship, is found lacking here. In her narration, it is quite underscores her denial to enforce her existence. She narrates,
perceptible to sense her withdrawal feeling at the moment ‘Unnatural, forced smiles flicker across their faces as they
she admits her denial ‘to hear the intimate sounds that were talk to me, staying on even when there is no need. They turn
seeping through the thin walls and flimsy door.’ (P-38) She away from me with almost audible sighs of relief …’ (P-116)
finds it almost disgusting to see herself ‘with a strange man The presence of woman protagonist is made visible ‘not out
in strange room.’ (P-39) It becomes quite convincing when of choice, but because there was none.’ (P-116) Sushama, a
she narrates, ’And at present we were not friends, not friend of Hema perfectly describes the woman-narrator,
acquaintances even, but only a husband and wife.’ (P-38) ‘And here she is, the woman behind the successful man, the
The acceptance of her husband-wife relationship intensifies one to whose support you owe everything, the devoted,
her denial for her autonomous being as friend, woman or an self-effacing wife …’ (P-120) The word, ‘self-effacing’
individual. keeps Hema awake, completely aware. She relates the ‘cry of
176 The Self -Effacing Role of Woman in Shashi Deshpande’s Selected Short Stories

the new-born’ to the ‘triumphant assertion of being. Of that life?’ (P-45) She denies determining the concrete
existing’ (P-120), which she lacks and consequently allows significance of motherhood for woman, as she says
her cry to be stifled. Deshpande demonstrates her female emphatically, ‘Children stifle your personality. You become
protagonist to be a victim of self-abnegation. For instance, in just a mother- nothing more.’ (P-45)
one of the incidents, Hema eats out her genuine expression Shashi Deshpande demonstrates the woman in Death of
and invalidates her professional status as lawyer with a Child with a different kind of framework of her mental
indistinct utterance: ‘Oh, I’m all right as I am. After all, I’m a constitution. She is shown infuriated at the thought of
good housewife now.’ (P-119) carrying the load of thrust maternity for the third time in less
Vidyut Bhagwat (2004:65) refers O’Brien, who than four years. Woman in the story supports the authorial
underscores the importance of ‘the notion of a real female thought of individualism by bringing some change from
collective consciousness…’ which in fact is missing but being ‘inessential’ to ‘essential’. She expresses her thought:
enables women to build up a strategy of cooperating each ‘Now I want to reserve some part of myself, my life.’ (P-47)
other in ‘resisting male domination.’ Accordingly if judged The story carries author’s message that becomes valid in the
Shashi Deshpande, it is noticed that she hardly allows the course of time that a sexual love of wife should not be
notion of ‘female collective consciousness’ to be developed mingled with her desire of motherhood. Though, it is
in her stories. For instance, Sushama’s initiation to resist the understood that ‘motherhood’ confers the honorable status to
male-domination is sternly rejected by the female Indian woman, woman in the story educates herself and the
protagonist. The acceptance and the confession of her readers too with the other side of it. We are told
unexploited position can clearly be marked when she finally that-‘Marriage, childbirth destroy something in a woman. A
blurts out on Sushama’s cross-examination, ‘For God’s sake, reserve. A secretiveness. An innocence.’ (P-46) However,
Sushama, don’t make me out to be one of your exploited her being uninhibited while taking a decision of abortion
women. I know all my legal rights.’ (P-120) She veils her finally makes her diffident and weary of herself as she carries
being contemptuous at her husband, Vasant’s coming home ‘the ghost of ‘her’ dead child in an unconscious mind.
‘tired, satisfied and full of what he has been doing.’ (P-120) However, Coomi S. Vevaina (1996: 265) explicitly states,
She unnecessarily judges his being callous and reasons out in ‘We all are born to a state of unconscious wholeness. …’
her narration, ‘Maybe, it’s because I have nothing to offer in
exchange. The small cash of my day seems paltry in
comparison.’ (P-120) She resists unfolding the truth of the 4. Conclusions
‘tenuous peace’ she has built around herself. She is shown
contended with her walled state and status. She limits her In short women projected by Shashi Deshpande in above
scope for flourishing as a transcendental being with her stories get adapted with the given circled life. They don’t
secret agreement with building a fence with a ‘wall’ rather believe in extermination of their male-counterparts for their
than with a ‘barbed wire.’ Thus, she throws away her sense comfortable moving. The problem with her women is to
of aspiration to be a part of the outer universe. Despite the reject the mask and give a full vent to their unconscious
awareness of the truth that the danger is lying inside, she feelings and assign themselves a conscious and visible status.
resigns to the world inside the wall, which hassles her However, the stability for their life is offered at the cost of
subjectivity. suppression of their individuality. T.N. Geetha (1991:170)
summarizes the position of women characters in
Deshpande’s stories, ‘Her stories suggest that compromise is
d) Death of a Child
what characterizes the life of the common run of the
The fourth story under study is Death of a Child. The middle-class women in India.’ Hence it causes to develop the
female protagonist in the story appears to be little different self-withdrawal tendency. However, the author supports the
comparing to the previous three female characters. The story need of surpassing the polarization and attaining the new
begins with woman’s appearing with agitated mind due to ‘human wholeness.’
unwanted pregnancy. She expresses a strong aversion at the
thought of pregnancy, which for her husband it is nothing
more than a matter to be managed rather than to be
welcomed. His ‘reasonableness’ is reflected when he says,
‘But if it has happened, why not accept it’? (P-44) Though REFERENCES
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