Redefining Modernity: A Liberal
Feminist Perspective on Marriage in Shashi Deshpande’s “A Liberated Woman”
Antara Biswas
PhD Research
Scholar
Humanities &
Social Sciences
Indian Institute of
Technology Roorkee, India
&
Prof. (Dr.) Rashmi Gaur
Humanities &
Social Sciences
Indian Institute of
Technology Roorkee, India
Abstract:
This paper critically examines the portrayal
of Indian women’s identity and the dynamics of marriage in one of the most
celebrated short stories of Shashi Deshpande, “A Liberated Woman”. It highlights
the redefinition of modernity in India through the depiction of a financially
independent woman, who by refusing to abandon her professional identity and
protecting her children from experiencing the marital discord of parents,
represent a beautiful blend of traditional role and individual agency.
Centering on cultural liberalist theory of feminism, the paper argues that the
protagonist embodies unique facet of the modern Indian woman⸺ one who navigates the social structures of
marriage through sacrifice, self-assurance and reticence without compromising
her identity as a successful doctor. Thus, this study demonstrates how
Deshpande’s story establishes the subjective experience of Indian women, where
traditional responsibilities and modern choices coexist. By redefining notions
of success and independence, particularly in terms of thought, decision-making
and personal autonomy within a marriage, Deshpande presents a fresh perspective
on the modern Indian woman’s identity.
Keywords: Feminism, Indian marriage, Indian women,
Modernity, Sashi Deshpande, Short Story
Introduction
Shashi Deshpande, one of the most preeminent
contemporary Indian writers, feminists and philanthropists, ignites the
complexity of female consciousness within the traditional Indian matrimonial
setting through her exploration of the varied experiences and perspectives of
Indian women in her novels and short stories. Among Indian feminists, Deshpande
holds a significant position, particularly in her portrayal of the Indian
woman’s experience, where the special attributes of unique blend of traditional
responsibilities and modern choices adds a new dimension to the definition of
modern woman in Indian setting. Her narratives are often regarded as sagas of
women’s voices, boldly challenging the celebration of male chauvinism within
Indian marriages. One such story, “A Liberated Woman” (1978), published in Collected
Stories, Volume I, is no exception. Written and revised seventeen
times before reaching its final draft, the story delves into the intricacies of
an Indian woman’s marriage, emphasizing that a woman’s experience encompasses
far more than mere victimization and suffering. The protagonist, though
financially independent and academically sound in the field of medical science,
remains limited by the patriarchal structures of her marriage. Despite her
economic freedom, she endures psychological manipulation and control from her
husband, who also feels threatened by her success. This story highlights the
ongoing dynamics of women’s subjugation in modern India, redefining the notions
of success and independence particularly in terms of thought, ideas, and
decision-making within the institution of marriage. Deshpande’s portrayal of a
woman navigating these varied complexities—while maintaining resilience and a
zeal of individuality without dissolving her marriage—introduces a new
dimension to the identity of the modern Indian woman.
Feminist theory encompasses various schools
of thought, including liberal, Marxist, socialist, radical, and postmodern feminism,
each addressing gender inequality and subordination of women through different
lenses. Liberal feminism focuses on achieving equal rights for women, by
promoting personal autonomy and individualistic approach to gender parity. This
school of thought encourages women working within the existing systems rather
than aiming to dismantle them entirely. In contrast, radical feminism seeks to
combat institutionalized oppression, particularly within marriage, advocating
for women’s fulfillment of equal rights beyond their traditional roles.
Analyzing the short story, “A Liberated Woman” (1978), through a radical
feminist lens might dismiss the protagonist’s lack of collective consciousness
and her nuanced approach to confronting male chauvinism while simultaneously
preserving her traditional roles. Therefore, this paper adopts a cultural
libertarian feminist perspective; a branch of liberal feminism, to closely
examine the story. This perspective aligns with the protagonist’s reliance on
cultural significance while reinforcing individual empowerment and
strengthening freedom of choice in harmony with traditional values.
The protagonist of “A Liberated Woman” is both a successful doctor and a
housewife in a conventional Indian middle-class setting. The story begins with
a conversation between the protagonist and her friend, serving as a confession
of the complex dynamics of her married life, including her dual
responsibilities as a provider and the psychologically burdened partner to her
husband and children. Marriage, as an institution, complements both the
partners, where love is accompanied by responsibilities along with other things
like sacrifice, conflicts, silence and compromise, balanced with personal
agency and liberal choice of expressing own’s individuality. In the story, the
unnamed protagonist plays the dual role of a conventional mother who has an
individual identity and at the same time knows how to deal with sacrifice in a
marriage that enlivens the traditional grounding.
Cultural liberal feminist theory expounds the social responsibilities of
women, and underscores the importance of mutual respect, roles, negotiation,
and communication between genders in society. Emerging in the 1970s as a
response to radical feminism’s call for societal overhaul, cultural liberal
feminism differs by embracing and celebrating traditional female roles and
traits. It aims to foster a distinctive, female-centered culture in a society
and attempts to revalue and redefine attributes that are culturally ascribed to
women, celebrating traditional female traits like maternity, passivity, and
peacefulness in a marriage. The protagonist endures sexual violence, a troubling
reality in Indian marriages that Deshpande does not shy away from criticizing
in the story, believing that the reality of Indian marriage should be reflected
in her writings. The protagonist experiences unsettled agony and repression but
eventually finds her voice, sharing her struggles with a close friend and initiating
an open dialogue. In doing so, she creates a comfortable space where she is
heard and is felt like an individual who protests her marital disparities. Her
friend, acting as a personal counselor, becomes a trusted confidant with whom
she unburdens herself, finding a sense of comfort and belonging.
Judith Butler, in Gender Trouble (1990), argues that women are
“culturally cooked” and thus becomes socially subordinated individuals,
especially in marriages where the partnership is never equally divided. She
further contends that repeated actions play a crucial role in shaping and
embodying an individual’s social identity. In the present story, the
protagonist, conditioned by social norms and draped in traditional Indian
values, participates in repetitive behaviors such as self-blaming. Unaware of
her conditioning by patriarchy, she blames herself for earning more than her husband,
attempting to compensate for her husband’s responsibility to regulate the
household. This self-blame eventually dissents her from radically opposing the patriarchal
framing of society. However, her confession to her friend about her being
beaten and sexually abused by her husband indicates a step towards challenging the
normative constraints of Indian marriage and raising voice against them. In
response to her friend’s question about whether she has disclosed the marital issues
to her children, she asserts her intention to avoid the injustice of breaking
up the family. Her commitment to preserving the marriage reflects the emergence
of a ‘new woman’, as she states, “I belong to a generation that believes in
reticence about certain matters” (Deshpande 44). The word ‘reticence’ implies a
deliberate withholding of information and emotion for the time being, a
characteristic of Indian womanhood that, despite its challenges, can contribute
to positive outcomes when it comes to retaining a relationship like marriage.
This action taken by her can easily be misinterpreted as an acceptance
of violence. However, by choosing not to make any harsh decision, she also
helps her family remain intact and children remain together in order to face
bigger threats of life. Simultaneously, she does not step down or abandon her
professional identity, choosing instead to sustain her social space and assert
her individuality as a strong opinioned modern woman outside the marital bondage.
John Stuart Mill, in his renowned essay, envisions a society where both men and
women embody the virtue of self-sacrifice, depicting, “if women really are
better than men in anything, it surely is in self-sacrifice on behalf of their
family” without losing their own identity (24). In this context, the
protagonist’s “attitude of despairing indifference,” in response to her husband,
portrays her as a woman with more liberal mindset and represents an
unconventional approach to deal with marital challenges. She channels her
verbal rebellion towards the goal of maintaining a happy and cohesive family.
Confident in her dignity and self-assurance, she takes step to protect her
identity both as a traditional Indian mother and as a successful professional
doctor. This strengthens the power of the sacrifice of a modern woman, who
values and creates her own space and identity within marriage, which also
requires consideration, reticence, and sacrifice.
Yogaratnam writes about Deshpande’s portrayal of women, “her women
characters crave identity to establish a space of their own as the ‘new woman’
who is primarily characterized by the spirit of rebelliousness” (8). The term
‘new woman’ was first introduced by Sarah Grand in an influential article in
1894 and later popularized by Henry James in his works. It represents women who
exercise control over their personal, social, and economic lives, encapsulating
a sense of empowerment and independence. In the story, the protagonist proves
to be one of Shashi Deshpande’s ‘new women,’ as she first identifies and
confronts the challenges of balancing her roles as a traditional mother and
wife with that of a successful doctor in professional life. She unravels the
complexities of marriage in relation to her identity and comes to recognize
simply adopting the external markers of modernity, such as wearing Western
attire or engaging in smoking, does not capture the true essence of a modern
woman. Realizing this, she seeks to raise awareness among young women,
emphasizing that true modernity lies in being financially independent of a
woman and a free will and liberal mindset that offers a woman to take
responsibility of a family also. She demonstrates all of her ideas by giving
interviews on modernity and inspiring students to pursue medicine as a career.
Encouraging more and more women to serve for the common people and taking the
responsibilities of their lives is more rewarding and empowering which can be a
true sense of modernity. Therefore, the protagonist’s journey reflects the
deeper connection between personal empowerment and societal influence in
redefining the role of women in society.
Deshpande has been widely influenced by Jane Austen and Virginia Woolf’s
eminence in feminist perspectives. However, her literary voice speaks straight
to the fact that Indian women and their situation can never be equivocal to
those of Western women due to the different social and traditional
conditioning. She keenly observes that modern Indian women face challenges that
are not solely about self-liberation, but rather involve in struggles between
personal autonomy and societal pressures. This situation leaves them entangled
in a difficult conflict, as they strive to meet social expectations while
navigating their identity within the confines of a traditional marriage. While
many critical studies have depicted the protagonist’s position as one of
ambivalence, where she feels trapped between her own desires and her urge to
push the limits against the patriarchal norms in defining her worth and priorities
within marriage, this paper brings a positive insight on this complicated
position as the portrayal of a secured modern woman who prioritizes Indianness
and embraces ‘reticence’ while promoting a unique shade of Indian woman who has
the resilience to protect her marriage. The protagonist sacrifices a little to
look after her children, swallowing some of the poison to shield her children
from the repercussions of the failed marriage and the societal subjugation that
might otherwise affect them.
The ending of the story does not subdue any part of the protagonist’s
identity but instead presents in a redefined version with a conscience of
taking responsibility as a mother and wife who contributes more to a marriage
than a man, defying the conventional expectations of social and patriarchal
norms that demand or expect perfectly balanced marriage of equal contribution
from both partners. Deshpande records her own words in an interview with
Manpreet: “yet there is a struggle within us to be free. This dichotomy between
attachment and the desire to be free is a part of the struggle in life”
(161).This freedom, however, is not antithetical to traditional values or the
family structure in India. Such is the brilliance of Deshpande’s masterfully
crafted female characters, who, though often appear as damsels in distress, but
also embody the qualities of a ‘new woman’ within the evolving landscape of
modern Indian society. Therefore, this study reveals the hidden strength of
Indian women within the present short story, a strength that is often
overshadowed by the grim and suffocating reality faced by Indian women in
marriage.
Deshpande has been enormously appreciated for her contribution to
(re)viewing female individuality while focusing on the existing traditional and
familial values of India. Her intention is clear: she neither pursues any
direct propagandist or sexist resolution, nor advocates for an immediate
solution to the mitigated marriage troubles for the Indian married couples or
even go against the social structure or marriage institution. Her interest lies
in providing women a prominent voice to confront their deprived and troubled
self. In the second section of “The Subjection of Women” (1882), John Stuart
Mill avowedly debates on women’s liberty and equality in marriage:
No doubt there are women, as there are men,
who won’t be satisfied with mere equality of consideration—ones with whom there
is no peace until their own will or wish is the only one that counts. Such
people are a proper subject for the law of divorce (Mill 24).
Mill’s perspective aligns harmoniously with Deshpande’s
contextualization of Indianness. Deshpande does not advocate for a universal
right to equality, as it depends on different cultural values as well. Rather,
she emphasizes the essence of free will and a sense of individuality, which can
be achieved and celebrated through pursuing a career outside the marriage in
order to develop as well sharpen the individual identity. In her 1931 speech,
later published posthumously as “Professions for Women” 1942, Virginia Woolf
discusses the “formidable obstacles” confronted by women in professions such as
doctors or lawyers. Woolf encourages women to embellish their space they have
created for themselves, leaving it upto them to decide how they should
“decorate” or “furnish” it. The answer lies in the elements of autonomous self
and individual consciousness, rooted in familial values which can be achieved
by respecting the traditional ties and believing in them while creating a space
and identity in professional aspect. As Yogaratnam rightly points out, “Shashi
Deshpande is not a militant strident feminist. She believes that we are all
part of society, and we need a family and some ties” (22). Deshpande, as a
nuanced feminist, blesses her female characters with a unique liberal bent of
mind of self-will with a scarred back, allowing them to still take control of
their own lives while figuring the world out accordingly without discarding the
traditional roles inherent to Indian culture.
Conclusion
Therefore, in summation, this essay showcases a shade of modern woman in
the context of Indian women in marriage, prioritizing both her marriage and
individual identity. Being limited to self-assertion in the troubled marital
truth of the protagonist, this paper while upholding her voice against the
prescribed patriarchal norm to minimal exposure to her friend without
dismissing the traditional essence in order to protect her marriage as well as
family. In highlighting the complexity of Indian womanhood and modernity,
Deshpande’s short story reveal a delicate balance between embracing modernity
and upholding the traditional values. Her nuanced portrayal of female
characters underscores the strength found in navigating societal expectations
while asserting personal autonomy and identity.
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