Anita Desai- The Clear Light Of  Day

National Implication of female autonomy

In spite of the fact that The Clear Light of Day concentrates on the Das family, their battles and discontinuity are reverberated in the bigger account of the recently apportioned country. Tara and Bim both ponder this strain of at various times and battle to rethink themselves and move past the restricting stasis of their home and childhoods.

This try is reflected in the national battle of ladies to accomplish another political and social part in postcolonial India. Bishnupriya Ghosh contends that Desai's "examination of sex and legislative issues consequently reaches out into an evaluate of Indian patriotism, which avoided sexual orientation issues from its political talking points of liberation and restoration"

Tara and Bim both battle for self-sufficiency, attaining it in different degrees; Tara weds to escape Old Delhi and achieve more individual freedom, while Bim's training and independence concede her a certain level of opportunity.

Tara is however, truly reliant on her spouse, and Bim is in charge of Baba. Desai delineates the defenselessness with which Tara and Bim are both well known as a smothering, onerous experience.

Freedom and break are two main thrusts all through the novel. Through deliberately created delineations of the complex goals, battles, and tributes of Tara and Bim, Desai's written work quietly requests another level of self-sufficiency and strengthening for postcolonial Indian ladies, and a reinterpretation of normal residential parts.

Self-sufficiency and Independence

At first Tara and Bim may have all the earmarks of being finished contrary energies: Tara is adolescent and present day, while Bim is more established, in charge of dealing with their more youthful sibling, and as of now staying in their adolescence house. Yet the sisters are more mind boggling, eventually opposing paired definition.

Both Tara and Bim have made yields in their ways towards departure and autonomy, which they must face when they return to their childhoods. Tara wedded to escape Old Delhi, yet is presently subordinate to and reliant on her spouse; Bim declined to give up her obligation to her more youthful sibling, along these lines she surrendered a component of freedom she may have generally achieved.

This complex battle with self-rule and autonomy happens against the background of the recently apportioned country. Desai's written work unpretentiously reprimands the knowledge of weakness, and the novel eventually reaches out to request another part for ladies in postcolonial India, moving past conventional residential parts to another level of political and social strengthening.

Nitika Serene Yonzone

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Salman Rushdie's The Moor's Last Sigh

The Moor's Last Sigh is written in the tradition of the great nineteenth-century novels that combined the fate of a family with the flow of a nation's history. Rushdie makes this explicit by including a diagram of the Da Gama/Zogoiby Family Tree before the Contents page, and then, as Coetzee points out, beginning the novel with the "dynastic prelude" that establishes the characters, directions, source of income and general attitudes of Moraes's forebears. The plurality of this family history is crucial because there is a clash of ideas and positions from the start. The narrative begins in Cochin (now Kerala) as this is the place where the West (Europe) and the East (the Indian Subcontinent) first interacted, and it is the location of the spice trade which led to the relative affluence of the Da Gama line. Rushdie equates pepper with passion (especially in the rush of love the overcomes Abraham Zogoiby and Aurora Da Gama), and draws a distinction between the origins of both love and material success in the realm of a natural resource, and their corruption in the realms of commerce and politics, areas that are debased by their removal from the natural world. Moraes's family is torn by more than the gulf between an agricultural economy and the techno-financial manipulations of the modern world, however. Differences in temperament, demeanor, and desire stem from a more personal, internal matrix of motives that supersede the changes in the social milieu but remain linked to it. The understandable rivalry of separate families forced together by a marriage is compounded by the inner conflicts assailing the main characters.

This is something of an abstraction, but it is a revealing indication of how Rushdie approached the main themes of the book: The tangle of emotional responses to a country as a kind of home; the clash of positive and negative feelings engendered by a difficult relationship with a heterogeneous family, particularly the problems of dealing with a powerful, controlling father; the ways in which a creative imagination—here expressed through an exhibition of the myriad delights of language and the revelatory capacity of painting—can provide both insight and consolation as the loss of home leads to perpetual migration; and as Rushdie's response to the interviewer indicates, the force of love in the course of human affairs, perhaps the most primal energy source in the cosmos as Rushdie sees it.

The Moor's Last Sigh, which Rushdie spent five years writing, follows the life of Moraes ("Moor") Zogoiby from his birth in 1957 to the "present" in the mid-1990s, preceded by what J. W. Coetzee calls "a dynastic prelude" reaching back to the birth of Moraes's great-grandfather, Francisco da Gama (1876), who began the spice trade in the province of Cochin that led to the family's rise to moderate affluence. Da Gama is a social progressive and Indian nationalist whose differences with his wife Epifania Menezes—a traditionalist described as believing in "England, God, philistinism, the old ways"—sets the terms of a schism that eventually splits the family and which parallels the divisions in the country at large. Their son Camoens has a vision of an independent India which he hopes will be "above religion because secular, above class because socialist, above caste because enlightened." Rushdie's knowledge of history and his personal experiences as an inhabitant of India, Pakistan, and the United Kingdom prevent him from sharing this idealistic conception, but Rushdie's social vision includes, as Moraes puts it in describing some of the paintings of his mother Aurora Da Gama, "a romantic myth of the plural, hybrid nation."

A ferociously witty family saga with a surreal imagination and sometimes blasphemous chronicle of modern India with peppery soliloquies on art, ethnicity, religious fanaticism, and the terrifying power of love. Moraes “Moor” Zogoiby, the last surviving scion of a dynasty of Cochinese spice merchants and crime lords, is also a compulsive storyteller and an exile. As he travels a route that takes him from India to Spain, he leaves behind a tale of mad passions and volcanic family hatreds, of titanic matriarchs and their mesmerized offspring, of premature deaths and curses that strike beyond the grave.

Post colonial analysis of Arundhati Roy's God of small things

Post colonial texts often encompass its own variety of English augmenting often on the backdrop of the native culture which is distinct in its form. Writers often portray their local situation in their work which shapes their writings and their colloquail language to depict the impact of colonialism which is highly evident in Arundhati Roy’s God of small thing. In the novel, Roy has employed the usage of a different forn and style.
It is often highighted that the form of language she has chosen to articulate her message to the readers is often a departure from the conventional usage of words and sentences of the imperial language. For example, the English Roy uses can be seen as an ammalgamation with the colloquial Malayalam language. 

She is seen to purposely familarise the theme of Indianness in her novel by featuring the hybridity of English and Malayalam, the regional language of her native state, Kerala and so procures a unique linguistic experience in a multicultural background. She includes the Kottayam dialect of Malayalam.

In the novel, she names her characters with traditional references such as Ammu (mother) Kochamma (honorable woman) Mamachi (grandmother) Papachi (grandfather) not giving the characters particular names to establish a separate identity from a traditional Indian household. In addition, it is argued that the diction she employs often follows the post colonial theme of the fragmentation of rules and rigid regulations. Therefore, her language consists of the creation of compound words such as ‘dustgreen’ or the combination of two words as one – whatisit? and so proving to the readers the flexibility of language. This can also be observed in Salaman Rushdie’s novel Midnight Children and so Roy has constantly been compared to Salman in this aspect. She often breaks free from linguistic rules and reegulations which often appear to be non-English.

The word ‘post colonial’ highlights that the writing transcends the confinement of locality, region and nation to be included in the global world and the novel encompasses a post colonial situation where it is revealed through the dialogues, characters and events. The impact of colonialism can be felt where the characters possess a hybrid identity, often conversing both in Malayalam and English as can be observed from Rahel and Estha, a set of fraternal twins. Thus we can see her trying to waddle two different cultures and with the introduction of a foreign culture, we observe this as a crucial factor in the creation of the identities of her protagonists. Hybridity is a process that often occurs due to the assimilation of the foreign culture by the colonised, producing a complex social pattern. It can also be resulted from the conscious forcing of one’s cultural values on others.

Therefore the world created in this novel itself is a merge between two different cultures and brings in multiple Western influences; Estha is passionate about Elvis Presley, uncle Chacko quotes from ‘The Great Gatsby’ and often, the English languague was emphasised in the household. The character of Sophie Mol is represented as ideal and there was a tendency to ahere to that level. Thus before she visited India, the grandmother is seen to be highly conscious of making sure her grandchildren speak properly and punishes them if they talk in their native language. The novel also depicts a sense of divided sense of self on the basis of one’s colour of the skin as argued by Frantz Fanon in his essay ‘Black Skin, White Masks.’ Sophie thus is welcomed graciously to the family due to her racial background and the behaviour of Baby Kochamma’s represents the urge to conform to the cultural norms that Sophie possesses, such as asking her on Shakespeare’s Tempest. In addition, her sense of inferiority is revealed when she tries to imitate the British accent and so attempts to set herself apart from the rest of the Indians. The imperial language is given importance and this obsession acts as a demarcation of a typical post-colonial society. This act is thus described as an unconscious subservience to the imperial modes and customs.

The adoption of Western influence can clearly be seen in the actions of Papachi who changes his lifestyle patterns to fit in with the Britishers which includes failing to don the Indian attire and smoking cigars. However, it can be noted that despite being influenced by the Western culture, his character is seen as stubbornly accepting the power structures outlined by hs traditional system. He is seen to be a chauvinist, a wife-beater and someone who displays exclusive powers of patriarchy in his household- private sphere despite being hailed as a gentleman in his public sphere.

Finally, the novel represents a clear outline of the power hierarchy of relations which can be referenced to how the Britishers controlled the upper class Indians so as to assert their dominance over the rest of the population. Mamachi, Baby Kochamma often are seen as holding the realms of power over Ammu, Rahel and Estha.

Therefore the novel questions and responds to the practices that resulted from colonialsm and brings focus its political intent. It attempts to re-tell and re-write the colonial experience from a colonised voice and so aims to rework the sense of history.

Post colonial analysis of The Inheritance of Loss by Kiran Desai

"You lived intensely with others, only to have them disappear overnight, since the shadow class was condemned to movement. The men left for other jobs, towns, got deported, returned home, changed names. Sometimes someone came popping around a corner again, or on the subway then they vanished again. Addresses, phone numbers did not hold. The emptiness Biju felt returned to him over and over..”
― Kiran Desai, The Inheritance of Loss 

Kiran Desai is the daughter of a well know Indian author, Anita Desai. She is well known for her book The Inheritance of loss. The Inheritance of Loss is her second novel which was first published in 2006. This book has many post colonial elements such as migration, alienation, identity loss, national identity (minority) and separatism.

Set in the north-eastern state of Kalimpong in 1980, this novel is diaspora post colonial text. Most of the characters are displace from their native land and undergo a sense of loss.  They try to make this displace place their home but fail to do so. Migration is essential component in Kiran Desai’s novel. Due to this Diaspora a person faces identity crises. With no place to call their own, the characters Biju, Sai and J Patel have no identity at all.  Colonialism not only destroyed their native culture but impelled them to follow theirs. Biju tries his best to adjust in America but is unable to do so. Colonized cannot adopt the culture of the West and lose their own just facing a loss if identity. Jemubhai Patel’s identity mimics the Europeans. Bhabha defines ‘mimicry’ as the process by which the colonized subject is reproduced as ‘almost the same, but not quite.  Patel tries to live the way Europeans lived.
Migration does not only bring one kind of loss but it also causes identity loss and alienation. Characters like Sai, Gyan Biju all experience alienation.  Sai and Gyan faces this due to Gorkha Movement while Biju because he is an illegal American immigrant. Thus these characters experience confusion, trauma and a sense of loss.

Kiran Desai also brings in the concept of separatism by showing the effects of Gorkha movement on Gyan. Such moments that emerged after end of colonization created a negative impact on citizen as it not only created a psychological “loss” but also a physical one, changing their life entirely. The Inheritance of Loss shows cracks in a postcolonial nation. Gyan represents the minority community Colonization never stops after colonies are free, the effect of colonization remains till the end. The minority never gets recognized even after the nation is independent. They get more sidelined and this creates a sense of double loss- loss of identity because of colonialism and loss of identity because they are not represented in the nation even after independence.

 Desai has carefully and creatively bought out the impact of colonialism and post colonialism by travelling back and forth in time and by elaborating through her characters physical and psychological trauma they go through. 

R.K Narayan’s Malgudi Schooldays: Father’s Room

R.K Narayan’s Malgudi Schooldays represents a colonial India, one that is not bound by time and space. Malgudi Schooldays represents an India that is not bogged down by ethnographic details. As such it represents the nation more as a construct, an imagined space in keeping with the feel of the village, than as a given identity.

I will be looking at the one episode in particular: ‘Father’s Room.’ Swami, the protagonist of the series, entertains his friend Rajam at his house. Swami goes to great lengths to ensure that he is seen in positive light by his friend. He asks to use his father’s room, for his grandmother to remove herself from sight and for his mother to ensure a meal of some quality. He does this as he regards his friend as a person of importance who needs to be revered. This is due to the status conferred on him by virtue of being the Police Superintendent’s son. The Police superintendent is representative of the colonial powers and those of the local intelligentsia who are complicit with the colonial apparatus. These people are critical to the creation of a nation as an identity as the can create a consensus against the dominant powers. However some of them choose to replicate the power hierarchies and enjoy the privileges that ensue from it- one of the dangers that Fanon warned his readers about.  This is evident from the way Swami views Rajam and his father as people of importance and superior to himself and his family. Even Swami’s father acknowledges this by allowing his son to use his room to entertain this guest of importance. Throughout the visit Swami is afraid that Rajam will see through his ruse. He is extremely embarrassed when Rajam smugly doubts whether the room actually belonged to him.

When Swami returns to school the next day he finds he has become a subject of ridicule. A tail is drawn on the chalkboard, as an indictment of Swami’s association with Rajam. This can be viewed as discourse against the colonial power represented by Rajam and Swami. Here the other school students represent the colonized subjects who appropriate the language given to them by the colonized to speak out against it. Swami then proceeds to lash out against those who he thinks are responsible i.e. Shankar and The Pea. The ensuing fight is broken up members of Rajam’s posse.

The boys then take it outside ignoring their rather helpless teacher. Manu and Somu (Rajam’s friends) attempt to discern the nature of the quarrel that had ensued between Swami and co. But it ends up with the two breaking into a fight as well. Swami and his group panic and run to the headmaster to tell them of the bloodbath that would ensure. The headmaster proceeds to break up the fight; though he takes the matter lightly.

The story ends with Swami’s astonishment at the fact that Somu and Manu could actually be overpowered. He believed they could not be outmatched in strength. This reiterates the fact that the colonized view the colonized as god-like and untouchable, even in the form of their representatives. Swami is also ambivalent in how he views his Rajam as he is not sure if he is really his friend or not but he is highly desirous of such a relationship.

The whole episode goes to show how complicit the colonized can be with the rule over them and perhaps Malgudi represents one of the villages on the margin that was not particularly caught up with the national sentiment as it was cut from the rest of the nation. There are no white characters mentioned in the entire story we just find their indigenous subordinates who carry on their work. So it begs the question whether change of rulers would actually have any effect on certain areas of the country where the people are too involved with their own affairs to bother about changes at the center.

The Patriot by Nissim Ezekiel

Nissim Ezekiel's poem the Patriot acts as a perfect example of a post colonial and post modern setting that metaphorically speaks otherwise. The poem may be read as a satire or rather a well hidden cry for the nation to realize its position as a teetering neo-colonial country in an apparent post-colonial world.
The poem, written in what is widely known as Indian English, quite blatantly portrays how a country like ours has imbibed the language of our colonizers, the British, but have managed to successfully make it our own. This concept of mimicry, first explained by Homi Bhabha, can be defined as the method by which colonized countries used the knowledge gained by being educated by the British as well being taught their lifestyle, to give it their own name and to revolt against their colonizers. Here, we see how the narrator speaks of the youth moving toward foreign trends and also his own attempt to learn new English words by reading the newspaper. The poet is trying to bring out these notions as examples of how mimicry is a vital step toward post-colonialism as even though we learn English and experience it on a daily basis; we still find places to add our own lingo and also 'Indianize' western clothing.

Another concept that is brought out in the poem is that of the need for initiative to be taken by the native intellectuals, in this case, Mahatma Gandhi. Gandhi can be considered a native intellectual as he gained a higher education in London and later used this knowledge to peacefully wrestle against the British rule, successfully. The poet encourages everyone to follow the example of Gandhi, even to this date. By concluding this, he talks of how the nation will always consider its culture to be of utmost importance and that it has been upheld through several trials and tribulations.

The line ‘All men are brothers, no?’ depicts the conflict that exists due to being previously oppressed, the narrator manages to rise above the stereotype that Indians are vengeful and uncouth, rather they are willing to break through boundaries, to establish unity among nations as at the end, everyone is familiar with the concepts domination and subjugation.

The final lines illustrate how the nation stands as a united front, in welcoming others to experience the country as they, the locals, see it. It is seen as entirely new place when spoken about by Indians, as opposed to reading translations and books written about the ‘Orient’ by the past colonizers. In the end, the narrator speaks of not engaging in ceremony as he will always enjoy the company of others, a cultural practice within the country, contradicting several popular notions that existing in a neo – colonial era, is our vital sin.

The Gift Of India by Sarojini Naidu.

The following poem, "The Gift Of India" by Sarojini Naidu, tries to evoke a sense of pride as well as laments over the martyrs and the sacrifices of the sons of the Indian Soil. The poet tries to give us a picture of the multiple sacrifices that the soldier had to go through in order to break free from the struggles of attaining an ethnic, cultural and political autonomy put forth by the British during that Era.
The poetess tries to address a certain kind of hegemony that is clearly pictured in the poem. The very binary created by the British as that of being superior and inferior, shows the way the Indians demean and look at themselves through the eyes of the Britishers as to how they are. Through immoral methods, they projected themselves as rulers and deceived any legitimate rights that India as a country could uphold as a whole.

There is an element of Identity that the poetess mentions in the poem which evokes a sense of belongingness towards her nations, where she compares the insignificant loss through the ruthless killings of the Indian warriors who as such were bound by duty. This, thus, shows the feelings of being proud in bring called one's own. 
The poetess also mentions herself to have flung to 'East' and 'West' where priceless treasures were taken away from her. Showing in a sense the negative impact that colonization bought forth, thus proving that the Britishers were attracted to only the material wealth that the country had to offer.
She also expresses her sorrow, for the invaluable gift of many lives of the soldiers can never be bought back.

The poetess further moves on to mention the various wars such as that of the Persian, Egyptian and France, where the Indian soldiers were sent to fight at the mercy of the British. She compared the lives of the dead to the pearls strewn in abandon along the waves, touching on the element of ambivalence. It portrays how the Britisher's mindset of the Indian soldiers being low appeals to them, for them to loose their lives in a foreign land.

The poetess is here also proud of her ethnicity where the expression of happiness as well as sadness is shown. Happiness because the nation finally attains freedom from the Britishers, and the element of sadness, attained due to the expense of the lives. 
She questions the readers to measure the tears of grief that surpasses the despair in her heart and the hope that comforts the anguish of the prayer.
She says that though she sees a bloody future and a bloody flag wavering, there is pride that makes attaining this independence worth. She tries to enforce the construct of nation by offering her love and appreciation to the martyr that fought and died and addresses to them the fact that their sacrifices can never be forgotten. Their names in history, will be engraved with an indelible ink made of their own blood, which will speak volumes about their greatness.

Arundhati Roy’s The God of Small Things

Arundhati Roy, a postcolonial product grew up in an underprivileged family. Her experience with life’s challenges and her exposure to a country past colonial regime obliged to make her a novelist and activist. The God of Small Things, her first novel, won the Booker Prize in 1997. Her employment of an excellent plot to a set of powerful characters and a blend of strong emotions and themes makes this novel a true critic of colonialism.

The story revolves around the lives of fraternal twins Rahel and Esthappen. They are born to Ammu Ipe, a devastated mother living with her parents and brother in Kerala. Ammu is carried away by a tea estate owner during her stay with her aunt at Calcutta. She gets married to him only to suffer from physical and sexual abuse, and the threat of being prostituted to her husband’s boss. Later in the story, Estha is raped by a vendor outside a theatre. 

The plot revolves around Indian caste system and love as often fighting with each other for existence. While the lives of the twin daughters proceed to a harsh form of reality, their meeting at the age of thirty one is marked by significant difference in their personality. While Rahel is extremely hurt, Estha is disappointed. 

The representation of this culture, by giving intricate details using Malayalam language posits the novel in postcolonial discourse. The use of sentences in a style that is away from the conventional one makes the novel very different in itself. The act of naming the characters in Malayalam, and the use of Malayalam words throughout the novel is significant. While the names of the characters are not real names, they sound very deliberate. For instance, Mammacchi for grandmother, and Ammu for mother are literal words from Malayalam, used to refer to the characters. Roy also uses a diction that is far away from its convention, manipulating the English language to her convenience. Ms Roy in one of her interviews states that she was never asked to comply to the rules of grammar as a young child. Her mother encouraged her to write, but never restricted her to the barriers of language, nor point out at grammatical errors. Rather, appreciated her when she made incorporated the local language into whatever nonsensical pieces she penned down. This has found to influence her sensibility as a writer. Readers get to see sentences that lack syntax, verbs, and even punctuation marks, delivering the novel as a postcolonial text.

For Indians, English language is mesmerizing. The natives speak English with the accent that is filled with the essence of the indigenous. Roy efficiently makes use of this practice throughout the novel to critique the colonizers. Roy’s portrayal of Rahel and Estha’s use of ‘Inglish’ (Indian English) throughout the novel reveals the emergence of a hybrid conscience, and the author’s reappropriation of the imperial language (English) to release it from the ideology and the political loadedness of the old colonial discourse. Referring to Homi Bhabha’s hybridity, “the moment in which the discourse of colonial authority loses its univocal grip on meaning and ends itself open to the trace of language of the other, it enables the critic to trace complex movements of disarming alterity of the colonial text.” 

To summarize, Roy’s use of diction, syntax, and the total reapplication of language attempts to modify an entire dictionary! English being the quintessential element of colonialism, suffers because of its usage by the colonized. It also points to the real implication of the English language in a non English colony, like India. It creates a postcolonial language that recasts and challenges the prevailing language of today. This also attempts to enliven the expression of those Indians who were exposed two or more languages, with English being one of them which has indeed turned to bring out their hybrid conscience. Today, Indian literature has taken the liberty to use English language as per its convenience, and yet produce world’s best sellers!

- Akhila Chandrashekar

Where The Mind Is Without Fear- Rabindranath Tagore

Where The Mind Is Without Fear- Rabindranath Tagore

Where the mind is without fear and the head is held high

Where knowledge is free

Where the world has not been broken up into fragments

By narrow domestic walls

Where words come out from the depth of truth

Where tireless striving stretches its arms towards perfection

Where the clear stream of reason has not lost its way

Into the dreary desert sand of dead habit

Where the mind is led forward by thee

Into ever-widening thought and action

Into that heaven of freedom, my Father, let my country awake

With the extent of endeavor the British government made in making sure that the Indian population was servile to their rule, Rabindranath Tagore in his prayer, ‘Where The Mind Is Without Fear’, asks for his country to be bold and united as it was before colonization.

This prayer or poem asks for many things which were lost to India after colonization such as valor, pride and knowledge. The poet felt the need to mention this because of the condition that the country was in with the amount of misuse that it has gone through. He calls upon God to rouse his countrymen and let them see themselves as individuals capable of learning from the past. This can be related to the poem ‘Coromondel Fishers’ by Sarojini Naidu in which she talks about the pride of being fishermen in India. In the line, "...the kiss of the spray and the dance of the wild foam's glee;" Naidu writes about bracing the sea and the high waves. she tells the fishermen not to be afraid because they are the "the kings of the sea." Similarly, the citizens of India have all and nothing to be afraid of. They should replenish the pride that had existed within themselves and fight for their country. For the country's sake, the citizens of India should " row to the edge of the verge..." till they have gotten what they are fighting for. 

Tagore’s poem makes interesting observations about the present condition of India, without really mentioning it, by using subtle opposites when it asks for a mind without fear which in reality is filled fear, ‘depths of truth’ implying there are more lies than truth, where " the clear stream of reason" has "lost its way". And this poem becomes even more noteworthy because the poet himself is an educated intellectual Indian who has achieved fame both in and outside India, so the poem brings out the stark disparity through this relation alone. 

The poem wants to break the binaries that Said wrote about in 'Orientalism' where the West and the East exist in binaries of forward/backward. The poet looks to a future where the mind is led forward by knowledge and bravery which is unlike the situation under British rule. And he wants this future at all levels of religion, politics, morality and intellect. 

Trepidation of the British never allowed the natives to speak their mind or do what they feel is good for their own country.Tagore prays for a country that is free from these restraints and hopes that he sees a country that is free from these restraints and hopes that he sees a country that has freedom from tyranny, freedom of thought and expression, where everyone of all communities are united and capable of living together in harmony and not let mere walls divide them intellectually. Tagore hopes that with this new found understanding, they can achieve "that heaven of freedom". 

The poem, is therefore, an intellectual and critical look at India and its condition under foreign rule. Tagore hopes that with political freedom comes an awakening of the mind of the Indians to a more liberal and just future.