I had not the power to utter a word. You cannot take shelter behind the walls of decorum when in a moment the fire leaps up and, with the flash of its sword and the roar of its laughter, destroys all the miser's stores. I was in terror lest he should forget himself and take me by the hand. For he shook like a quivering tongue of fire; his eyes showered scorching sparks on me.
'Are you for ever determined,' he cried after a pause, 'to make gods of your petty household duties,—you who have it in you to send us to life or to death? Is this power of yours to be kept veiled in a zenana? Cast away all false shame, I pray you; snap your fingers at the whispering around. Take your plunge to-day into the freedom of the outer world.'
When, in Sandip's appeals, his worship of the country gets to be subtly interwoven with his worship of me, then does my blood dance, indeed, and the barriers of my hesitation totter. His talks about Art and Sex, his distinctions between Real and Unreal, had but clogged my attempts at response with some revolting nastiness. This, however, now burst again into a glow before which my repugnance faded away. I felt that my resplendent womanhood made me indeed a goddess. Why should not its glory flash from my forehead with visible brilliance? Why does not my voice find a word, some audible cry, which would be like a sacred spell to my country for its fire initiation?
All of a sudden my maid Khema rushed into the room, dishevelled. 'Give me my wages and let me go,' she screamed. 'Never in all my life have I been so....' The rest of her speech was drowned in sobs.
'What is the matter?'
Thako, the Bara Rani's maid, it appeared, had for no rhyme or reason reviled her in unmeasured terms. She was in such a state, it was no manner of use trying to pacify her by saying I would look into the matter afterwards.
The slime of domestic life that lay beneath the lotus bank of womanhood came to the surface. Rather than allow Sandip a prolonged vision of it, I had to hurry back within.
X
My sister-in-law was absorbed in her betel-nuts, the suspicion of a smile playing about her lips, as if nothing untoward had happened. She was still humming the same song.
'Why has your Thako been calling poor Khema names?' I burst out.
'Indeed? The wretch! I will have her broomed out of the house. What a shame to spoil your morning out like this! As for Khema, where are the hussy's manners to go and disturb you when you are engaged? Anyhow, Chota Rani, don't you worry yourself with these domestic squabbles. Leave them to me, and return to your friend.'
How suddenly the wind in the sails of our mind veers round! This going to meet Sandip outside seemed, in the light of the zenana code, such an extraordinarily out-of-the-way thing to do that I went off to my own room, at a loss for a reply. I knew this was my sister-in-law's doing and that she had egged her maid on to contrive this scene. But I had brought myself to such an unstable poise that I dared not have my fling.
Why, it was only the other day that I found I could not keep up to the last the unbending hauteur with which I had demanded from my husband the dismissal of the man Nanku. I felt suddenly abashed when the Bara Rani came up and said: 'It is really all my fault, brother dear. We are old-fashioned folk, and I did not quite like the ways of your Sandip Babu, so I only told the guard.... but how was I to know that our Chota Rani would take this as an insult?—I thought it would be the other way about! Just my incorrigible silliness!'
The thing which seems so glorious when viewed from the heights of the country's cause, looks so muddy when seen from the bottom. One begins by getting angry, and then feels disgusted.
I shut myself into my room, sitting by the window, thinking how easy life would be if only one could keep in harmony with one's surroundings. How simply the senior Rani sits in her verandah with her betel-nuts and how inaccessible to me has become my natural seat beside my daily duties! Where will it all end, I asked myself? Shall I ever recover, as from a delirium, and forget it all; or am I to be dragged to depths from which there can be no escape in this life? How on earth did I manage to let my good fortune escape me, and spoil my life so? Every wall of this bedroom of mine, which I first entered nine years ago as a bride, stares at me in dismay.
When my husband came home, after his M.A. examination, he brought for me this orchid belonging to some far-away land beyond the seas. From beneath these few little leaves sprang such a cascade of blossoms, it looked as if they were pouring forth from some overturned urn of Beauty. We decided, together, to hang it here, over this window. It flowered only that once, but we have always been in hope of its doing so once more. Curiously enough I have kept on watering it these days, from force of habit, and it is still green.
It is now four years since I framed a photograph of my husband in ivory and put it in the niche over there. If I happen to look that way I have to lower my eyes. Up to last week I used regularly to put there the flowers of my worship, every morning after my bath. My husband has often chided me over this.
'It shames me to see you place me on a height to which I do not belong,' he said one day.
'What nonsense!'
'I am not only ashamed, but also jealous!'
'Just hear him! Jealous of whom, pray?'
'Of that false me. It only shows that I am too petty for you, that you want some extraordinary man who can overpower you with his superiority, and so you needs must take refuge in making for yourself another "me."'
'This kind of talk only makes me angry,' said I.
'What is the use of being angry with me?' he replied. 'Blame your fate which allowed you no choice, but made you take me blindfold. This keeps you trying to retrieve its blunder by making me out a paragon.'
I felt so hurt at the bare idea that tears started to my eyes that day. And whenever I think of that now, I cannot raise my eyes to the niche.
For now there is another photograph in my jewel case. The other day, when arranging the sitting-room, I brought away that double photo frame, the one in which Sandip's portrait was next to my husband's. To this portrait I have no flowers of worship to offer, but it remains hidden away under my gems. It has all the greater fascination because kept secret. I look at it now and then with doors closed. At night I turn up the lamp, and sit with it in my hand, gazing and gazing. And every night I think of burning it in the flame of the lamp, to be done with it for ever; but every night I heave a sigh and smother it again in my pearls and diamonds.
Ah, wretched woman! What a wealth of love was twined round each one of those jewels! Oh, why am I not dead?
Sandip had impressed it on me that hesitation is not in the nature of woman. For her, neither right nor left has any existence,—she only moves forward. When the women of our country wake up, he repeatedly insisted, their voice will be unmistakably confident in its utterance of the cry: 'I want.'
'I want!' Sandip went on one day,—this was the primal word at the root of all creation. It had no maxim to guide it, but it became fire and wrought itself into suns and stars. Its partiality is terrible. Because it had a desire for man, it ruthlessly sacrificed millions of beasts for millions of years to achieve that desire. That terrible word 'I want' has taken flesh in woman, and therefore men, who are cowards, try with all their might to keep back this primeval flood With their earthen dykes. They are afraid lest, laughing and dancing as it goes, it should wash away all the hedges and props of their pumpkin field. Men, in every age, flatter themselves that they have secured this force within the bounds of their convenience, but it gathers and grows. Now it is calm and deep like a lake, but gradually its pressure will increase, the dykes will give way, and the force which has so long been dumb will rush forward with the roar: 'I want!'
These words of Sandip echo in my heart-beats like a war-drum. They shame into silence all my conflicts with myself. What do I care what people may think