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The Caged Bird: A Feminist Reading of Attia Hosain’s Sunlight on a Broken Column
Attia Hosain has been widely acknowledged for being one of the first women writers in
India to talk about the emancipation of Muslim womanhood at a time of great political turmoil
and communal disharmony in British India. It is very significant that although she was much
disturbed and concerned about the partition of India, which looms poignantly throughout her
works, yet she chose to focus specifically upon the condition of Muslim women as well as the
exploitation that they faced within a male-centric world. In her sole masterpiece, Sunlight on a
Broken Column she deftly weaves the intricate pattern of the lives of Muslim women bearing the
brunt of patriarchy even while modernity was creeping into the traditional cultural front. Taking
the form of a ‘bildungsroman’, this novel revolves around the life of Laila, an orphaned daughter
of respectable ‘taluqdari’ family in Lucknow who strives to embark upon a quest for identity and
self-hood despite being overwhelmed by the norms of an asphyxiating society. Laila appears to
be voicing the thoughts and sentiments of the writer herself in her struggle for personal freedom
even though she does affirm her faith in her religious orientation, fighting only against the
The entire span of the novel provides a panoramic view of the lives of Muslim women in
‘purdah’ who either smugly embrace the traditional conservatism of their religion or try to settle
themselves into the new role of the ‘modern woman’ as ushered in by the new patriarchy of
those times. Aunt Abida, Aunt Majida, Ustani ji and Hakiman Bua belong to the former
category, sacrificing their possessions, emotions, freedom and in fact their entire lives to the
service of their family in the name of ‘izzat’ and duty. Zahra, Aunt Saira, Sita and others belong
to the latter category, fitting into the stereotypical role of the ‘new woman’ who dons the mantle
of modernity only to secure her liminal position within the new patriarchy. Laila’s character
stands out in contrast to all of them in her determination to carve a niche for herself in her own
world where she can be nurture her own self, passions and womanhood without the onslaught of
patriarchy. Although trained in traditional values and ideals, she had also had the privilege of
benefitting from an exposure to Western education and liberal ideas. She is a fiercely strong-
willed person who is excruciatingly aware of the hollowness of the lives of other women who
talk ironically about liberalism but are themselves mentally subservient to the hypocrisies of
societal standards. She herself is not a radical feminist since she affirms her faith in her religion
but chafes against the injustice it metes out to women who are repressed terribly with no scope of
voicing their own feelings. She is extremely clairvoyant in perceiving the patriarchal authority of
the males within ‘Ashiana’, their house which looms large engulfing the freedom of the women
characters who live under their control. This domination prevails not only within their own social
class but also among the lower classes, the women of which are marginalized and exploited to
the extreme by the men of all classes. The fates of Saliman and Nandi are a testimony to this fact
and although the writer does not take any theoretical standpoint within her novel, the readers can
definitely realize the miseries of these women as subalterns within society. The brief mention of
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the ex-courtesan, also serves to clearly delineate the distinction between the public and private
spheres of life and the idea of the decent woman limiting herself within the parameters of the
domestic household. The hypocritical attitude of society towards these women are clearly
depicted as they are regarded as connoisseurs of great art, culture and refinement but also
morally ostracized as sexually promiscuous. However, Laila is mesmerized by the grace and
dignity of this old woman who carries the glory of her past profession even in her retired life, so
much so that it inspires much awe from sensitive people. Laila’s creative sensibilities and artistic
temperament, which lies otherwise latent, is revealed through these very few instances and
interactions.
Feudalism becomes an extension of this patriarchy that forms the base of Laila’s social
background, the bourgeois women themselves echoing the injustices of exploitation and abuse of
the poorer tenants (both sexes) for their own material advancement and luxuries. It is this feudal
setup that denies these women property rights and reduces them to hapless dependents whose
fates are maneuvered according to the diktat of patriarchal hegemony. Uncle Hamid is the
perfect successor of Baba Jan, perpetrating a similar kind of same domination although the
former claims to be more liberal in his approach to women’s issues and life in general. Laila
grows increasingly aware of the claustrophobic atmosphere of the ‘zenana’ to which she is
confined, threatening to snuff out her very individuality. Her non-observance of ‘burqa’-wearing,
radical ideas of freedom, intolerance towards the shackles of worn-out values and ideals that
capture the inner spirit, love of books and reading in general, etc. is looked down upon in a
disapproving light by her most of her peers and elders. They want to mold Laila’s life into the
same pattern which is conventionally ascribed to the respectable women of the landed gentry,
much to her dismay since she perpetually yearns to be free from the patriarchal tyranny. Even the
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wooden doll that is crafted for her by the carpenter meets with her displeasure as it is a reflection
of the deeply-ingrained gender biases pervading the minds of literate and ignorant folks alike.
Nevertheless, Laila conforms halfheartedly to the code of conduct that her elders expect of her,
anxious to liberate her soul as well to clear her own mind from all the confusions that crowd in it
due to her day-to-day experiences. She is very much aware of the political upheaval and
communal bigotry in the world outside the four walls of the women’s quarters due to her
interactions with peers, friends and relatives directly or indirectly involved with it. As an
intelligent woman, she understands that these disturbing events are the result of the narrow-
minded parochialism of the religious fanatics and corrupt politicians. Characters like Nita,
Hamid, Kemal, Saleem and others are downright agitated by the treacherous politics of the State
that was harping on the possibilities of a divided country. However, Laila herself is unable to
contribute something to the ongoing freedom movement in the public sphere partly because she
is bound as an unmarried girl of a respectable family which practices ‘purdah’ and partly because
she is entirely caught up in her attempts to free herself from the stronghold of patriarchy so that
her feelings for Ameer, the husband of her choice may attain fruition through marital union.
Ameer is looked down upon by her family due to his lack of wealth and an upper-class
pedigree but Laila sees him as her true soul-mate who understands her better than her guardians
who brought her up. She takes the bold step of asserting of her choice in marrying him against
the wishes of her family and steps out of the four walls that had suffocated her entire being since
her childhood. She discovers the pleasure of passionate physical union with Ameer and begets a
child by him but he dies in the freedom struggle, leaving her desolate and her hopes crumbled.
However she is never regretful of her decision to have married Ameer and in this she appears
almost like Austen’s Elizabeth Bennet who would rather stay single than engaging in a marriage
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of benefit devoid of the emotion of love. Progressive-minded as she is, Laila displays a strong
objection to the notion of a marriage of convenience which is devoid of the elements of love and
compatibility, prioritizing only hollow, meaningless social conventions. She sympathizes with
Sita for the latter’s unhappy marriage and unfulfilled love for Kemal which makes her
emotionally distraught and ultimately impotent. She is also intuitive enough to realize the
insubstantial positions that both Aunt Saira and Zahra have in relation to their supposedly
‘modern’ husbands since these women submissively adapt themselves to the role of trophy wives
for their ambitious, dominating husbands. All these arranged marriages that seek to commodify
young women with little regard for their inner selves are looked down upon with disdain by Laila
who perceives them as “luxurious incarceration” of womanhood. She even openly declares her
objection towards being married off simply like cattle being herded away, in the early part of the
novel. Laila’s marriage with Ameer seems the appropriate union of souls whereas people like
Zainab and Nadira make their choices based on material profit and religious convictions.
Although the readers tend to initially regard Laila more as a woman of words rather than action,
yet she is finally shown to exert her inner strength and determination through her decision to
marry Ameer although it meant severe repercussions for a woman accustomed to a luxurious
way of life. It is a little disappointing for the readers that Laila seeks her freedom only to be
associated with Ameer directly and not for some greater aspiration as well. However, it has to be
understood that it was difficult for her to indulge in some other activity directly because she
neither had the means nor the opportunity of doing so. She and her husband struggle hard for
their day-to-day existence, until the ongoing communal disarray and raging conflict in the public
sphere encroaches upon their personal life and peace when Ameer is killed and she, along with
her baby, has to be rescued by a Hindu man from amidst such chaos.
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Laila is depicted as being very closely attached to Aunt Abida right from her childhood
till her widowhood but it is very poignant that never does she gets overwhelmingly influenced by
the conservatism of her aunt. She observes many of the norms out of respect and love for her
aunt but remains unconvinced about them in her heart of hearts. Certain acts and words on her
part meet with Aunt Abida’s disapproval since they prove counter to the traditional mindset of
the latter and the value-ideals that are ingrained within it. It is however interesting to note that
Laila is very much aware of the injustices meted out by these supposedly mature, sensible
women upon the marginalized servants and poor tenants in the name of custom and tradition. She
goes out of the way to display her sympathy and affection for Nandi and Saliman who are ill-
treated not only in their own class but also by their social superiors. She is especially admiring
and appreciative of Nandi who exudes immense strength of mind and will-power as well as the
resilience to fight all odds in her life on her own. Nandi is very much aware of the disadvantage
of beauty for a woman of her class but dexterously tries to struggle for survival in a world of
predators who threaten to exploit her womanhood. Outspoken and brazen in her ways and
actions, Nandi punishes Ghulam Ali for impregnating and eventually causing the death of
Saliman. She does not get deterred even when the vengeful Ghulam Ali scars her beauty forever
by slashing her cheek with a knife but goes on to marry an old man but have a child with another
young lover of her own choice. She does not allow any narrow moral scruples to come in the
way of her realization of fulfillment and happiness in life. Nandi’s zest for life and freedom
influences Laila considerably since it is this saucy servant girl who remains her close companion
all throughout her life. Although Laila observes ‘purdah’ in front of outsiders so as to pacify her
aunts and other elders, she shares the one of the closest bonds with her male cousins, Saleem and
Kemal whom she does not see as potential husbands as is expected of her by the norm but as
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brothers and friends. In marrying Ameer, she disappoints Aunt Saira the most who is anxious
about the division of family property along with the maintenance of family honour. After the
death of Uncle Hamid and the abolishing of feudalism, the condition of Aunt Saira’s life is filled
with pathos with her desperate attempt to retain the glorious past but her repeated encounter with
a different reality in the world outside. The entire family which had been united at one point of
time now becomes fragmented as the inmates separate out and migrate to different places, some
even to Pakistan which is now viewed as the newly-found homeland. Laila remains alone in the
end, with only the memories etched in every nook and corner of the dilapidated ‘Ashiana’ to
nostalgically haunt her and transport her mentally back to the past.
Laila emerges as a unique character, a caged bird which desperately yearns to free herself
from the metaphorical cage of the patriarchal world within which she is entrapped. In an age of
nationalist reformation which heralded the model of the ‘mother’ or chaste/pure woman as ideal
womanhood, Laila succeeds in negotiating with the rigid socio-cultural norms and gender
constructs to achieve a sense of liberated selfhood in the end. She is bold enough to go against
the will of her family to marry a poor man and give up material wealth in exchange for spiritual
and emotional satisfaction. She refuses to be held down by the patriarchal values and ideals that
posit women only in the stereotypical roles of being silent, subservient consorts of their
dominating male counterparts. Her mind is free from narrow prejudices or shallow ideals of
femininity although she behaves very much like a normal woman all throughout the novel. The
dexterity of the writer’s art lies in the fact that she succeeds in sketching a very human character
in the figure of Laila, a woman who is intelligent, socially-aware and politically-informed but
who is very much feminine and experiences the usual pangs of suffering under the brunt of a
male-centric society. The credit in Laila’s character lies in the fact that despite being a normal
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woman, she has the capability to realize her own bound existence as well the irony in the lives of
other self-proclaimed modern, liberal women. Laila strives her very best to overcome the perils
that confront her in everyday life and assert at least some part of her own individual identity in
an age which relegated women to only liminal positions. Her widowhood is not her nemesis for
her so-called ‘transgression’ but an opportunity to prove her strength as an independent woman
WORKS CITED:
Hosain, Attia. Sunlight on a Broken Column. New Delhi: Penguin Publishers, 2009. Print.
Hosain’s The Sunlight on a Broken Column”. Literary Quest 1.9 (2015), 59-70. Web. 12 Jan
2017.
Column”. Scholarly Research Journal for Interdisciplinary Studies. III. XVI (2015), 2346-2356.
Gandhinagar-382030, Gujarat.
DECLARATION
I do hereby declare that the paper titled ‘The Caged Bird: A Feminist Reading of Attia
fulfillment of the requirements for the Two Day International Seminar on ‘New Feminist
Date: 23/02/2017