Rukmani's Themes In Comparative Literature
Imaginatively she is of the highest importance; practically she is completely insignificant.
She pervades poetry from cover to cover, she is all but absent from history. She dominates the lives of the kings and conquerors in fiction, in fact she was the slave of any boy whose parents forced a ring upon her finger. Some of the most inspired words, some of the most profound thoughts in literature fall from her lips; in real life she could hardly read, could hardly spell, and was the property of husband. (A Room of One’s Own, 44)
It is assuredly affirmed that ‘Comparative Literature’ evolves two or even more than two literatures in comparison at the same time, considering the multi-dimensions such as linguistic, cultural, religious, economic, social and historical factors of different societies. Etymologically,
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The plot and the character hold on a realistic portrayal. Kamala Markandaya has presented Rukmani as the central woman protagonist. Rukmani tells her story at reminiscence nearly ten years back as first person narrator by her own direct observations, feelings, and describing other character through her own eyes. Her voice has echoed directly and painfully in women, it is based on the traditional pattern of life in all over India. Rukmani is represented not only as the stereotype of rural Indian woman of peasant Hindu Family in remote South India village of fifties but also she is different from other Indian women as she can read and write. Similarly, K. Surangkanang also portrays her woman protagonist as a rural girl Reun, who is innocent and pure. Both change according to changing time and situations. After leaving the brothel, she decides that she will not become prostitute. But she cannot do any works in public sphere because she is not educated. And, if somebody would come to know about her past, they will not allow her to
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