God of Small Things: Character Analysis - Estha
It sort-of corrupts the relation. But we must take into account that Estha and Rahel were not really brother and sister, atleast not the coventional ones. They were. Though Rahel and Estha are both the protagonists of this novel, we get to know interesting ways the narrator shows us the difference between the twins is by. Reverend E. John Ipe, the great grandfather of Estha and Rahel, who had been a priest of the “By depicting the shocking relationship between Pappachi and.
The reader comes to expect, because of the narrator's many references to "the Loss of Sophie Mol," that everything will boil down to one key moment, and that this moment will involve Sophie Mol's death. It eventually becomes clear, however, that Sophie Mol's actual drowning is an accident, an understated tragedy in which she simply vanishes in the river. Like all of the characters' lives and the events of the plot, Sophie Mol's death is intimately tied to many other elements, including Estha's sexual abuse, Sophie Mol's relationship to the twins, and the host of factors that led to the tragedy.
But the actual loss of Sophie Mol does not reveal much about the deep historical forces at work in Ayemenem, and it does not explain what truly causes or defines the Kochamma family's experience.
These are the episodes at the core of the unraveling plot and the crux of the book's meaning. All of the tension, desire, and desperation beneath the surface of the narrative converges into these expressions of love, which are examples of perhaps the greatest, most unthinkable taboos of all.
This essay will discuss why the two forbidden sexual episodes in the final two chapters of The God of Small Things are so crucial to the history of the Kochamma family and the emblematic of the meaning of the novel. Before discussing the significance of these episodes, however, it will help to establish how and why they are so closely connected. It is immediately clear that they have much in common as doomed, forbidden love trysts, and it is no coincidence that they are revealed and described next to each other, at the end of the narrative.
However, there are other, less obvious connections. During Estha and Rahel's erotic encounter, for example, there are repeated references to Ammu such as calling Rahel's mouth "Their beautiful mother's mouth" and there is the statement that the twins are at the "viable die-able age" of thirty, Ammu's age between her affair with Velutha and her death.
Equally important is the phrase, "They were strangers who had met in a chance encounter," because it is more applicable to Velutha and Ammu than to the twins. Also key at this point, late in chapter 20, is the narrator's statement about Rahel and Estha that "once again they broke the Love Laws," which uses the term that had previously been applied to Ammu and Velutha and implies that the twins' situation is a reoccurrence of the affair of By closely connecting Rahel and Estha's sexual relationship to Ammu and Velutha's, Roy suggests that present-day events converge with the events surrounding Sophie Mol's death, and that each strain of the plot has the same thematic resolution.
The two instances of breaking of the Love Laws form a key to understanding the rest of the book; they are both the result and the cause of the novel's action. This is why the narrator writes that the story "really began in the days when the Love Laws were made," back through the colonial and pre-colonial history of Kerala.
The central action of the novel is about breaking them, and the tragedy that results from breaking them. For one thing, therefore, the forbidden love affairs at the end of the novel are crucial because they reveal the disgust and horror with the lovers that is at the root of the violence and tragedy directed against them.
Present-day Western readers probably do not consider inter-caste romance repulsive, but they are quite likely to be shocked and offended by incest. Incest is as taboo in twenty-first-century Western society as an inter-caste sexual affair would have been in the s, and probably still is, in Kerala. Roy allows the reader an insight into the emotional basis behind the careful, planned brutality of those dedicated to Kerala's social code, such as the Touchable Policemen who believe that in beating Velutha to death they are enforcing the Love Laws and "inoculating a community against an outbreak.
It is clear in the novel that the idea of love is very important to her. In almost every aspect of the novel, love ties in some way.
A Brief Analysis of the Relation between Estha and Rahel « linguarydberg
We see this idea in the way the characters interact with each other there are many different types of relationships and in the background for the novel, such as the political issue of touchables and untouchables in India.
The complementarity of Estha and Rahel is intentionally designed to emphasize the two halves of love. The idea of fraternal twins representing love is very unorthodox, but makes sense due to their perfect complementarity.
Throughout the novel the two are seen together, but when they are apart the terrible emptiness they feel is clear.
A Brief Analysis of the Relation between Estha and Rahel
When Estha and Rahel are together they are whole, and together they represent a love that is complete. The way the twins feel as though they are one is evidence of their representing love. Throughout the novel and from the scenes that describe Estha, the audience comes to think of Estha as a kind, innocent, and methodical boy.
He also takes initiative, and this can be seen in the way he feels protective over Rahel, how he is the one to decide that Sophie Mol, Rahel, and he should run away, and how he is the one to row the boat across the river. It is also clear that Estha is deeply disturbed after being molested by the Orangedrink Lemondrink Man. This incident sticks with Estha for all of his life, and part of the reason he is so deeply disturbed is because molestation is a violation of innocence and love, two things that Estha helps represent in the novel.