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She does not refrain from pursuing sexual relationships against the norms of society. She is in charge of her own desires and her own body. On the other hand Chander finds his solace in a sexual relation with the “other” woman who initially seems like a character whom feminists might love for her independence not only financially but also mentally. His characters and their circumstances are constrained not only to his but also to the societal mindsets. The only resistance that Bharati could offer her was death. Sudha, the naïve young women in her late teens, unaware of her sexual desires or probably devoid of them turns to religion and spirituality hoping to cope with the torments of her husband’s sexual demands to whom she submissively gives away herself physically and never complains about it to anybody accept Chander to whom she tells only after her conscience doesn’t allow her to continue to let the society prolong her sufferings. Stereotypically this disruption in the platonic love of Sudha and Chander and the grievance caused by it is dealt contrastingly by both the characters. Bharati very beautifully evokes emotions at this complicated situation by planning a sacrifice for both Sudha and Chander bringing in metaphors of nature, of day and night, Sun and Moon etc. Shukla asks Chander to convince Sudha to marry a man whom she doesn’t love. Shukla’s eyes is like a younger sister to Chander.
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Shukla for bringing him up as his own son so Sudha in Mr. The man who truly loves his daughter (according to the author) cannot marry her because firstly he is not of the same caste, secondly and more importantly he is in debt of Mr. Shukla, who in his ideology like other “well-read” people of his age is against all caste discriminations and other evil social practices ends up marrying his daughter to another socially prominent, politically active “well-read” Brahmin who treats his daughter as an object of pleasure and servitude. Sudha, a daughter of a prestigious, well-read upper class Brahmin professor of Allahabad University, Mr. But not many of the young people today who are “us” are not of the same intellectual level as Chander is. It is apparent from his setting up of the background to these broadly classified three types of “young” women characters available for the love of the one true protagonist Chander who seems like an alter ego to the author himself who is also generalized by many reviewers as “one of us”. The three major women characters Sudha, Pammy and Binti from three different backgrounds are slyly constructed by the author to represent the then prevalent stereotypes not only in the society but also in his own mind specifically in his sub-conscious of which he himself is not aware of because he does not give an impression of critiquing these gendered stereotypes, instead he puts them forward in acquiescence. That simply means that the condition and the image of women has not much changed since then, just the background is different. In fact the models of femininity that Bharti portrays are also the women of present day.
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It is remarkable and surprising that even after more than sixty years gone, these questions are still relevant in modern India. He is just another literary character who faces identity crisis, born and brought up under social prejudices, finding answers to the question of love, lust, sex and marriage. It revolves around the protagonist Chander who is deeply flawed, idealistic and intelligent.Ĭhander, the protagonist, a research scholar of Allahabad University seems like a traveler in search of his own identity who travels through three different women to explore himself sexually and spiritually. Published in 1949, the story is set in Allahabad and the time period of post-independence. Calling it a love story of two people would be injustice to other characters and their emotions. Bharati who is best known for the play Andha Yug and his novel Suraj ka Satwan Ghoda writes this love story or love stories in a love story. Gunahon ka Devta is one of the pioneering Hindi novel by Dharamveer Bharati, the recipient of the Padmashri, India’s fourth highest civilian award.