Unveiling the Saga of a Women during the Pre-Partition Period: A Feminist Analysis of Amrita Pritam’s Pinjar
https://doi.org/10.5281/zenodo.12671175
Author(s): Sushmitha B P
DOI: https://doi.org/10.5281/zenodo.12671175
PDF: Download Full Text
Volume 15 | Issue 3 | June 2024
Pages: 101-109
AboutUs: https://www.the-criterion.com/about/
Archive: https://www.the-criterion.com/archive/
ContactUs: https://www.the-criterion.com/contact/
EditorialBoard: https://www.the-criterion.com/editorial-board/
Submission: https://www.the-criterion.com/submission/
FAQ: https://www.the-criterion.com/fa/
ISSN 2278‐9529
Galaxy: International Multidisciplinary Research Journal
www.galaxyimrj.com
The Criterion: An International Journal in English Vol. 15, Issue-III, June 2024 ISSN: 0976-8165
www.the-criterion.com
https://doi.org/10.5281/zenodo.10448030
Unveiling the Saga of a Women during the Pre-Partition Period: A Feminist
Analysis of Amrita Pritam’s Pinjar
Sushmitha B P
Assistant Professor,
Department of English,
Poornaprajna College, Udupi.
Article History: Submitted-24/05/2024, Revised-20/06/2024, Accepted-21/06/2024, Published-30/06/2024.
Abstract:
This research article explores the experiences of women during the pre-partition era of
India through a feminist analysis of Amrita Pritam’s novel “Pinjar”. Set against the backdrop of
the 1947 Partition, the novel delves into the multifaceted struggles of women caught in the
crossfire of communal strife and patriarchal oppression. “Pinjar” centers on the character of
Pooro, whose abduction by Rashid, a Muslim man, triggers a cascade of personal and social
conflicts. Through a nuanced narrative, Pritam sheds light on the deep-seated patriarchal
structures that dictate women’s lives and bodies, revealing the profound impact of these
structures on their autonomy and identity. Despite the severe adversities faced by the women in
the novel, they exhibit remarkable strength and resistance, challenging their subjugation within a
patriarchal and politically unstable society. The paper examines the intersecting dimensions of
gender, class, religion, and national identity, highlighting how these factors collectively shape
the experiences and responses of women during the pre-partition period. Through a feminist
critique, this paper aims to unravel the complexities of female subjectivity and resistance as
depicted in: “Pinjar”. The findings underscore the resilience of women who, despite being
subjected to violence and displacement, refuse to be mere victims. Instead, they actively shape
their destinies, forging connections across communal divides. This study contributes to the
broader discourse on gender dynamics and communalism, providing valuable insights into the
historical and social context of women’s lives in pre-partition India. By analyzing Pritam’s work,
this paper seeks to illuminate the enduring relevance of these historical narratives in
contemporary discussions on gender and communalism.
101
https://doi.org/10.5281/zenodo.12671175
Unveiling the Saga of a Women during the Pre-Partition Period: A Feminist Analysis of Amrita Pritam’s Pinjar
www.the-criterion.com
https://doi.org/10.5281/zenodo.10448030
Hypothesis:
The novel “Pinjar” by Amrita Pritam, through its feminist narrative, reveals the profound
impact of patriarchal structures and communal tensions on women’s lives during the pre-partition
period of India. It demonstrates that despite the violence and oppression faced, women exhibited
resilience, agency, and a struggle for autonomy, thereby challenging and resisting their
subjugation within a patriarchal and politically tumultuous society.
This research paper aims to explore how Pritam’s narrative captures the complex
interplay of gender, class, religion, and national identity, highlighting the multifaceted challenges
faced by women and their responses to these adversities.
Keywords: Feminism, patriarchy, autonomy, identity.
Introduction:
Amrita Pritam, a revered figure in Indian literature, stands as an emblem of literary
brilliance, notably hailed as the well-known female Punjabi writer, novelist, and poet of the 20th
century. Throughout her illustrious six-decade career, she produced an extensive body of work
comprising over a hundred pieces spanning poetry, essays, novels, biographies, and more. Her
contributions to literature were adorned with prestigious honors such as the ‘Sahitya Akademi,’
‘Bharatiya Jnanpith,’ and ‘Padma Vibhushan,’ underscoring her unmatched impact in the literary
realm.
One of her most famous novels titled “Pinjar” was made into a movie of the same name.
She also penned an autobiography, in which she expressed her audacity by writing about her
personal life, which might be considered ‘controversial’ by many, even in contemporary India.
Amrita Pritam is most remembered for her poem, ‘Ajj aakhaan Waris Shah nu.’
The Partition of India in 1947, a seminal event delineating the division of British India
into independent nations of India and Pakistan, stands as a moment fraught with profound
tragedy. This rupture inflicted a devastating toll of loss and displacement, with countless lives
lost and communities shattered amid unprecedented migrations. Amidst the grim narratives of
Partition survivors, the plight of women emerges as particularly poignant, with shocking
102
The Criterion: An International Journal in English Vol. 15, Issue-III, June 2024 ISSN: 0976-8165
www.the-criterion.com
https://doi.org/10.5281/zenodo.10448030
accounts revealing the atrocities endured by tens of thousands of women – from abduction to
rape, murder, or trafficking – as they became casualties of political upheaval.
The pre-partition era in India witnessed significant social, political, and cultural
transformations, with women often at the forefront of these changes. Amrita Pritam’s “Pinjar”
offers a poignant exploration of women’s lives amidst this tumultuous backdrop, capturing their
experiences, aspirations, and vulnerabilities. Drawing upon feminist theory, this research
endeavor seeks to unravel the complexities of female subjectivity, agency, and resistance
portrayed in Pritam’s work. By analyzing the novel through a feminist lens, we endeavor to
illuminate the intricate interplay of gender, class, religion, and nationality during this pivotal
juncture in history.
Women’s experiences during the partition of British India in 1947 have often been
overlooked in historical narratives, despite their significant impact on the fabric of society.
Amrita Pritam’s novel “Pinjar” provides a poignant insight into the lives of women during this
tumultuous period, offering a nuanced portrayal of their struggles, resilience, and agency amidst
the backdrop of communal violence and displacement.
Women came to represent the perceived honor of both individual men and the state. This
symbolism led to unspeakable violence perpetrated on them by both outsiders and their own
family members.
Many women accepted their new situation, even finding happiness and love with their
abductors. Indian Novelist Amrita Pritam’s novel Pinjar narrates the story of a young Hindu
woman named Pooro who is kidnapped by a Muslim man Rashid during the 1947 riots to avenge
an age-old land dispute between their family. Pooro’s sexual assault by Rashid is accompanied
by her family’s rejection of her and the following societal ostracism. The only tool for women to
survive their loss of “purity” was to reconcile with their converted identity. The story recounts
Pooro-turned-Hamida’s gradual journey of acceptance, culminating in love for her captor.
Rashid’s assistance in locating a missing Hindu woman during the riots was an essential factor in
her metamorphosis. Touched by his act of redemption Pooro chose to continue with her new life
despite having been offered the hand of her ex-fiance Ramchand.
103
Unveiling the Saga of a Women during the Pre-Partition Period: A Feminist Analysis of Amrita Pritam’s Pinjar
www.the-criterion.com
https://doi.org/10.5281/zenodo.10448030
Amidst the backdrop of upheaval and anguish, Amrita Pritam’s novella “Pinjar” emerges
as a poignant chronicle of resilience and redemption. Set against the canvas of Partition, the
novel intricately narrates the journey of Pooro, a young woman ensnared in the chaos of
communal strife. Abducted by Rashid, a Muslim man, Pooro’s journey unfolds as a testament to
human fortitude amidst adversity. As she grapples with the trials of a hostile community and
confronts the shadows of her past, Pooro’s narrative becomes a metaphorical exploration of the
ruptures wrought by Partition.
“Pinjar,” with its evocative depiction of human strength and resilience, transcends mere
storytelling to become a profound reflection on the shared history of India and Pakistan. Amrita
Pritam’s masterful narrative resonates across generations, offering poignant insights into the
enduring scars of Partition while illuminating the indomitable spirit of humanity in the face of
adversity.
Pinjar
In the first half of the novel, we find that Pooro’s family is a happy family of two sisters
and a brother. Pooro is an obedient and ideal daughter of her parents. Her father, like all fathers,
associates the idea of family honor with the women of the family. The turning point in the story
arrives when Pooro is abducted by Rashid, who is forced to do it to avenge a similar act
committed by Pooro’s uncle. This portrayal highlights how conflicts between families,
communities, and nations are often brutally and mindlessly played out on the bodies and
identities of women.
Rashid is a decent guy; he does not assault Pooro. She, after a long struggle, manages to
escape and goes home but is shockingly told by her father that there is no place for her in the
family. Her abduction now puts her chastity and fidelity into question. Since she was abducted
by a Muslim man, it is taken for granted that she is no longer chaste. But Rashid does not rape
her. Pooro pleads before her parents for her acceptance, claiming that Rashid has not done her
any harm sexually. To her dismay, she is rejected straightaway. The humiliation and disgrace on
the family’s honor and the threat that the entire family would be killed by the Sheikhs if they
accepted her made her father refuse to take her back. He says: “Who will marry you? You have
lost your faith and birth right. If we dare to help you, we will be cut down and finished without a
trace of blood left behind to tell our faith” (Amrita Pritam, Pinjar, P 16). Her father refused to
104
The Criterion: An International Journal in English Vol. 15, Issue-III, June 2024 ISSN: 0976-8165
www.the-criterion.com
https://doi.org/10.5281/zenodo.10448030
accept her, reiterating that it would prove difficult for him to face the queries of the society in
which he thrived.
Rejection from her own family is another trauma that hits Pooro hard. The refusal by her
counterparts is a much larger blow than her abduction, which consequently transformed her into
a skeleton. She has been doubly violated, firstly by her abductor, Rashid, who bruised her
physically, and secondly by her parents, who refused to feel her tragedy. “She had believed she
was returning to life. She had wanted to live again, to be with her father and mother, she had
come full of hope, now she had no hope, nor any fear” (P 16). Pooro becomes the victim of
deeply ingrained gendered violence and has to pay the price of her existence for the cultural role
being assigned to her by society. She is considered the symbol of honor and a medium of taking
revenge. She asks Rashid, “If my uncle abducted your aunt, what fault was that of mine? You
have reduced me to a homeless vagrant” (P. 14).
Devastated and dejected, Pooro ultimately returns to Rashid to lead a hellish life. Her
identity undergoes a drastic change. Rashid forces marriage on her and transforms her into
Hamida from Pooro. She now has a new identity which she resists as she longs for her family
and marriage to Ramchand. On the other hand, Rashid is repentant for the crime of Pooro’s
abduction and seeks redemption. He tries to provide love and care to Pooro, but she is
unrelenting as the wounds inflicted by Rashid are unforgivable. Over time, Pooro comes in
contact with three females who were also victims of gendered violence.
All three characters are treated merely as bodies, not humans. Taro is suffering from
some unknown disease and is disowned by her husband, who has brought another woman to live
with him and forces her to become a prostitute. Her illness and her husband’s attitude towards her
are unbearable. She desires death to free her from the caged life. She says to Pooro: “For full two
years, I had to sell my body for a cup of pottage and few rags. I am like a whore, a
prostitute…there is no justice in the world, nor any God. He (her husband) can do what he likes.
There is no God to stop him. God’s fetters were for me and only for my feet” (P.27-28).
The misfortune befallen Pooro is a pre-partition incident and is a result of the ancestral
family feud. Thus, she is not a victim of communal violence but of gendered violence in the
patriarchal set-up of society where women are used as objects of desire and as baits and are
exploited for others’ interests. Rashid takes advantage of the situation and in the guise of
105
Unveiling the Saga of a Women during the Pre-Partition Period: A Feminist Analysis of Amrita Pritam’s Pinjar
www.the-criterion.com
https://doi.org/10.5281/zenodo.10448030
abducting Pooro to satisfy his family members, he fulfils his desire to possess Pooro since he
loves her secretly. Pooro’s self is left traumatized by the upcoming awful life, which is reflected
in her dreams and intuitions. She realizes her ill fate and ultimately accepts her life as pictured by
destiny. Her heart is full of hatred for everybody as she thinks: “He had robbed her of her birth
right, he had robbed her of her future. Her parents had probably given her up for the loss and left
the village” (P. 15).
She suffers from pangs of loneliness as her family abandons her to live a life with a
stranger, with no scope of seeing them again. It is like a rebirth with a new identity. Rashid
marries Pooro, and she bears a son to Rashid. At the beginning of the novel, the novelist
mentions Pooro’s disgust over having Rashid’s child. She is utterly traumatized by the thought of
carrying his child in her womb. Her disgust is visible in her feelings, “She felt as if her body was
a pea-pod inside which she carried a slimy, white caterpillar. Her body was unclean. If only she
could take the worm out of her womb and fling it away! Pick it out with her nails as if it were a
thorn! Pluck it off as if it were a maggot or leach…!” (P. 06).
Pooro is tormented by the idea that: He had been planted inside her by force, nourished
inside her womb against her will, and was now sucking the milk from her breasts, whether she
liked it or not” (P. 22). It shows her dislike for the men-folk who treat a woman’s body as an
object of use. She is constantly grieved at the thought of carrying his child. Through this episode,
Amrita has highlighted the fact that women are considered merely bodies and nothing more than
that, and the violation of their bodies has become the moral perversion of the community itself.
The next female Pooro meets is Kammo, a motherless young girl, who is disowned by
her father and stays at her aunt’s house. Kammo is ill-treated and exploited by her aunt. She sees
Hamida as her mother figure but her aunts dissuade her from meeting her as she is a Muslim.
Pooro’s dilemma is repeated when Lajo, Pooro’s sister-in-law and the third female in Pooro’s life,
is abducted by Muslim men and kept in capture in her own house. Ramchand comes to Pooro
seeking her help to release Lajo. Pooro convinces Rashid to help Lajo return to her home. She
reflects immense strength in the hour of crisis to help Lajo escape the clutches of her abductors.
Here she realizes that the ultimate victims in all clashes are women, “It was a sin to be alive in
this world full of evil,” thought Hamida, “It was a crime to be born a girl” (P.45).
106
The Criterion: An International Journal in English Vol. 15, Issue-III, June 2024 ISSN: 0976-8165
www.the-criterion.com
https://doi.org/10.5281/zenodo.10448030
Almost all the female characters in the novel are victims of one or the other type of
violence. They are oppressed by the double yoke of patriarchy and dislocation. Pooro is not only
disowned by her father but by her fiancé Ramchand too, who questions her chastity, purity, and
dignity by ignoring to recognize her after her abduction. The mournful process of abduction is
aggravated by the rejection from her parents when Pooro succeeds in escaping from the clutches
of Rashid. Her parents do not let her in. Instead, they say: “You have lost your faith and birth
right. If we dare to help you, we will be cut down and finished without a trace of blood left
behind to tell our fate” (P 16).
Shocked, Pooro returns to Rashid. She marries him and moves to a nearby village. In due
course, she is pregnant. She is renamed as ‘Hamida’ and her new name, as if to establish her new
identity, is tattooed on her hand. Priyadarshini Das Gupta says about Pooro: “Now she is Pooro
only in her dreams and in her reminiscences of her parent’s home. This duality she cannot take
affably to and is soon reduced to mere skin and bones.” Though Rashid did not call her Hamida,
Amrita writes: “In her dreams, when she met her old friends and played in her parents’ home,
everyone still called her Pooro” (P 17). And again, “It was a double life. Pooro became Hamida
by day and turned back to Pooro by night. In reality she was neither Hamida nor Pooro; she was
just a skeleton, without a shape or a name” (P 17).
Pooro cannot even accept her child. For her, it is Rashid’s torture. She is bewildered by
the thought that she is carrying a portion of a person who has spoiled her life: “He had been
planted inside her by force…. against her will” (P 22). She thinks, “Only if she could take the
worm out of her womb and fling it away” (P 06). And she feels, “…as if the boy was drawing the
milk from her veins and was sucking it
Findings and Discussion:
Amrita Pritam’s “Pinjar” offers a compelling portrayal of women’s experiences during the
pre-partition period, showcasing their agency, resilience, and capacity for resistance. Through
characters like Pooro, the protagonist, and her sister Rajjo, Pritam illuminates the diverse ways in
which women navigate patriarchal constraints and assert their autonomy within the constraints of
societal norms. Despite facing violence, displacement, and loss, these women refuse to be
reduced to passive victims, instead actively shaping their destinies and forging connections
across communal divides.
107
Unveiling the Saga of a Women during the Pre-Partition Period: A Feminist Analysis of Amrita Pritam’s Pinjar
www.the-criterion.com
https://doi.org/10.5281/zenodo.10448030
The novel also underscores the intersecting nature of oppression, as women’s experiences
are shaped not only by gender but also by factors such as class, caste, and religion. Pritam’s
depiction of Hindu-Muslim relations in the pre-partition era offers a nuanced critique of
communalism, highlighting how women become pawns in larger political conflicts. However,
amidst the chaos and turmoil, the resilience and solidarity of female characters emerge as
powerful symbols of hope and resistance.
Conclusion:
In conclusion, Amrita Pritam’s “Pinjar” provides a compelling insight into the lives of
women during the pre-partition period, offering a feminist critique of patriarchal structures and
communal tensions. Through its richly drawn characters and evocative storytelling, the novel
highlights the agency, resilience, and struggles of women within a society in flux. By analyzing
Pritam’s work through a feminist lens, this research article has sought to shed light on the
complexities of gender dynamics and women’s experiences during a tumultuous period in South
Asian history. As we continue to grapple with issues of gender inequality and communalism in
the contemporary world, the voices and stories of women from the past remain both relevant and
resonant.
Works Cited:
Pritam, Amrita. “Pinjar”. India Research Press, 2009.
Haleem, Aisha. “Pinjar: The Skeleton and Other Stories, Amrita Pritam.” Creative
Saplings 2.04 (2023): 1-2.
Spivak, Gayatri Chakravorty. “The spivak reader: selected works of Gayatri Chakravorty
Spivak”. Psychology Press, 1996.
Jain, Jasbir.”The Image of Woman in Amrita Pritam’s Prose Fiction” (Journal of South
Asian Literature, 1975)
Mehta, Rini Bhattacharya, and Debali Mookerjea-Leonard. “Indian Partition in Literature
and Films”. Taylor & Francis, 2014.
108
The Criterion: An International Journal in English Vol. 15, Issue-III, June 2024 ISSN: 0976-8165
www.the-criterion.com
https://doi.org/10.5281/zenodo.10448030
Sunderrajan, Rajeshwari. “The Burden of History: Amrita Pritam’s Pinjar and Partition”
(Feminist Studies, 2006)
Loomba, Ania. Colonialism/postcolonialism. Routledge, 2002.
Mohanty,Chandra Talpade, “Under Western Eyes: Feminist Scholarship and Colonial
Discourses” (Feminist Review, 1988)
Dr ,Patil,Vidya “Amrita Pritam’s Pinjar(The skeleton) voice of the silent,
suffering women”, 2018.
Wikipedia. n.d. February 2013. http://en.wikipedia.org/wiki/Pinjar_(film).
109
Sushmitha B P