35 pages • 1 hour read
Kanthapura
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Themes
Caste and Class
As a village, Kanthapura is divided firmly by the Indian caste system, much like India is divided during this time period. This manifests in both physical and subtler ways—the village is literally divided into quarters for each caste, and the system is enforced by social oversight. Although there are friendships across certain classes, the Pariah class are uniformly treated as exiles from society and ostracized by all classes. Moorthy’s embrace of them is one of the greatest shocks to the existing social structure, and leads to his excommunication from the Brahmin class. Outsiders who do not fit into this traditional caste system, such as the Muslim Bade Khan, often find themselves without a place in the village—not exiled, but simply with no role to play.
This existing caste system is seen in other elements of the society as well, such as the Skeffington Coffee Estates. With no ties to the caste system, the British imperial government is able to take advantage of these divisions and find easy and loyal labor in the pariahs and laborers. Thus, the estate essentially has a colony of servants who would never consider leaving and put up with abominable treatment from the Sahib. Opposing the caste system was one of Gandhi’s biggest changes to Indian society, and also one of the most controversial.
Gender
Although secondary to the subjects of caste and class, one of the defining conflicts in the novel is gender and the role of women. Although Moorthy, the leader of the protest movement, is male, it is the women of Kanthapura who keep the movement alive after Moorthy and many of the other men are imprisoned. It is Rangamma, the young widow, who becomes the de facto leader of the movement. Rangamma’s leadership sees the women take charge through protesting, religious education, and even fighting through the volunteer corps she starts. The power women wield in this society is shown in several ways, both conventional and unconventional, as is the oppression they face. This is made clear in the sexual predation that the young Sahib commits upon his workers, as well as the groping and assaults women protesters face from police.
Although Rangamma and Achakka and several of their allies are what could be seen as early feminists, not every woman in the village subscribes to their advanced views. Moorthy’s mother is an early example of a woman who is wedded to traditional ways, and her grief over having her social status and place in society removed likely causes her death. Venkamma, meanwhile, is an example of a traditional woman who is happy with her place in society but is able to use it to its full potential. Her command of the social structure of Kanthapura and its gatherings and events allows her to turn hospitality as a weapon.
Faith
Religion is one of the defining themes in Kanthapura, most clearly seen in Moorthy’s devout adherence to Hindu theology. Following Mahatma Gandhi’s dogma, Moorthy practices a form of Hinduism that espouses nonviolence, self-sacrifice, and equality. Despite the great hardship he endures, he perseveres, taking police beatings without retaliating. He fasts for days on end, even though he nearly dies in the process, and sacrifices his own family’s social status to embrace the pariah citizens of the village and outside. His philosophy eventually lands him in prison, but it reaches more and more people in the village as time goes on.
By contrast, Bhatta’s version of religion is markedly different. He claims to be a religious authority based on his alliance with the local Swami. However, he abuses this authority by using it as a bludgeon against his enemies. His primary weapon is excommunication, and he is unashamed to utilize this enrich himself or trade for favors. He represents the corruption of religion by men seeking power. Hinduism is the defining faith of most characters in the book, and Bade Khan’s Muslim faith is only touched upon briefly. However, it sets him apart from the rest of the characters in a distinct way, making faith a source of both unity and distance in the narrative.
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