#133: Reading Response #2

[Mr. Neary]

While reading the third section of A Fine Balance, which goes back in time and explores the roots of Om and Ishvar as members of the lower caste in rural India, I encouraged you to read from more of a sociological perspective.  For this response, however, I would like you to focus on Mistry's characterization, specifically looking at how he reveals a character's VABs (values, attitudes, beliefs).  You will encounter a classic narrative of good versus evil in the form of Narayan versus Thakur; thus you could easily form a response about either one of them, specifying specific traits and highlighting precise details.  At the same time, this section also introduces some other great characters worth exploring. 

 

To be exact with my prompt, I would like you to address a character and a particular value or set of values the character embodies, and then discuss two or three details from the story that the author inserts to reveal--subtly or more blatantly*--these particular values.  (*I prefer that you pay greater attention to subtle details over the more obvious examples, though you can still mention the obvious.)  You can analyze one scene or synthesize details from multiple scenes.

 

The response should be one paragraph, neither shorter nor longer than the first posts.  As always I am selfishly looking for good writing, especially the use of powerful, active verbs and the integration of carefully selected quotes.

 

 

Due: Monday, May 7*

 

 

*The reading is still due Friday, May 4.

[James Lofton]

The character Ishvar is expertly characterized in the third section of A Fine Balance. In the beginning of the section, depicting the childhood of Ishvar and his brother Narayan, it is clear that he wants to break the caste-barrier placed upon his family by the rich. On page 102, when Dukhi took Ishvar to learn the trade of the Chamaar leather-workers, Ishvar was seriously injured on the job when the tip of the animal's horns sliced his cheek. That same day he had listened to the resentful chatter amongst his elders towards the higher-caste society; "They are all like that, vegetarian in public, meat-eaters in private" (102). After this traumatic experience, Dukhi lost all prospects of work after the incident while grinding the chili peppers. Ishvar and his brother used this down time to explore their environment. Them exploring the schoolhouse on pages 109-110 showed how this two children had the audacity to try to break the restricting caste system. Narayan eventually gets overly audacious and it leads to his brutal murder in addition to that of most of his family, but more of Ishvar's character construct is revealed when he reaches the big city. The most poignant example of Ishvar's characterization comes when his nephew and he seem to be at the edge of complete failure. Ishvar is so desperate for work in the city that he worked for a cobbler, preparing the leather for shoes and sandals. This work was akin to the dirty work that his father and other ancestors had been doing for hundreds of years.  However, Ishvar was ashamed of resuming this type of work and did not want others to find out. By analyzing this scene, you can see that Ishvar had finally succeeded in breaking the caste-barrier, he was now a tailor, but resorting back to the old style of work made him remember the toil of his ancestors. Ishvar was more proud of being a tailor than anything, and he did not want people's opinion of him to change.

[Ben Cohen]

The third section of "A Fine Balance" reveals Narayan's belief in
equality and value of freedom. After becoming relatively successful
for the position he was born into, Narayan feels he can eliminate the
discrimination between castes. When Dukhi tells Narayan to calm his
ambitions and be satisfied with being a tailor, Narayan replies, "
That was your victory," (141) hinting that he believed he could
accomplish more for his family and people. Narayan then showed up at
the voting station, which led to his death. His death signified that
his adamant belief of equality could not match the harsh caste system
enforced upon the village. Narayan symbolized the frustration of the
lower-caste villagers. Almost all of them had learned how to filter
their feelings of being discriminated against from reaching their
actions, but Narayan decided to express these feelings. His attitude
towards the discrimination was to fight it until it went away or they
punished him for protesting it. This was shown when he vented to his
father about his frustrations: "I was just thinking that... thinking
how nothing changes. Years pass and nothing changes....
Government passes new laws, say no more untouchability, yet
everything is the same" (142). Narayan's attitude comes from his
success. He feels his work has proven anybody can accomplish anything.
His caste was not suppose to be tailors, yet he was. The feeling of
triumph intensified his desire for freedom and equality. When Narayan
is killed, the unjust ways of India are shown. Minstry exemplifies how
freedom and equality were squashed in Indian villages during that time
by using Narayan's failed defiance. Narayan's values of equality and
freedom were used to show the true, unrelenting discrimination in
India.
On May 2, 10:48 am, "Mr. Neary" <tjne...@gmail.com> wrote:
> While reading the third section of *A Fine Balance*, which goes back in

> time and explores the roots of Om and Ishvar as members of the lower caste
> in rural India, I encouraged you to read from more of a sociological
> perspective.  For this response, however, I would like you to focus on
> Mistry's characterization, specifically looking at how he reveals a
> character's VABs (values, attitudes, beliefs).  You will encounter a
> classic narrative of good versus evil in the form of Narayan versus Thakur;
> thus you could easily form a response about either one of them, specifying
> specific traits and highlighting precise details.  At the same time, this
> section also introduces some other great characters worth exploring.
>

> To be exact with my prompt,* I would like you to address a character and a

> particular value or set of values the character embodies, and then discuss
> two or three details from the story that the author inserts to

> reveal--subtly or more blatantly*--these particular values*.  (*I prefer

> that you pay greater attention to subtle details over the more obvious
> examples, though you can still mention the obvious.)  You can analyze one
> scene or synthesize details from multiple scenes.
>
> The response should be one paragraph, neither shorter nor longer than the
> first posts.  As always I am selfishly looking for good writing, especially
> the use of powerful, active verbs and the integration of carefully selected
> quotes.
>

> *Due: Monday, May 7**

[Alexa Lee]

In the chapter "In a Village by a River" Mistry chooses the character Ashraf to represent the value of loyalty and generosity.  At first he blatantly shows this value by having Ashraf offer Dukhi apprenticeship for his sons in his tailoring shop free of charge (115).  Then more subtly Mistry writes "Dukhi watched Ashraf's fingers, the warmth with which he gripped the children's shoulders" (115).  Ashraf shows his loyalty and generosity not only by his offer to Dukhi, but also his subtle mannerisms around the children.  He seems to have a genuine affection for them, undoubtedly drawn from his loyalty to Dukhi and overall benevolent character.  In fact he is so loyal and generous that when he discovers that the children are illiterate he "control[s] his dismay, pat[s] the boy's back" and "teach[es] them the alphabet and numbers" (117).  Even his wife becomes angry and questions him.  But because of his fierce loyalty to Dukhi, he acts as a father, protective, loving, teaching, to Ishvar and Narayan.  He even comforts the boys when they feel homesick in the middle of the night saying "when your father is not here, I stand in his place... You can tell us anything" (118).  Often in these situations Ashraf goes one step further than necessary.  He has such a generous heart that he feels compelled to do so.  Ashraf doesn't need to control his frustration with the boys when they can't read.  Nor does Ashraf need to wake up in the middle of the night to comfort the boys when they can't sleep.  Because of his early kindness he is rewarded later in the novel, when the angry Hindus come knocking on his door.  Ishvar and Narayan save his life and also his family's life.  When Ishvar and Narayan could just go home and not deal with the issue, they choose to help instead because of their love for Ashraf and his family.  The value of Ashraf's loyalty and kindness is shown in the good way Ishvar and Narayan grow up.  Having a kind father figure in their lives, the boys are able to become good people and prosper.  

[Melissa Lee]

In Minstry’s A Fine Balance, Dukhi is introduced as Omprakash’s grandfather of the Chamaar caste. Forced to carry out his obligatory work of skinning buffalo carcasses as a child, it was not only his skin that “became impregnated with the odour that was part of his father’s smell” (95), but also his values that were tainted by the his caste’s duties. However, after he marries Roopa and has children, he still remained conscious of his caste as he shaved his moustache and “dressed himself and the children in the filthiest rags he could find among their meagre possessions” (100). He values the safety and relative well-being of his family and appears at first to not want to veer to far away from the expectations of his caste by passing on the tradition of trade to Ishvar. Although he later he is expelled by the Thakur for breaking a mortar, he expresses his discontent for how the upper caste treats his caste and family. But regardless of his spiteful feelings against the upper castes, his family and origins continue to matter much to him. When Ashraf suggests for Dukhi and his family to live near him, Dukhi responds, “…It’s not good to go far from your native village. Then you forget who you are.” (107) Conversely, Dukhi also sympathizes with those lower than him. His friendship with Ashraf, a Muslim tailor showed his acceptance of the minority lesser than his own caste. Also, when Narayan asserts he should be able to sew for the lower caste of a Bhungi, he agrees with his son in the end. Although, ultimately his opposition to the higher caste prevails and prompts him to send his children to apprentice Ashraf as tailors, as an adult, he does value his family the most, but is still aware that he must boldly risk the controversy attached to their occupations. This sets off his children’s distinct paths that question the boundaries of the society’s distinct castes.

On Wednesday, May 2, 2012 10:48:00 AM UTC-4, Mr. Neary wrote:

[Cat Mosier-Mills]

Throughout A Fine Balance, we see the character Dhuki represent the sefless nature of a caring father, and the humble/"sacrificial" obligation of being a member of a lower caste. Bound to one trade by birth, Dhuki can't amount to anything else in his life; if he does, he runs the risk of being severely punished or killed. This forced humility is evident when Roopa gives birth to a second son. In order to avoid the castigation of the upper caste, he "prostrated abjectly when [seeing] high-caste persons...shaved his mustache...and dressed himself and the children in the filthiest rags he could find of their meager posessions" (100.) However, Dukhi is a selfless father; while he's somewhat of a realist, he wants the best for his children. After hearing about the incident at the school, he understands that, despite its obvious danger, sends them to be apprenticed with Asharaf. He sacrifices his reputation for their well-being, and even though it means losing them, he remarks that "Asharaf was a good and gentle man, he knew his sons would be well cared for. All the same, an icy ache was spreading around his heart" (114-115). This remaining regret shows the Dukhi does feel guilt for leaving them, but that he knows it's all for the best.

On Wednesday, May 2, 2012 10:48:00 AM UTC-4, Mr. Neary wrote:

[Allie Martin]

In this part of A Fine Balance i thought Dukhi represented a truly selfless father. He wanted his kids to have a better life than he did, but he when he shouldn't push it. For example he blatantly gave them a chance at a better life by sending them to Ashraf's shop so they could learn the trade of tailoring (115). It was obvious they would make more money in this field than tanning leather. At the same time he sacrificed his own feelings for his cause. Thakur Dharamsi and other people in the upper castes treated Dukhi like dirt and Dukhi never stood up to him thought he said he could "spit in their upper caste faces"(105). I think this was because he had didn't want his children to suffer in the community because of him. Thakur did end up killing the whole family but that was more in reaction the Narayan standing up to him and asking to vote than his fathers past actions. Even when his children were slapped around by an upper caste school teacher for using chalk (110), Dukhi tried to take care of it by going to the villages  peacemaker and let it go when even he didn't do anything. Many times in this section Dukhi had the reasons to physically hurt someone but he knew the real repercussions would be dealt upon his sons, and so he " [kept] his eyes averted from the high caste face, and fixed safely on his feet" (100).

On Wednesday, May 2, 2012 10:48:00 AM UTC-4, Mr. Neary wrote:

[Colin Castro]

Throughout the second selection of the story, Mistry painted Narayan
as a character who was courageous, loyal and unselfish like his father
Dukhi. Narayan and his brother Ishvar show courage, when they travel
off for their tailor apprenticeships with Ashraf. This is a difficult
time for the family, as Dukhi and Roopa are very lonely, and Dukhi's
standard of living and respect dips greatly around the village. But,
Narayan and Ishvar do their best to learn and mature without their
parents. During, one of their short travels home Narayan and Ishvar
reduce their Mother to tears through the gift of a new choli. Dukhi
explains the significance of the gift as it comes during a hard time
for Roopa, "Her new choli will make Ma forget everything, she will
spend the whole day showing off" (Mistry 121). The boys' loyalty and
love gives their struggling mother an object of love, and pride.
Ishvar and Narayan's intense loyalty is further displayed when they
defend Ashraf and his family from the violent Hindus. The brothers'
unselfishness stands out and returns the favors of training, and a
home to Ashraf's family. While Ishvar stays with Ashraf, Narayan comes
home to be with his family and create a new tailoring business.
Narayan's loyalty and courage shine when he respectfully disagrees
with his mother about working for a lower-caste, " "I think I should
sew for anybody who comes to me, Brahmin or Bhungi." "(Mistry 135).
Narayan's words are powerful here because he's showing courage in
acceptance a lower-caste, while being open and understanding. Also,
Narayan's being loyal to his family and cause in a way his mother
Roopa doesn't understand. Narayan's feelings are showing his support
of the lower-caste struggle that's held previous generations of his
family down, and sympathizing with fellow Indians in a similar
situation. While Narayan's ascension brings tremendous pride to
himself and his parents, Narayan never fails to sympathize for the
lower-caste cause that his family struggled through in his early days.
Even after a nice marriage to Radha, Narayan continues to discuss his
anger in the system with his father Dukhi. Narayan's goal of ending
the lower-caste struggle calls on great courage, selflessness and
loyalty when he stands up to the fraudulent voting system and the
ruthless landlord Thakur. Narayan's gruesome death and torture is a
product of all three of his unbending values, and his consistent
attitudes and beliefs.

On Wed, May 2, 2012 at 10:48 AM, Mr. Neary <tjn...@gmail.com> wrote:

[Lizzy Hilt]

            In the third section of Mistry’s A Fine Balance, Thakur presents the value of supremacy, which causes the wickedness of the actions he conducts to preserve his self-imposed authority.  One sees this horrific representation of power played out in numerous passages with subtle references in the scene with his grandchildren, the wedding music, and sections of the voting incident.  His grandchildren represent innocence and, being the corrupt authority over them, he blatantly lies to them by telling them, “some bad men are outside”(146). Mistry includes this irony to reinforce the notion that Thakur is the true bad man. He also bribes his grandchildren with toys like the new train set they received from him. He is manipulating his own family to protect himself and this shows his true VABs. He will do anything to keep his power and he doesn’t care whom he has to lie to in order to get his way. We see this as being affective during the voting scene when “Thakur Dharamsi laughed, and his men joined in approvingly. They stopped when he stopped” (145). His manipulation is caused by his power. His men are afraid of his power and feel inclined to agree with him because if they don’t, they will end up like Narayan. He controls them like puppets even though, according to the caste system, they are his equals. He has the notion that he can control whomever he wants whenever he wants to no matter the consequences, showing he is also selfish. When he cancels the musicians for Narayan’s wedding, he knew exactly what he was doing. They are a tradition in the village and their presence is necessary because “when the songs are not sung properly, nothing but unhappiness for husband and wife” (138). The intentional sabotage of Narayan’s wedding was completely for his own enjoyment and their misfortune. Some in the village even believe if the correct wedding songs aren’t played, it causes infertility. Thakur continually abuses his authority in ways that are extremely cynical showing his true VABs. 

[Josh Klag]

In A Fine Balance, Mistry used subtle details to characterize Ashraf and reveal his values. Through his kind actions, Mistry portrays Ashraf's good nature and generosity. Speaking of Ashraf, Mistry wrote, "Dukhi used to go to [Ashraf]...when he could afford to get something...- the Hindu tailor did not sew for untouchables" (142). Unlike the rest of the tailors, Ashraf disregarded Dukhi's low caste due to his strong personal values regarding equality. Ashraf's actions also paint the picture of a loving, caring man. When he was awoken by Ishvar and Narayan crying in the middle of the night, he "got out of bed...[and] lay by their side till they fell asleep" (158-159). Even though the two children were Dukhi's, he treated them like their own and comforted them when they were lonesome. This simple act shows his capacity for kindness and care, even for people outside of his own family.

On Wednesday, May 2, 2012 10:48:00 AM UTC-4, Mr. Neary wrote:

[Connor]

In the third section of A Fine Balane, Mistry reveals Ashraf to be a compassionate character that refuses to see a debt go unpaid. This scene in which Ishvar departs from Ashraf's store and home shows the level of his compassion for those he cares about. The line "'An eternity of kindness could not repay what you and Narayan did for my family.' said Ashraf, swallowing" exemplifies this greatly. Ashraf refers to Ishvar and Narayan pretending to own his store in order for it to remain in business. Although this was an incredibly kind and dangerous act, it was moments long and ultimately did not require much effort from Ishvar and Narayan. This contrasts against Ashraf's housing and care for Ishvar and Narayan for numerous years. The fact that Ashraf feels forever indebted for Ishvar and Narayan shows the level of selflessness that he possesses. Not only does he house Ishvar and Narayan, but when they are required to do something that they morally should do, Ashraf feels that there is nothing that he can do to repay them, when in fact they should be the ones indebted to him. This scene, amongst others, proves Ashraf's selflessness and compassion towards others.

[Maureen McDermott]

Miriam, the wife of Nawaz, is used by Mistry to represent selflessness, persistence, and inferiority. Despite her husbands cruelty towards Om and Ishvar, Miriam is always pushing for Nawaz to open their house to them. She, unlike her husband, sees Om and Ishvar as people. She sees their value and the struggles they face and wants nothing more than to house and feed them. She is constantly begging Nawaz to allow Om and Ishvar to have some tea, and will not relent even when Nawaz brutally rejects the idea. I think most importantly, though, Miriam is used to further emphasize the inferiority of women to their husbands, and the chauvinistic attitudes men during this time held. In one scene when Miriam asked Nawaz if she could bring the tailors tea, Nawaz responded by saying "No need for that, I told you already" and when she asks again, he slaps her. I think Miriam was also used to foil the actions of her husband. Her selflessness brought out the true selfishness in Nawaz. He was nice to Om and Ishvar when was it was convenient for him, but she was nice to them even when it wasn't. Nawaz finally invited Om and Ishvar to come in for dinner only when they had found a job, and would no longer being living on his property. He acted as if he had never treated them with cruelty or disrespect, and even offered them a bed indoors. And when Miriam brought the food to the table Om and Ishvar had been able to "see her eyes cloud with embarassment at her husbands hypocrisy." She opposed the harsh beliefs of her husband, but due to the status of woman, was not able to speak up for what she believed in.  

On Wednesday, May 2, 2012 10:48:00 AM UTC-4, Mr. Neary wrote:

[Leigh]

In the 3rd section of a Fine Balance, Nawaz is portrayed as a very selfish person. His actions prove his desire to look out for himself, like when he said "the thing is, you pamper them and they'll never leave," and "not my family, he spat" (156). Also he shows his selfishness again when he says "If I wanted people living under my back awning I could rent it out for good money" (158). The more important way Nawaz is characterized is by his constant comparison to Ashraf. They serve as foils of one another, since Ashraf's never-ending generosity and compassion towards Ishvar's family contrasts with Nawaz's treatment of the boys. Even Nawaz's wife thinks he is being cruel to the visitors and wants to treat them with more respect. In Nawaz's defense, the society he lived in made him distrustful of the lower castes and made him think they were all lazy and doomed to failure.

Nawaz was also portrayed as cold-hearted and grumpy. For example, when Omprakesh and Ishvar thought he was offering them a job, "Nawaz rudely snuffed out the exuberance... He tried to be pleasant again, smiling and continuing." I don't think Nawaz consciously tries to to be uncaring and selfish, but the society he lives in has hardened him. He knows the only way to provide for himself and his family is to look out for himself before anyone else. While Omprakesh and Ishvar understand this, they simply aren't accustomed to this harsh reality. When they were living with Ashraf they experienced kindness that no one else seems to give.

On Wednesday, May 2, 2012 10:48:00 AM UTC-4, Mr. Neary wrote:

[Rachel Hochberger]

In A Fine Balance, Dhuki seems to be representative of devotion and selflessness for those he cares about, specifically his two sons. Throughout the book, he is forced to do the tiresome work of repairing shoes because he is of a lower caste. Although this work is miserable and tedious, he does it in order to support the family. And while Dhuki has accepted this fate for himself, he wants better for his sons. And after they are brutally punished for using the blackboards in the school, he knows he must get the boys an apprenticeship to educate them, and shows he is willing to take the hit for this decision. “Dhuki was spared his like, but it became a very hard life” (118).  He had to travel for miles to get customers who didn’t know of his sons’ apprenticeship, was refused animal carcasses that were extremely useful to him, and was shunned by many in the village. His marriage is also strained because of this decision, his wife feeling that her “life has become a permanent shadow (119).  It was clear before this Dhuki’s life was by no means easy, so the fact that he was willing to endure all of this so his sons could have a better future shows true dedication. I think it also shows that deep down, he is a dreamer. Despite the struggles he’s gone through, he keeps up hopes of something better for his sons, even through all of the criticism he gets for it. 

[Shefain Islam]

The character of Roopa stood out to me the most in the third section. Roopa is the most caring and dedicated mother and values her children and family above all else. She is willing to forgo everything if it means that her children will be safe and happy. Roopa's pride lied within her children, especially her first-born son Ishvar and she "made sure he always had enough to eat. Going hungry herself was a matter of course - that she often did even to keep Dukhi fed. But for this child she did not hesitate to steal either" (Mistry 97). In culture where the birth of a son is the only credibility a woman can have, her son meant everything to her. Not only did the culture affect her, but the fact that she had lost 3 daughters made her almost paranoid of not being able to keep her other children alive. Roopa's devotion to her children is sadly most present during the scene in the orange grove. Not only does Roopa represent a dedicated mother, but she represents the strength and support in her family. Even the experience would be terrifying and scarring for anyone, Roopa only let out "muffled sobs" (99) and "grabbed her clothes and the sack of oranges and ran naked through the orange grove" (99). Despite all the torture she went through, she still remembered to bring home the oranges to feed to her family. In this way, Roopa showed her unbelievable strength as not only a mother, but as a woman in general. Roopa does not seem like a woman of many words or actions. She is calm and collected but shows her love through small acts. After Dukhi comes home angry at Thakur, Roopa simply cleans and bandages his wound while asking him to talk to her. She is able to provide support to her husband at a time when even he couldn't be strong against the pressure of the caste system. Without a doubt, for a girl to be married at 14, have 3 miscarriages, and go through the struggles she went through in her later life, Roopa exemplifies the strength that many Indian women have in her situation. It is a sad but true fact that Roopa is not alone and in fact Mistry writes "And there was not a mother...who would not have taken the same risk for her own son" (97).

[Quincy Shuda]

Throughout the third part of this book, many characters were quickly introduced before being withdrawn from the story. In this perspective, I think that they were not formed to act as characters to carry the plot as much as forces which pushed the main characters to carry the plot, nudging it in different directions. Particularly, Narayan’s sense of identity stood out to me, playing a large role in his values, actions, and beliefs. The most notable trait of Narayan proved to be his determination. He understood his goals and acted in order to attain them, without allowing anyone to hinder his intentions, whether it be helping or hurtful to him. When it came to parliamentary elections, Narayan’s passion for doing what he deemed right was expressed when his father told him he had already changed society and made a better name for himself, to which Narayan rebutted, “‘That was your victory’” (143). If he couldn’t create the change he craved on his own, it’s worth disintegrated. Going hand in hand with strong motive, was knowing what he wanted and not fearing how people would feel about these things. Even as a young boy, Narayan showed how he felt as he cried when he felt homesick while his brother hid his emotions behind a curtain of aloofness. Once Narayan set his mind on something, that goal overcame any other force in his body including fear for his life. Risking everything he and his family had worked for, he stood up for Ashraf because he owed his success to him, as well as standing up for a lower-caste man who he had never met, simply because he felt the moral obligation to sew any person’s clothes without judgement. Many of Narayan’s strong actions portray his self-determination to do what his heart pleases. Unlike his brother who is a contrasting character to him as he obediently takes orders from Dina Dalal in the future, simply trying to survive, Narayan radiates independence and embodies an aura that is completely his own. Even after his death, as his family admires him one last time, only because of “the red birthmark on his chest could they identify Narayan” (147). Stripped of his internal beauty for everything he stood for, his uniqueness still appeared as a mark of his way of life: bold and rare.

[Sarah M]

In the third section of A Fine Balance, Ishvar’s internal struggle
between obeying the caste system of his ancestors and embracing/
enjoying the freedoms of the changing world of his future is
characterized very poignantly. He is brought to tan his first animal
at a very young age, only seven years old. While they are taking the
seemingly dead animal for themselves, he is suddenly revived and
strikes Ishvar with a painful blow to the face. (Again, the metaphor
of the seemingly dead animal/customs still having a strong grip on
reality). He survives and the wound heals, but “the injury, however,
left that part of Ishvar’s face forever frozen. His father said,
trying to make light of it, “God wants my son to cry only half as much
as other mortals.” He preferred to overlook the fact that Ishvar’s
smile, too, could only be smiled with half his face” (103). Ishvar
doesn’t experience the pain of living within the restrictions of his
caste as much as his ancestors did, foreshadowing his escape to be a
tailor and succeed (hence, crying only half as much). But the fact
that he could only smile half as much too represents the physical pain
he experiences with his injury, the mental pain of mourning his
brother’s cruel, unjust death, and the discrimination he suffers while
slowly inching up the social ladder. The double-edged sword of
Ishvar’s success, his “untouchable” quality, and his pain represents
the inner conflict of his emotions. He has a good, pure soul, but he
struggles to find the place he belongs as he doesn’t really belong to
either caste.

[Drew Vollmer]

In this section of "A Fine Balance", the reader is introduced to the
Chit-Pavan Brahmin, Pandit Lalluram. Although he is a minor secondary,
his characterization is crucial, for he gives a first impression of
the entire Brahmin caste. He first appears after Ishvar and Narayan
are punished by the school teacher. Seeking justice, Dukhi heads for
Brahmin Pandit. The narrator first idolizes the Brahmin as this
heavenly elder, with an endless resume of solved disputes. Essentially
the village's supreme judge, his counseling is revered. Furthermore,
"Pandit also enjoyed a reputation for promoting communal
harmony," (Mistry 111) showing how he values such respect and power.
The reality though, is much less ideal. As the narrator continues on,
his description of Pandit begins to sound less approving. While the
Brahmin may appreciate the respect and power he receives, this is
rarely a two-way street. He shows minimal respect when Dukhi comes for
aid, as he "belche[s] loudly several times during his visitor's
narration" (Mistry 112). The bodily functions continue throughout the
meeting, as Pandit kneads his sweat, picks his toes, and breaks "holy
Brahminic" wind. Such acts are rather disrespectful, yet Pandit's
great reputation convinces Dukhi to bless eructation with "Hai Ram".
This behavior is not unlike that of say, Jabba the Hutt. Both act in a
similar stock characterization of the overweight, unhygienic man in
power with little respect for his subjects. Further on, when Dukhi
tries to explain himself the Brahmin "roll[s] his eyes at the
interruption" (Mistry 113) and works his way around such complaints
with long-winded vindications. This change in the narrator's writing
style furthers the two-sided nature of Pandit Lalluram, while he is
built up to be a prophetic village advisor, he truly shows little
respect for the people, and rather the power. This is also symbolized
with the motif of the Brahmin's head. He is proclaimed to have "Sacred
Knowledge locked inside his large, shiny cranium" (Mistry 111). A
large, shiny head often correlates with wisdom and intelligence, just
as Pandit is built up to have. Later on, Chhotu, a friend of Dukhi's,
suggests the ointment given to Dukhi is boot polish, which he applies
"to his head every morning. That's why it shines like the sun" (Mistry
113). So although Pandit may make himself out to be wise and generous,
this is not so, for he tricks the lower caste into believing such a
reputation. Pandit, much like the other Brahmins, value their
reputation of all-knowing, philanthropic deities, their true attitude
to the lower castes is disrespectful and unsympathetic.

On May 2, 10:48 am, "Mr. Neary" <tjne...@gmail.com> wrote:

> While reading the third section of *A Fine Balance*, which goes back in

> time and explores the roots of Om and Ishvar as members of the lower caste
> in rural India, I encouraged you to read from more of a sociological
> perspective.  For this response, however, I would like you to focus on
> Mistry's characterization, specifically looking at how he reveals a
> character's VABs (values, attitudes, beliefs).  You will encounter a
> classic narrative of good versus evil in the form of Narayan versus Thakur;
> thus you could easily form a response about either one of them, specifying
> specific traits and highlighting precise details.  At the same time, this
> section also introduces some other great characters worth exploring.
>

> To be exact with my prompt,* I would like you to address a character and a

> particular value or set of values the character embodies, and then discuss
> two or three details from the story that the author inserts to

> reveal--subtly or more blatantly*--these particular values*.  (*I prefer

> that you pay greater attention to subtle details over the more obvious
> examples, though you can still mention the obvious.)  You can analyze one
> scene or synthesize details from multiple scenes.
>
> The response should be one paragraph, neither shorter nor longer than the
> first posts.  As always I am selfishly looking for good writing, especially
> the use of powerful, active verbs and the integration of carefully selected
> quotes.
>

> *Due: Monday, May 7**

[Jeremy Rhome]

Minstrel uses the values of Narayan to exemplify the beginnings of a mindset change in India from the centuries old adherence to a caste system to one believing in a life striving for upward mobility.  Narayan shows his drive for change and equality when he rises out of poverty into his position as a successful tailor.  One day his mother turns away a low caste customer.  Narayan exclaims to her, “and now you are behaving just like them” (138).  Turning the man away is the same attitude that the upper class had towards them.  Despite his happiness with material success, he remains unsatisfied because of his focus on equality.  He tells his father that material things are good “but what about the more important things? Government passes new laws, says no more untouchability, yet everything is the same.  The upper-caste bastards still treat us worse than animals” (142).  Success for Narayan does not come in material form, but rather seeing change in the rigid social structure.  However, his resentment towards the upper class and desire to advocate for the lower caste drives him to his final fate.  Narayan crosses the social barriers too far when he reveals his desire to cast his own ballet in the parliamentary elections.  His father exclaims to “give up this idea. It is wasting your time and your time is your life” Naranyan again stands by his beliefs and tells his father that “Life without dignity is worthless” (144).  Narayan is a textbook example of a protagonist; he fights for the welfare of his people even when pitted against impossible odds.  However his drive for equality leads him to his final death in the hands of the evil Thakur.

On Wednesday, May 2, 2012 10:48:00 AM UTC-4, Mr. Neary wrote:

On Wednesday, May 2, 2012 10:48:00 AM UTC-4, Mr. Neary wrote:

[Ashley Gubernick]

In the third section of A Fine Balance Nawaz blantantly and subtly shows his personality through his values, attitudes, and beliefs.  Nawaz shows his ignorant attitude while he discusses purchasing a house with Ishvar and Omprakash. Nawaz questions Ishvar and Omprakash's financial stability asking, "Don't you even have a hundred rupees?" and then again in the same conversation he says, "You useless people wasting all your money!" (162). Nawaz ignorance to the tough life Ishvar and Omprakash live comes through in what he says.  Nawaz could not predict the hardships Omprakash and Ishvar face, so instead he judges them and selfishly gets upset that they are tight on cash.  Aside from his ignorance and selfishness, Nawaz has better qualities.  Nawaz acts nuturing when he "murmored encouragement, advice, caution while they drank." (160).  Nawaz wants Omprakash to succeed here, and he preps Omprakash to impress the lady.  Clearly, though his greed for money causes Nawaz to act selfish, he also acts compassionate when money does not get in the way.  Tying this together, Nawaz shows the contrast in his personality: '"Not on my shop, Nawaz rudely snuffed out the exuberance. "It's somewhere else." He tried to be pleasent again, smiling and continuing."' (159). Nawaz wants to be a kind person and he may even value treating others how he wants to be treated (The Golden Rule), but deep down in his heart Nawaz is not as compassionate as he may sometimes seem.

On Wednesday, May 2, 2012 10:48:00 AM UTC-4, Mr. Neary wrote:

[Maddie Chapin]

In this third section of, A Fine Balance, Narayan seems to play a vital role in the history of this family and how they ended up where they are today. Narayan exemplifies the idea of innovation because he was determined to break out of the caste system and start a new trend for his family by becoming a tailor and creating something the family thought they would never have. He tries to ignore the caste system, not only because his family lies at the bottom, but also because this is an old and traditional idea, but Narayan is very updated and always has fresh ideas, contributing to his innovative beliefs. He also upholds the value of leadership because of his strong urge to make something of himself and his family as he works with his brother to provide for their family, by being tailors. In scenes such as the one where he went to vote and had such strong beliefs that he got beat up, show his true dedication for his ideas, and to me, he carries the title of a leader, not only to his family, but to society although they might not think this. This same scene shows his courage and knowledge to stand up for his beliefs. Most importantly, he is a kind character, and although this is such a vague word, it describes him in so many different forms. The fact that Narayan taught his own son how to read and write, shows his love, which branches off of this overarching idea of kindness and selflessness. Also, when his mother tried to kick a lower caste person out of Narayan's store, Narayan stood up for this person, again showing his kindness. 

On Wednesday, May 2, 2012 10:48:00 AM UTC-4, Mr. Neary wrote:

[Alex Freedman]

In the third section of "A Fine Balance", Mistry characterizes Ashraf,
a tailor. Ashraf allows Ishvar and Narayan to be his apprentices. He
also taught them the alphabet and numbers '"Now you are becoming their
schoolmaster as well. What next? Will you find wives for them also,
when they are old enough?"' (117). This shows that not only does he
want them to succeed in tailoring, but their success in life. I
believe that Ashraf sees the boys as his own, seeing that he only has
a daughter. The overwhelming negative attitude towards girl children
in this society might also push Ashraf closer to Ishvar and Narayan.
Continuing on with the same attachment to the boys, Ashraf goes
downstairs in the middle of the night despite his wife's pesistence
(118). He comforts Narayan, who is extremely homesick. He codles them,
and builds up their confidence, and when his wife asks him if they
should sleep upstairs, he says they need to continue to grow and
become independent. This further adds to Ashraf's devotion to the
boys. Finally, he allows the boys to make their own clothing (120),
allowing them to feel confident about themselves, not only because
their parents would be getting nice clothing but because they made it
themselves. '"Embrace your father also," [Roopa] said, "this is a very
special day"' (121). Honor is very important, and Ashraf allowed the
boys to become confident and to give their parents honor.

On May 2, 10:48 am, "Mr. Neary" <tjne...@gmail.com> wrote:

> While reading the third section of *A Fine Balance*, which goes back in

> time and explores the roots of Om and Ishvar as members of the lower caste
> in rural India, I encouraged you to read from more of a sociological
> perspective.  For this response, however, I would like you to focus on
> Mistry's characterization, specifically looking at how he reveals a
> character's VABs (values, attitudes, beliefs).  You will encounter a
> classic narrative of good versus evil in the form of Narayan versus Thakur;
> thus you could easily form a response about either one of them, specifying
> specific traits and highlighting precise details.  At the same time, this
> section also introduces some other great characters worth exploring.
>

> To be exact with my prompt,* I would like you to address a character and a

> particular value or set of values the character embodies, and then discuss
> two or three details from the story that the author inserts to

> reveal--subtly or more blatantly*--these particular values*.  (*I prefer

> that you pay greater attention to subtle details over the more obvious
> examples, though you can still mention the obvious.)  You can analyze one
> scene or synthesize details from multiple scenes.
>
> The response should be one paragraph, neither shorter nor longer than the
> first posts.  As always I am selfishly looking for good writing, especially
> the use of powerful, active verbs and the integration of carefully selected
> quotes.
>

> *Due: Monday, May 7**

[Erica F]

In the third section of *A Fine Balance*, the character Ashraf is
portrayed as a selfless, kindhearted, and caring man, who wants
nothing more than good fortune to be bestowed upon those he loves.
Even when Ishvar and Narayan first came to apprentice with Ashraf, he
did nothing but try to make them feel at home. Like a father, there
was clearly pride in Ashraf's heart every time the boys accomplished
something, even if they made an error. On page 117, when the boys
first arrive at Ashraf's shop, he asks Ishvar to write down
measurements. When he finds scribbles on the notepad instead of
numbers, "he control[s] his dismay, patting the boy's back," saying,
"Yes, very good," (Mistry). That sort of reaction is one of
unconditional love. That same day, when Narayan can't sleep because
he's homesick, Ashraf goes downstairs to comfort him, despite
disapproval from his wife, Mumtaz, who asked, "Why do you have to go?
Are you their father?" (Mistry 117). Ashraf's loving personality just
warmed my heart, since this book isn't exactly a happy one. The cherry
on top of the sundae, so to speak, was after Ishvar and Narayan
convinced the group of Hindus that Ashraf's shop wasn't Muslim. When
the men-who were prepared to burn the shop to the ground- left, Ashraf
was so touched by the boys' bravery, saying, "The day I met your
father-the day I told Dukhi to send me his two sons for tailor-
training. That day was the luckiest of my life," (Mistry 131).

On May 2, 10:48 am, "Mr. Neary" <tjne...@gmail.com> wrote:

> While reading the third section of *A Fine Balance*, which goes back in

> time and explores the roots of Om and Ishvar as members of the lower caste
> in rural India, I encouraged you to read from more of a sociological
> perspective.  For this response, however, I would like you to focus on
> Mistry's characterization, specifically looking at how he reveals a
> character's VABs (values, attitudes, beliefs).  You will encounter a
> classic narrative of good versus evil in the form of Narayan versus Thakur;
> thus you could easily form a response about either one of them, specifying
> specific traits and highlighting precise details.  At the same time, this
> section also introduces some other great characters worth exploring.
>

> To be exact with my prompt,* I would like you to address a character and a

> particular value or set of values the character embodies, and then discuss
> two or three details from the story that the author inserts to

> reveal--subtly or more blatantly*--these particular values*.  (*I prefer

> that you pay greater attention to subtle details over the more obvious
> examples, though you can still mention the obvious.)  You can analyze one
> scene or synthesize details from multiple scenes.
>
> The response should be one paragraph, neither shorter nor longer than the
> first posts.  As always I am selfishly looking for good writing, especially
> the use of powerful, active verbs and the integration of carefully selected
> quotes.
>

> *Due: Monday, May 7**

[Addy]

I think that one character that has a strong set of VAB's is Naryan. He constantly displays a consistent want for equality, or at least a voice in the general public. The voting incident an obvious example of this. Voting is the opitime of getting your voice heard. When Naryan goes to vote, he is expressing his VAB of equality. The same is true when he is caught with Ishvar at the school trying to learn. That is a less poignant example, but still there he shows that he wants to be like that more fortunate kids. He wants to be equal with them. In both situations, he is punished more severely then necessary. After the punishment, or threat of punishment is where his VAB's really shine. After he was punished by the school teacher he still continues to try and achieve equality by going to vote. He wasn't swayed from his core values by that. When Thakur threatens to punish him at the voting booth, he refuses to be moved. That, I think, is showing how central to his psycology this value is.

Mr. Neary: I know that this is like a month late, but I totally didn't realize that this was a post until I now have a zero on HAC. Sorry!!

On Wednesday, May 2, 2012 10:48:00 AM UTC-4, Mr. Neary wrote:

On Wednesday, May 2, 2012 10:48:00 AM UTC-4, Mr. Neary wrote: