Lihaaf interweaves the concepts of the fundamental institution of marriage in a patriarchal society with the neglect of female sexuality and desire. Chughtai, a radical feminist writer, reviews the establishment of the idea of a woman being reduced to a mere commodity by discussing the acquisitive aspects of marriage in a patriarchal society and the subsequent commodification and dehumanization of women to meet the expectations of society
Since her family was financially challenged, she was treated as a mere object- a meager part of a social enterprise who was forced to comply with the resolute norms of society.
Begum Jaan in the story can be seen as a sexually-deprived woman who gets no attention from her husband, Nawab Sahab. Their marriage stands more as an economic contract between their families. The story refers to a time when women’s bodies were traded in the name of marriage and treated as possessions. The descriptive words used for Begum Jaan are: “Her complexion was marbled white without a speck of ruddiness.” A stark contrast can be seen in the description of her masseuse, Rabbu: “She was as dark as Begum Jaan was fair, as purple as the other one was white.”
The language and the words used are related to the sexual re-presentation of a woman’s body. Begum Jaan uses her sexuality as a means to empower herself. In the forefront, she works within patriarchal norms and adheres to the standards of a dutiful wife, while within the quilt, she acknowledges her sexual desires and does everything in her power to fulfill them, and seeks solace in a non-conforming sexual relationship. Her relationship with Rabbu and Nawab Saab’s relationship with the young men; the bodies and their desires bridge the gap left by the heteronormative marriage.
The constant reference to “the elephant” under the “quilt” which doesn’t let the narrator sleep, also serves as a metaphor for the sexual desires and relationships that are either not spoken of or only talked about in terms of metaphors and not addressed directly. Lihaaf not only represented the unspoken but also brought to light the taboo subject of female sexuality and the presence of female desires in a heteronormative marriage.
As for Begum Jaan, she was from the very first day of her marriage realized as a commodity or the unwanted. Begum Jaan, unable to form any physical or psychological bond with her husband withdraws herself. Being constantly neglected by her husband and unable to communicate, she feels to be the „submissive‟ or the „oppressed‟ and seeks release. Here, constantly being devalued and depressed she withdraws herself and refuses to be „oppressed‟ anymore and engages herself mentally as well as physically with Rabbu: “She started living and lived her life to the full. Soon her thin body began to fill out. Her cheeks began to glow and she blossomed in beauty."
At this particular moment of her self-actualization where she decides to fulfill her desires rather than confinement. She frees herself from the barriers of patriarchy and involved herself in a new gendered consciousness. The act of massaging Rabbu appears as one kind of latent sexual fetish which was nurtured between Begum Jaan and Rabbu:Rabbu used to massage her back for hours together. It was as though the massage was one of the basic necessities of life. Rather, more important than life‟s necessities.
The quilt is therefore used as a disguise from the outside world. It itself forms a world between the two.
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