Cite this article as: Jennifer I. M. & Umar A. D. (2024). Cultural Parallels and Divergences: A Comparative Analysis of Marriage Traditions in Indian and Nigerian Societies through Shashi Deshpande's That Long Silence and Zainab Alkali's The Stillborn. Proceedings of International Conference on Rethinking Security through the lens of Humanities for Sustainable National Development Interdisciplinary Perspectives. Pp. 116-124.
CULTURAL PARALLELS AND DIVERGENCES: A COMPARATIVE ANALYSIS OF
MARRIAGE TRADITIONS IN INDIAN AND NIGERIAN SOCIETIES THROUGH SHASHI DESHPANDE'S
THAT LONG SILENCE AND ZAINAB ALKALI'S THE STILLBORN
By
Dr. Iyere, Maria Jennifer
Department of English and Literature
Federal University, Gusau
And
Abdullahi Dahiru Umar
Department of English and Literature
Federal University, Gusau
Abstract: This literary study compares the cultural intricacies of marriage
practices in Indian and Nigerian communities, with an emphasis on Shashi
Deshpande's That Long Silence (1989) and Zainab Alkali's The Stillborn (1988).
By investigating the intersections of culture, gender, and identity, this study
uncovers both similarities and differences between the two societies. The
analysis emphasises societal expectations of women, the contrast between
tradition and modernisation, and the impact of patriarchal standards on marital
relationships. Using a postcolonial feminist paradigm, this study shows how
literature can be a valuable tool for studying cultural differences and
commonalities. The study's findings contribute to a better understanding of the
complex dynamics that define marriage customs in Indian and Nigerian cultures,
offering light on how cultural narratives influence individual experiences.
Keywords: marriage traditions, Indian and Nigerian societies, literary
analysis, postcolonial feminism, cultural parallels and divergences.
Introduction
The relationship between India and Nigeria is deeply influenced by
their historical connections, colonial past, and post-colonial interactions,
resulting in a rich cultural and literary bond. India and Nigeria have
historical ties through trade of goods, ideas, and cultures along ancient
routes. Both countries were colonized by the British, which impacted their
literature and culture. India gained independence in 1947, while Nigeria gained
independence in 1960, leading to the development of diplomatic and cultural
relations between the two countries.
Nigerian writers, notably Wole Soyinka and Chinua Achebe, drew
inspiration from Indian literature, particularly the works of Tagore and Gandhi
(Soyinka 23; Achebe 12). Both Indian and Nigerian literature delve into themes
of colonialism, nationalism, and societal transformation (Achebe 15; Soyinka
34). Literary gatherings and workshops facilitate the exchange of ideas between
writers from India and Nigeria, fostering a rich cultural dialogue (Bakalar).
The two countries share diverse cultures, languages, and ethnic
groups, as well as a common respect for elders, family, and community. Both
cultures also have rich oral traditions that have influenced their literature.
Using Shashi Deshpande's novel That Long Silence (1989) and Zainab
Alkali's novel The Stillborn (1988) as literary lenses, this comparative
study investigates the cultural similarities and differences between Indian and
Nigerian marriage traditions. Marriage, a universal institution, is deeply
rooted in cultural traditions and societal expectations.
Brief Introduction to Shahi Deshpande
Shashi Deshpande (1938-present) is an acclaimed Indian novelist,
short story writer, and essayist. Deshpande was born in Dharwad, Karnataka,
India, and raised in a Maharashtrian family. She graduated from Elphinstone
College in Mumbai with a Bachelor's degree in Economics before going on to get
a Master's degree in Economics from the University of Mumbai. Deshpande began
writing in the 1970s, releasing short tales and novels that tackled issues
including feminism and women's empowerment. Indian middle-class lifestyle
social transformation and cultural traditions; identity, family, and
relationships. Some of her most prominent works include The Dark Holds No
Terrors (1980), That Long Silence (1989), The Binding Vine
(1992), A Matter of Time (1996), and Small Remedies (2000). She
has also earned the following prizes and recognition: Sahitya Akademi Award
(1990) for That Long Silence; Padma Shri (2009) for contributions
to literature; and National Award for Best Writing on Women's Issues (1993).
Deshpande's writing is distinguished by realistic depictions of
Indian middle-class life (Deshpande 22), explorations of women's experiences
and emotions (Deshpande 45-46), insightful analyses of social change and
cultural traditions (H Hancock 127), and an engaging narrative style that
frequently employs non-linear storytelling (Deshpande 12-13).
Brief Introduction to Zaynab Alkali
Zaynab Alkali is recognised for being Northern Nigeria's first
female author (Whitsitt 23). Until the publication of her debut novel, Still
Born, in 1984, the literary landscape of Northern Nigeria was dominated by male
writers (Alkali 12; Gana 45).
Born in 1950, she hails from Tura-Wazila in Borno State. Her
secondary education took place at Queen Elizabeth Secondary School in Ilorin.
In 1973, she completed her undergraduate studies at Bayero University Kano,
earning a BA in English degree. Subsequently, she pursued a doctorate in
African Studies at the same university, and eventually assumed the role of
principal at Shekara Girls’ Boarding School.
As a senior lecturer in the English department, she dedicated
twenty years of service at the University of Maiduguri. Following her tenure
there, she joined the National Primary Health Care Development Agency in Abuja,
contributing her expertise for three years before transitioning to Nasarawa
State University.
Zaynab Alkali's most well-known work, The Stillborn,
received critical praise when it was released in 1984. This novel portrays the
emotional and physical growth of a Nigerian woman who discovers how to endure
despite challenging customs. Following shortly after, Longman, Nigeria
published The Virtuous Woman in 1987.
Zaynab Alkali, a talented prose writer, decided to explore short
prose writing. Cobwebs & Other Stories was released by Malthouse
Press in Lagos in 1997. The Descendants was published by Spectrum Lagos
in 2007, followed by The Initiates in 2007, and Invisible Borders
in 2016. Zaynab Alkali's books have been translated into various languages
including German, French, Arabic, and Spanish. To date, Zaynab Alkali has
received more than 40 awards.
The characters she portrays were influenced by her upbringing. At
the 2018 Kaduna books and arts festival, she explained that her social
background led her to make these selections. She shared, "My father, a
Muslim, relocated to a Christian community in Adamawa State. Eventually, he
converted to Christianity. I also attended a Christian mission school, while
other relatives in our extended family remained Muslim. In summary, my family
consisted of six children."
“Three of us ended up being Christians and the others remained
Muslims. As a result of that, I have been versed in both relations. And it
would be unrealistic if all the characters in my books were Muslims. I try to
write for humanity because our challenges are the same. I have no conflict
whatsoever, as far as religion is concerned.”
Zaynab Alkali was named the Icon of Hope in 2000 by the government
of President Olusegun Obasanjo. On September 29, 2010, she was presented with
the Nigerian Woman of Distinction Award during Nigeria's Golden Jubilee by
President Goodluck Jonathan. The Woman of Substance Merit Award was conferred
upon her by the Adamawa State Governor, Murtala Nyako, on October 2, 2011. Most
recently, on September 5, 2018, she was honoured with a Lifetime Achievement
Award for her exceptional contributions to the Nigerian Literary Canon by His
Excellency Nasir El-Rufai at the Kaduna Book and Arts Festival (KABAFEST).
Additionally, she is a proud Fellow of the British Council, UK, and Stiftung
Kulfursfond, Germany, since 1998.
Zaynab Alkali's writing could be described as feminist, although
she stated that this was not her original intention. During a panel at the 2018
Kaduna books and arts festival, she explained that she turned to writing
because she struggled with speaking and had a fear of public appearances. She
noted that her focus on writing to empower women economically, politically, and
psychologically developed later on.
She started writing as a form of self-expression and mentioned that
she unintentionally published her work. While studying at Bayero University
College in Kano, a foreign lecturer requested short story submissions for a
journal, and she submitted some of her own pieces.
Despite her pleas, the lecturer disregarded her request and took
the manuscripts abroad, where one of the stories was eventually read on the
British Broadcasting Corporation. Zainab Alkali serves as a source of
inspiration for numerous female writers from northern Nigeria due to her
literary and professional achievements. Her success highlights the fact that
expressing oneself boldly can lead to significant accomplishments and personal
fulfillment.
Review of
Related Literature
Indian and Nigerian marriage customs
are fundamental to their societies and represent their respective cultural,
social, and economic values. There are cultural similarities and differences
between Indian and Nigerian marital customs while comparing Shashi Deshpande's
That Long Silence and Zainab Alkali's The Stillborn. The primary objective on
family and social expectations is one of the cultural similarities between
Nigerian and Indian marriage customs.
Deshpande presents Jaya, the main
character of That Long Silence, as a woman who is forced to remain in a
loveless marriage by social pressure (Deshpande 23). Alkali similarly portrays
Amina, the main character of The Stillborn, as a woman compelled to marry
against her choice because of familial responsibilities (Alkali 12).
Sociologist Linda Stone noted that "marriage is often seen as a union
between two families rather than just two individuals" (Stone 34).
The patriarchal character of both
countries' marriage customs is another example of cultural parallels. In Indian
culture, the wife is supposed to be subservient to the husband, who is
frequently viewed as the dominating partner (Deshpande 45). Similar to this,
the husband is frequently regarded as the head of the home in Nigerian society,
while the woman is supposed to be submissive (Alkali 56). The feminist
researcher Bell Hooks has observed that "patriarchy is a system of
oppression that perpetuates the dominance of men over women" (Hooks 67).
But there are also cultural
differences between Nigerian and Indian communities when it comes to marital
customs. The custom of dowries in Indian society, which is uncommon in Nigerian
society, is one notable distinction. Deshpande depicts the dowry system as a
significant cause of conflict in Jaya's marriage in That Long Silence
(Deshpande 78). Alkali, on the other hand, makes no mention of the dowry as a
major factor in Amina's marriage.
The part religion plays in marital
customs is another area of cultural difference. Hinduism has a big influence on
marriage customs in Indian civilisation, although Islam is more prevalent in
Nigerian society. Deshpande depicts the Hindu custom of arranged marriage as a
primary cause of friction for Jaya in That Long Silence (Deshpande 90). Alkali,
on the other hand, portrays Amina's marriage as being significantly impacted by
the Islamic custom of polygamy (Alkali 123).
Additionally, according to research
by sociologist Sylvia Chant, "cultural and economic factors, including
education and employment opportunities, shape women's roles in marriage and
family" (Chant 56). This is clear in That Long Silence, when social
expectations restrict Jaya's access to education and work prospects (Deshpande
90). Similar to this, Amina's familial responsibilities in The Stillborn
restrict her access to education and career options (Alkali 145).
Moreover, according to
anthropologist Lila Abu-Lughod's research, "power dynamics, including the
control of resources and the exercise of violence, shape women's experiences in
marriage" (Abu-Lughod 78). This is shown in That Long Silence, as
Jaya's husband uses emotional blackmail and physical force to subjugate her
(Deshpande 120). Similar to this, Amina's husband uses economic pressure and
brutality to subjugate her in The Stillborn (Alkali 167).
"Indian literature frequently
depicts marriage as an oppressive institution that restricts women's autonomy
and agency," claims literary critic Susie Tharu (Tharu 45). That Long
Silence makes this clear by depicting Jaya's marriage as a source of oppression
and limitation (Deshpande 90). Nigerian literature, on the other hand,
frequently presents marriage as a complicated and multidimensional institution
that is influenced by a variety of social, cultural, and economic elements.
"Nigerian literature frequently depicts marriage as a dynamic and evolving
institution that is shaped by the interactions of tradition and
modernity," claims literary scholar Abiola Irele (Irele 67). Amina's
marriage is presented in The Stillborn as a complicated and multidimensional
institution that is influenced by a variety of cultural, social, and economic
reasons (Alkali 145).
In conclusion, a comparison of That
Long Silence and The Stillborn shows that Nigerian and Indian communities have
different marital customs, as well as cultural similarities. The dowry system
and the influence of religion on marriage customs differ greatly, despite the
fact that both civilisations are patriarchal and strongly emphasise family and
social expectations.
Theoretical
Framework
The goal of the social, political,
and cultural movement known as feminism is to advance gender equality (Hooks
23). Fundamentally, patriarchal systems that have historically marginalised and
mistreated women been the target of feminism (Spivak 12). According to
feminism, women ought to be free from violence and prejudice and have the same
rights and opportunities as men (MacKinnon 34).
The principles of feminism include:
intersectionality, which acknowledges that women's experiences are influenced
by a variety of factors, such as race, class, sexual orientation, and
disability (Crenshaw 124); solidarity, which highlights the value of women's
collective action and movement-building (Morgan 12); equality, which promotes
equal rights and opportunities for women, including equal pay, education, and
healthcare (UN Women 1); and challenging patriarchy, which aims to dismantle
patriarchal systems that have historically oppressed women (Spivak 12).
A critical perspective for examining
the cultural similarities and differences in marriage customs between Nigerian
and Indian communities is offered by the postcolonial feminist paradigm. This
paradigm acknowledges how women's experiences in postcolonial nations are
shaped by the intersections of gender, culture, and power. The legacy of
colonialism has had a significant influence on the social, cultural, and
economic structures of postcolonial societies, according to postcolonial
feminist scholars like Gayatri Chakravorty Spivak and Chandra Talpade Mohanty
(Spivak 66; Mohanty 33). Women have been marginalised and oppressed as a result
of this legacy, frequently caught between the conflicting demands of modernity
and tradition.
The postcolonial feminist
perspective emphasises how colonialism and patriarchy have converged to
influence women's experiences in the context of marriage customs. Scholar
Mrinalini Sinha asserts that "the colonial construction of Indian
womanhood was deeply implicated in the project of colonial rule" (Sinha
45). The ideal of the obedient and submissive wife, who was supposed to put her
household responsibilities ahead of her own goals and ambitions, defined this
construction of womanhood.
In a same vein, colonialism's legacy
has significantly influenced Nigerian society's social and cultural
institutions. Scholar Oyeronke Oyewumi claims that "the colonial
experience in Nigeria resulted in the imposition of Western values and institutions
on African societies" (Oyewumi 56). Traditional African institutions and
values, such as marriage and family, have been marginalised as a result of this
imposition.
In a same vein, colonialism's legacy
has significantly influenced Nigerian society's social and cultural
institutions. Scholar Oyeronke Oyewumi claims that "the colonial
experience in Nigeria resulted in the imposition of Western values and institutions
on African societies" (Oyewumi 56). Traditional African institutions and
values, such as marriage and family, have been marginalised as a result of this
imposition.
Synopsis of That
Long Silence
The novel depicts the tale of an Indian woman who chooses to remain
silent throughout her life in the face of challenges, fears, and hardships, and
ultimately decides to break her silence. It portrays Jaya Kulkarni's quest for
self-identity and the internal conflict she experiences while pursuing it. The
novel, That Long Silence explores the protagonist Jaya's journey towards
finding relief through her memories.
Jaya's husband, Mohan, an engineer, is accused of corruption in a
business deal, leading them to seek refuge in a flat in Dadar, Mumbai. During
this time, Jaya reflects on her life and undergoes an inner struggle while
striving to assert her individuality. The novel sheds light on the inner
turmoil experienced by those who struggle to maintain their potential when
faced with distressing situations.
In That Long Silence, Jaya copes with traumatic events by
temporarily seeking solace in neurosis, which allows her to avoid taking
responsibility without realizing it. Her suffering ultimately has a positive
impact, sparking a journey of self-discovery that leads to a new perspective on
life. By the end of her ordeal, Jaya emerges as a woman willing to compromise
with life's challenges, a stark contrast to her earlier lack of flexibility and
adaptability.
Jaya is the central character in the novel, a housewife from a
middle-class Indian family, residing in Bombay, now known as Mumbai, along with
her husband, Mohan, and their two kids. Although Jaya's life seems pleasant,
she experiences a sense of suffocation due to societal norms and her husband's
lack of emotional connection.
After Mohan's business collapses, Jaya begins writing articles to
provide financial support for the family. This newfound autonomy initiates a
process of self-exploration, compelling Jaya to address her marriage and the
secrecy surrounding her husband's unfaithfulness, cultural standards and
pressures placed on women, as well as her own aspirations, individuality, and
feeling of fulfillment.
Jaya starts to doubt the prolonged silence she has kept regarding
her husband's affair and the lack of fulfillment in their marriage as she faces
these obstacles.
Synopsis of The Stillborn
The focal point of this novel is the lives of women in present-day
Nigeria. It depicts Li's aspirations and ambitions during her teenage years as
she fights for autonomy in the face of her family's traditional beliefs, the
institution of marriage, and the temptations of city life. Alkali's story is
charming due to its portrayal of rural Nigerian village life in the
mid-twentieth century. The book focuses on a resilient young woman who, in the
face of a patriarchal village culture that restricts and subjugates women, is
resolute in living life according to her own principles.
Li resides in her father's compound in a Nigerian village, where
she is one of many children. Her father has multiple wives, but his health is
delicate due to an accident at a prayer meeting several years ago, as our story
begins. He struggles to manage her defiant brother Sule, who is influenced by
their grandmother. Additionally, he faces challenges with Grandma, his
stepmother, who verbally abuses him and whom he suspects of being a witch.
When the story begins, Li is 13 years old and is already catching
the attention of boys. Among those boys is Habu, whom she also likes. He starts
arranging to meet her, and one day at the market..."He edged closer to her
and deftly slipped a 10-shilling note into the folds of her wrapper. He left
before she realized what he had done. As Li moved, the note slipped out, much
to the amusement of the traders. 'That's quite a fortune, isn't it?' remarked
one of them. 'Today's market seems to be in your favor,' said another.
Habu marries Li, and his family pays the bride-price. After the
wedding, Habu goes to the city to find work in order to establish a home for
the couple. Meanwhile, Li remains in her father's compound, patiently waiting
for him. However, four years have passed, and Li is still residing in the
village. Engrossed in her thoughts, she mechanically cleans pots and
calabashes, while her mind wanders elsewhere.
She yearns for the city, a place where she envisions an effortless
life, far from the unpleasant tasks of scrubbing calabashes and dealing with
foul-smelling goats. As she gazes at her rough hands and feet, she imagines
herself as a transformed woman in the future, with painted nails and lustrous,
silky hair.
She had aspirations of becoming a successful first-grade teacher,
while Habu had dreams of becoming a renowned medical doctor, just like the
white man at the village mission hospital. She envisioned a grand European
house bustling with houseboys and maids. A smile played on Li's lips as she
thought about it. The meandering stream through the bush, the thorny Hillside,
and the dusty Market would all soon become distant memories of the past.
After four years, Habu calls for her. However, the boy she married
has changed. He is moody and spends most of his time away from their apartment.
In addition, he is not a doctor but a salesman. The only person Li can call a
friend is their landlady, who looks after the pregnant Li whenever she can.
Li is angry and frustrated with this existence that is not really
living, and she desires to go back to the village. Her landlady comforts her by
sharing the story of her own married life. Li has experienced dreams that
predict future events on occasion. During one of these dreams, she envisions
herself as an elderly woman, present on her great-granddaughter's wedding day.
She experiences a sense of sorrow, as her life did not measure up
to the aspirations she held as a young girl. We all have dreams, and as long as
we are alive, we will keep dreaming. However, it's crucial to acknowledge that
not all dreams come to fruition. Just like babies, some dreams are conceived
but don't come to life. Some are terminated, and others never make it past the
initial stages.
The reader might find that this book evokes memories of their
youthful dreams and reflects on how life often obstructs those dreams. Additionally, it will serve as a reminder of
the timeless wisdom encapsulated in the phrase: "You can never return
home.”
Comparative Analysis
The novels both emphasize how women are oppressed within marriage
due to patriarchal norms. In That Long Silence, Jaya's husband, Mohan,
demonstrates patriarchal control by suppressing her emotions and desires
(Deshpande 45). Likewise, in The Stillborn, Aisha's husbands represent
patriarchal authority, influencing her reproductive decisions and independence
(Alkali 12).
Marriage holds great importance as a social institution in Indian
and Nigerian cultures. In That Long Silence, Jaya's marriage is
characterized by societal demands for traditional wifely responsibilities and
silence (Deshpande 67). Similarly, Aisha's marriages in The Stillborn
are influenced by cultural expectations to bear children and uphold family
honor (Alkali 25).
Marriage traditions vary between Indian and Nigerian cultures. In
Indian culture, arranged marriages and family harmony are highly valued, while
Nigerian culture places emphasis on polygamy and childbearing. The contrast
between Jaya's arranged marriage in That Long Silence and Aisha's
experiences in The Stillborn, where polygamy and childlessness shape her
marital struggles, is evident (Deshpande100; Alkali50).
The empowerment of Jaya is depicted as stemming from her writing in
both novels (Deshpande 150). Aisha, on the other hand, pursues autonomy through
education and self-expression (Alkali 120). The acts of resistance carried out
by these women effectively challenge the oppressive patriarchal norms aimed at
silencing them (Deshpande 175).
The novels illustrate how women's experiences in marriage are
influenced by intersectional factors such as class, education, and cultural
background. Jaya's education and middle-class status give her a certain level
of independence (Deshpande 125), whereas Aisha's rural upbringing and limited
education restrict her choices (Alkali 90).
Shashi Deshpande's That Long Silence depicts the struggle of
a woman seeking self-fulfilment, if not salvation in the Hindu context. The
novel's title is derived from a quote by Elizabeth Robbin, expressing the
unease one might feel if they were a man and understood the silence of half the
world. This silence symbolizes the restraint and introspection experienced by
women. Against this backdrop, the novel serves as a protest against the
limitations placed on women.
In a discussion, Shashi Deshpande elaborated that the title That
Long Silence was derived from the concept of women being conditioned to
remain silent and suppress their expressions. The book delves into the enforced
silence of women and its resulting repercussions. Shashi Deshpande's novel, That
Long Silence (1989), incorporates a title that signifies the central themes
and patterns.
Symbolism of That Long Silence unspoken truths are
represented by the title, depicting the protagonist Jaya's suppressed emotions,
unexpressed desires, and unspoken truths.
That Long Silence serves as a symbol of the societal expectation
for women to remain silent, conform, and obey.
The title alludes to Jaya's inner conflict, turmoil, and struggle
to assert herself. The phrase The Stillborn is used to represent the
concept of something being brought into existence but not being able to
survive. It symbolizes the type of life that women experience in our society,
where they come into the world but are not given the opportunity to fulfill their
potential. This is according to Alkali in 1993.
The title is motivated by a critique of patriarchy, with Alkali
examining the patriarchal norms that hinder women's development, creativity,
and independence. It also reflects Nigerian society by illustrating the
societal pressures and expectations imposed on women in northern Nigerian
culture. Additionally, the title delves into the exploration of identity, as
Alkali portrays Aisha's challenges in discovering her identity, finding her
voice, and defining her purpose in a society that suppresses her.
Findings
One of the main causes of instability in Zamfara State, Nigeria, is
the absence of a harmonious marriage. A comparison of Indian and Nigerian
marital customs, as shown in Shashi Deshpande's That Long Silence and Zainab
Alkali's The Stillborn, can help explain these phenomena.
Marriage is frequently seen as a union between two families rather
than merely two people in both Indian and Nigerian communities (Stone 34). This
cultural expectation can put a lot of pressure on people to fit in with
society's expectations, which can make marriages less harmonious. Deshpande
presents Jaya, the main character of That Long Silence, as a woman who
is forced to remain in a loveless marriage by social pressure (Deshpande 23).
Alkali similarly portrays Amina, the main character of The Stillborn, as
a woman compelled to marry against her choice because of familial
responsibilities (Alkali 12).
The traditional emphasis on family and social expectations is the
reason why there aren't many happy marriages in Zamfara State. "Most
marriages in Nigeria are arranged by families, with little input from the
individuals involved," according to a study conducted by the Nigerian
National Bureau of Statistics (Nigerian National Bureau of Statistics 23).
Conflict and insecurity may arise as a result of couples' inability to
communicate and comprehend one another.
Moreover, the patriarchal character of Indian and Nigerian marital
customs may also be a factor in the absence of harmonious unions. The feminist
researcher Bell Hooks asserts that "patriarchy is a system of oppression
that perpetuates the dominance of men over women" (hooks 67). This is seen
in That Long Silence, when Jaya is supposed to be subservient to her husband,
who is portrayed as the dominant partner (Deshpande 45). Similar to this,
Amina's husband is presented in The Stillborn as the leader of the home, and
Amina is supposed to be submissive (Alkali 56).
In conclusion, the patriarchal nature of marital customs and the
cultural emphasis on family and social expectations are the main causes of the
lack of harmonious marriage in Zamfara state. A comparison of Nigerian and
Indian marriage customs, as portrayed in That Long Silence and The Stillborn,
emphasises the need for a more sophisticated comprehension of the intricacies
of marriage and family in these cultures.
Conclusion
Themes commonly shared include the enforcement of patriarchal norms
and the oppression they bring, the suppression of women's voices, the societal
expectations and pressures placed on women, and their ongoing struggles for
autonomy and self-expression. Arranged marriages in India and polygamy in
Nigeria represent divergent traditions.
In India, family harmony is prioritized, while in Nigeria,
childbearing holds significance. India experiences urban-rural divides, whereas
Nigeria is influenced by Islamic practices. Women's experiences reveal
commonalities across cultures, with patriarchy being a universal force that
takes on unique forms. Marriage customs play a significant role in shaping the
identity and autonomy of women.
The literary importance of both novels’ questions traditional
male-dominated norms and societal pressures, showcasing women's strength and
methods for gaining power. Additionally, the novels illustrate the influence of
literature in promoting cross-cultural empathy.
The examination of both Indian and Nigerian societies shows similarities
in patriarchal traditions and cultural standards related to marriage.
Nevertheless, differences in marriage customs and women's encounters underscore
the intricate nature of these societies.
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