Hey there all the lovely people!!
Me is back with my weird nonsense post. Please bear.
Direct to discussion.
"koi ummeed bar naheen aatee
koee soorat nazar naheen aatee
maut ka ek din mu'ayyan hai
neehd kyon raat bhar naheeh aatee?...
Death is the inevitable finality, it's the enemy which cannot be defeated. Everyone dies but very few live - a line that says it all... death leaves gloom, tears, memories and an un fathomable pit of loss, people who survive move on, but that hole can never be filled.
Uma stood clenching his jaw, his lips trembling with the agony unsaid, the tears unshed, he wants to break down and cry his heart, but he walks away to Saras room, he looks at her picture, his eyes depict his pain, his sense of uselessness, his helplessness... a brother shaken to his core, he knows the horrific truth that would take place, yet his inability to express is making him cringe. .. he looks at Saras' name, her clothes, her jewelry, her bangles - the importance he places on the things rather than the human being is thought provoking. He adoringly looks at the things, each of them with a memory attached - it felt like Saras had died, and now all he could do was lament her demise and suffer in the pain untold.
Kanak comes in with Suman and a box, she taunts that she is here to help saras in the transition of being a corpse. She takes the bangles from Uma and throw them in the box, the bindis follow next along with clothes and finally the doll, a doll which Kanak drapes in a white dress - Kanak's take on the whole issue is like a widow, a woman left without ornaments, her life colorless, her choices limited, her life sealed with restrictions... it happens a lot that when the husband dies a woman is sentenced to live like that, that's what Kanak sees in Saras' punishment - Kanak shoves the doll in Uma's face asking him if he would be able to see saras like an unwed widow, just like the doll... for a moment he breaks his mouth utters a NO, he won't be able to see it ... before we could sigh in relief he says that dharm cannot be moulded as per convenience, it's a rule that one must true to the path be it of flowers or of thorns, one must walk on and so would he. - Kanak is seen like a mad woman banging her head on a wall, she has to express her concerns, and it's seen as an act of scorn, it's going to break her but the wall would give in someday by the force of her effort..
Two people Kanak and Uma, together facing the situation with two different aspects and perspective, one being pessimistic and other trying to bring optimism..
Saras goes to mandir for tyag pooja, Palomi escorts her - her reason yet not clear was it to get brownie points from Uma, that when Kanak refused to go with Saras, Palomi took it on herself, an idea of ideal partner for Uma. Or was it for Massi that she wanted to keep and eye on the proceedings of SarVansh angle, or was it that she really felt bad for Saras.
Saras meets Vansh outside the mandir, he says that in the next five days their pre marriage rituals will take place, he applies haldi on her hand and she instead of wiping it off, scratches her hands with a twig - was she trying to erase the fate written in the lines of her hand. She gives up her bangles, bindi, ornaments and chunri to the fire... she is as stubborn as her brother, for her hearts want a life, a normal loved life, yet her duty to the order of her brother binds her hands and her self.
Saras returns home and Massi sees her injured hand, she asks for haldi and Saras refuses it.. she applies salt to her wound saying that with her life her marham has also changed..Massi sits down crying in disbelief on the fate that has befallen in saras. Kanak takes her inside and wipes the salt and rubs haldi again. Saras again puts salt - this repetition was how people would intervene in the process of being a sevika, these people would be put off by the roadblocks Uma and Saras herself...
Kanak promises that she wouldn't let saras be a sevika ever.