Paper 201: Gender, Agency, and Moral Choice: Bimala in ‘The Home and the World’ and the Female Figures in Toru Dutt’s Poetry

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Paper 201: Gender, Agency, and Moral Choice: Bimala in ‘The Home and the World’ and the Female Figures in Toru Dutt’s Poetry

This blog is a part of the assignment of Paper 201: Indian English Literature - Pre-Independence

Gender, Agency, and Moral Choice: Bimala in ‘The Home and the World’ and the Female Figures in Toru Dutt’s Poetry

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Academic Details:

Assignment Details:

  • Paper Name: Indian English Literature - Pre-Independence
  • Paper No.: 201
  • Paper Code: 22406
  • Unit: 1 - Rabindranath Tagore’s ‘The Home and the World’ (Tr. Surendranath Tagore 1921) and Unit: 3 - Poems by Toru Dutt (Lakshman), Sri Aurobindo (To a Hero-Worshipper, R. Tagore (Deeno Daan)
  • Topic: Gender, Agency, and Moral Choice: Bimala in ‘The Home and the World’ and the Female Figures in Toru Dutt’s Poetry
  • Submitted To: Smt. Sujata Binoy Gardi, Department of English, Maharaja Krishnakumarsinhji Bhavnagar University
  • Submitted Date: November 7, 2025

The following information—numbers are counted using QuillBot:

  • Images: 3
  • Words: 4246
  • Characters: 30557
  • Characters without spaces: 26364
  • Paragraphs: 120
  • Sentences: 277
  • Reading time: 17m 10s

Abstract:

This study examines the intertwined dynamics of gender, agency, and moral choice in Rabindranath Tagore’s The Home and the World and Toru Dutt’s mythic poetry, with focused readings of Bimala, Savitri, and Lakshman. Employing close textual analysis, intertextual comparison, and feminist readings of nationalist discourse, the paper argues that Bimala’s movement between the private (home) and the public (world) stages a paradox of emergent agency that is nonetheless constrained and instrumentalized by masculinist nationalist rhetoric. Tagore’s novel exposes how epic iconography and the rhetoric of Shakti convert female subjectivity into a national emblem, producing both ethical ambivalence and personal disillusionment. By contrast, Toru Dutt’s poetic reworkings of mythic women reclaim discursive power through speech and moral argument, presenting alternative models of feminine autonomy that challenge patriarchal prescriptions. Comparative analysis demonstrates that while nationalist formations could invent new roles for women, they frequently co-opt those roles into symbolic subordination; poetic re-visioning, however, can recuperate agency by revising mythic scripts. The study contributes to scholarship at the junction of feminist theory, myth interpretation, and political fiction, and proposes that scrutiny of narrative form, spatial metaphor, and epic analogy yields richer understandings of colonial-era gendered subjectivity and the ethical stakes of political mobilization.

Keywords:

Gender and nationalism, Bimala, The Home and the World, Toru Dutt, Savitri, Lakshman, Agency and moral choice, Mythic femininity, Shakti discourse, Home–world spatial metaphors, Feminist readings of political fiction, New woman, Colonial Bengal, Epic intertextuality, Ramayana, Symbolic instrumentalization of women.

Research Question:

How do Tagore’s narrative strategies and Toru Dutt’s mythic reworkings differently construct female agency and moral responsibility within intersecting frameworks of nationalism and patriarchy?

Hypothesis:

Bimala’s apparent political agency in The Home and the World is structurally constrained and instrumentally appropriated by masculinist nationalist rhetoric, whereas Toru Dutt’s mythic reworkings (Savitri, Lakshman) generate rhetorical agency that more effectively resists patriarchal instrumentalization.

Introduction

The intersection of nationalism and gender in late colonial Bengal produced contested models of feminine subjectivity. Two literary loci exemplify these conflicts: Tagore’s fictional treatment of Bimala in The Home and the World and Toru Dutt’s poetic reinventions of mythic women such as Savitri and Sita. Both authors interrogate, in distinctive genres and registers, the emergence of the “new woman” within competing political imaginaries. This paper addresses three linked problems: (1) the contested spatial and moral dynamics that shape Bimala’s movement between the home and the world; (2) Toru Dutt’s strategic use of myth to construct female agency in Savitri and Lakshman; and (3) the intersection of nationalism, patriarchy, and mythic femininity as these texts both reproduce and resist gendered political discourses. The methodology combines close textual reading with critical engagement with secondary scholarship; where appropriate, quoted formulations from scholars are integrated to strengthen interpretive claims.

Part I — Bimala: Home, World, and the Burden of Moral Choice

Rabindranath Tagore’s ‘The Home and the World’
Image Source: Amazon.in/Penguin India

1. Bimala’s Narrative Voice and Spatial Displacement

Bimala’s framed journal is the primary locus for understanding her subjectivity. The narrative strategy—allowing Bimala to recount her own experiences while the narrator retains authorial distance—creates a tension between interior confession and external social evaluation. As observed, “Bimala’s journal which frames the novel recounts her days as a traditional purdah-bound wife” (Banerjee). The journal form permits an ethics of self-examination in which Bimala negotiates her roles as wife, woman, and political actor.

The novel’s binary of home and world functions as a structural metaphor for competing claims on female agency. Khushi and Johri summarize this dynamic: “Tagore employs the spatial metaphors of ‘home’ and ‘world’ to investigate gender embodiment and the constraints on individual agency within the nationalist discourse” (Khushi and Johri). Bimala’s movement across this threshold—described by critics as a “sustained progression” involving “crossing the threshold between the world of the zenana... to the world of politics” (Banerjee)—is both emancipatory and fraught. The act of stepping out is an assertion of desire for participation; yet the terms of that participation are set by male interlocutors.

2. Moral Choice as Ethical and Political Dilemma

Bimala’s moral decisions—especially the act of transferring funds and her emotional allegiance to Sandip—are central to understanding her agency. Bimala’s political awakening is seductive because it promises a larger moral purpose; yet it demands a reconfiguration of domestic loyalties. The literature highlights this tension: “Bimala is conflicted between choosing the traditional rules of ‘Home’ or the political stance of the ‘World’” (Khushi and Johri). The moral dilemma is compounded by the rhetorical strategies used by Sandip, who proclaims that women will save the nation: “I tell you, Nikhil, it is our women who will save the country. This is not the time for nice scruples. We must be unswervingly, unreasoningly brutal” (Tagore). Sandip’s rhetoric converts devotion into coercion and worship into political mobilization.

Bimala’s capitulation—however partial—illustrates both the possibility and the peril of female political agency under masculine direction. As Banerjee et al. note, “The agency implicit in Sandip’s ideal of ‘Shakti’ turns out thus to be an illusion conjured up by a false rhetoric of worship and devotion” (Banerjee et al.). Thus, the moral choice is not simply between right and wrong but between competing models of female subjectivity: the autonomous moral agent and the symbolic vehicle for masculine fantasy.

3. The Mythic Overlay: Sita, Shakti, and the Epic Lens

Tagore’s conscious allusion to The Ramayana constructs Bimala as a modern Sita: “Tagore consciously evokes The Ramayana, casting Bimala in the role of Sita, Nikhil in the role of Rama and Sandip in the role of Ravana” (Banerjee). This epic mapping provides both a cultural shorthand and an interpretive constraint. On the one hand, contiguous associations to Sita invite sympathy and sanctity; on the other hand, epic analogy risks reducing Bimala’s individuality to archetype. Banerjee et al. argue that Sandip’s deifying of Bimala “actually reveals his eroticism toward a woman rather than his respect toward the motherland” (Banerjee et al.), thereby exposing how epic invocation can mask possessive power.

The Ramayanic frame also animates moral expectations. Sita’s chastity and loyalty are legendary virtues; their poetic extension to Bimala generates pressure to conform. Bimala’s own self-interpretation after her political involvement—reflecting on theft and estrangement—evinces the internalization of moral censure: “I had robbed my house, I had robbed my country. For this sin my house had ceased to be mine, my country also was estranged from me” (Tagore). The language of transgression and estrangement here fuses domestic morality and patriotic guilt, signifying a double bind.

4. Agency, Eroticization, and Patriarchal Containment

Critical accounts emphasize that Bimala’s agency is ambivalent—both productive and constrained. Bhakat and Biswas contend that “Bimala as a feminine figure constructive in her approach with her dynamic thinking for the country’s independence is representative of a woman subjective in her opinions despite dealing with two polarities of nationalistic ideals in the form of Nikhil and Sandip” (Bhakat and Biswas). This framing credits Bimala with subjectivity while acknowledging the limits imposed by masculinist paradigms.

Yet other readings highlight the eroticization of Bimala that accompanies nationalist depictions: “By idolizing Bimala, Sandip actually reveals his eroticism toward a woman rather than his respect toward the motherland” (Banerjee et al.). Sandip’s rhetoric—visualizing her as Shakti—conflates political valor with sexualized adulation, an equation that ultimately disempowers. As a result, Bimala’s body becomes the site on which political fantasies are enacted: “Bimala’s body becomes the victimized bearer of the great betrayal of modern nationalism” (intertextual summary). The moral cost of such objectification is manifest in Bimala’s final retreat and penitence.

5. Disillusionment and Return: The Limits of the “New Woman”

Bimala’s trajectory ends in a paradoxical return: she gains a degree of self-knowledge yet loses both the home and the world. Mondal highlights the novel’s conclusion as a form of disillusionment: “Bimala, third protagonist, is ultimately disillusioned to the nationalist project of Sandip about the emancipation of gender” (Mondal). Her final posture—clad in a white sari and seeking symbolic rebirth—signifies both purification and renunciation: “Bimala’s rejection of Sandip along with her role as the destructive Queen Bee of the Swadeshi movement she reconciles to her benign domestic periphery praying for a symbolic rebirth to regain her lost virtue” (Banerjee). The ostensible moral resolution is ambiguous: it recovers dignity but at the cost of political agency.

Nikhil’s model of cosmopolitan humanism—valuing individual development over sacrificial nationalism—emerges as an alternative to Sandip’s rhetorical violence: “While Nikhilesh believes in cosmopolitan humanism, Sandip indulges in narrow material interests, and Bimala is in a quandary about which ideal to choose” (Banerjee et al.). Bimala’s failure to occupy a fully autonomous position suggests that the “new woman” constructed in nationalist rhetoric is inherently provisional and often co-opted.

Part II — Toru Dutt: Mythic Rewritings and Female Agency

1. Toru Dutt’s Cultural Position and Poetic Project

Toru Dutt’s poetic project negotiates a complex cultural identity, shaped by colonial modernity, Christian upbringing, and immersion in Indian mythic repertory. As Phillips observes, Dutt “was truly at the nexus of the many determining ideologies—nationalism, imperialism, gender binarism, and racism—that shaped the lives and literary work of indigenous female intellectuals in nineteenth-century British India” (Phillips). This position enabled Dutt to appropriate mythic narratives and adapt them to the exigencies of female self-fashioning under colonial rule.

Sen identifies a hybrid consciousness in Dutt: “Dutt has sought to renew her understanding of these mythological characters through a reinterpretation which reflected her Christian convictions” (Sen). Such hybridity permits Dutt to re-envision female figures not merely as icons of traditional virtue but as agents who negotiate spiritual and social authority.

Savitri saving Satyavan's soul from the god of death Yama, 20th-century lithograph
Image Source: Savitri and Satyavan/Wikipedia


2. Savitri: The Rhetoric of Defiance and Self-Assertion

In Savitri, Dutt stages a confrontation between Savitri and cosmic authority figures; this dramatic moment becomes a site for the articulation of female agency. Das argues that “The modern idea of ‘New Woman’ elevates in searching of a woman’s true self. Their consciousness of their proper agency strikes their subconscious mind” and locates Savitri within this emergent paradigm (Das). Dutt’s Savitri is not passive; she “raises her voice to express her desire for freedom, for free love, for sexual desire and for authenticity” (Das). Such claims disrupt classical expectations about wifely submission.

Dutt’s poetic lines provide textual proof of Savitri’s independence: “Savitri at her pleasure went / Whither she chose” (Dutt). This diction emphasizes agency of movement and choice, a thematic inversion of the closed zenana that in other texts symbolizes female confinement: “In those far-off primeval days / Fair India’s daughters were not pent / In closed zenanas” (Dutt). Dutt’s Savitri thereby becomes an exemplar of an alternative female model—one grounded in rhetorical autonomy and the power of speech.

Phillips observes that Dutt “initially constitutes Savitri as the archetype of patriarchally prescribed Indian womanhood; however, she ultimately uses her retelling of the legend to redefine traditional Indian notions of ideal wifeliness” (Phillips). The poem’s climactic encounter with Yama—the God of Death—is crucial: Savitri’s speech overturns divine authority and reclaims marital fidelity as active rather than sacrificial. As Phillips notes, Savitri “subverts patriarchal expectations by exhibiting the independence and agency to defy and/or overturn the decisions of three male figures of the highest social and even divine authority—her father, father-in-law, and Yama, God of Death” (Phillips).

Sita and Lakshman
Image Source: Ramayan (1987 TV series)


3. Lakshman: Humanizing Sita and the Politics of Voice

In Lakshman, Dutt destabilizes epic character-types by highlighting interiority and impulsive affect. Prasad and Thakur indicate that “There starts a dialogue between Sita and Lakshman that forms part of the nucleus of this poem” and that the poem’s repeated exclamations—“Hark” and “it is”—narratively index restlessness and urgency (Prasad and Thakur). Dutt’s Sita is not an ethereal model; rather, she speaks with passionate immediacy: “Was this the gentle Sîta? No. / Flames from her eyes shot forth and burned, / The tears therein had ceased to flow” (Dutt). The image of fire in Sita’s eyes converts chastity into agency; the epic heroine becomes a human subject capable of rage and rhetorical force.

Piyushbala emphasizes Dutt’s modernizing impulse in reworking legends: “The best achievement reflected in the poetry of Ancient Ballads is the modern turn given to the legends” (Piyushbala). Dutt’s Sita thus serves as an index of female interiority and as a critique of patriarchal constraints: Piyushbala notes that “Sita is presented, a figure with indomitable courage and resolutions, resolved to get over death by her love, by means of speeches” (Piyushbala). The central dramatic exchange in Lakshman exposes the fragility of male honor codes and the violent impositions that women must suffer in patriarchal logic: the poem depicts Sita lashing out, interrogating the motives that would leave her abandoned.

4. Dutt’s Poetics of Reclamation and Proto-Feminist Impulses

Dutt’s poems, read together, manifest what Phillips calls “an indigenous proto-feminism” that both interacts with and diverges from nationalist prescriptions (Phillips). Dutt’s reworkings enable female figures to overturn their narrative fates by employing eloquence and moral argument—discursive tools that replace passive suffering with rhetorical triumph. Piyushbala’s observation—“Savitri is presented, a figure with indomitable courage and resolutions, resolved to get over death by her love, by means of speeches” (Piyushbala)—captures this recurring strategy.

Singla frames Dutt as “a pioneer in women's empowerment and social justice in colonial India” and insists that Dutt “lifted the veil of silence that surrounded issues surrounding women and used her art to challenge patriarchal norms” (Singla). Dutt’s engagement with myth is therefore not antiquarian nostalgia; instead, it constitutes a politically and ethically charged intervention, offering alternative subject positions for women within a culture of emergent modernity.

Part III — Nationalism, Patriarchy, and Mythic Femininity: Comparative Synthesis

1. Nationalism’s Invocation of the Feminine and the Politics of Instrumentalization

Both Tagore and Dutt are preoccupied with how nationalist discourses mobilize female imagery. In Tagore’s novel, Sandip personifies an aggressive, possession-oriented nationalism that eroticizes the nation through the feminine body: “Sandip: ‘Have I not told you that, in you, I visualize the Shakti of our country?’” (Tagore). Banerjee et al. expose the rhetorical sleight-of-hand: “Attributing divinity to women also silently snatches their individuality” (Banerjee et al.). This critique is central to understanding the limits of female agency within political rhetoric that elevates women into symbolic motherlands while denying their autonomous subjectivity.

Dutt’s poetic strategies differ: rather than endorsing nationalized femininity, Dutt often uses mythic women to critique patriarchal and colonial constraints concomitantly. Phillips’s argument that Dutt’s poetry is “characterized by an indigenous proto-feminism... that marks her brand of patriotism as distinctive from that of mainstream Indian nationalism” (Phillips) helps to situate Dutt as generating nationalist affectivities that do not rely on female idolization for political legitimacy. In short, while Tagore’s novel exposes the instrumentalization of women by a masculinist nationalism, Dutt’s poems reappropriate mythic feminine authority as a form of subaltern rhetorical power.

2. Patriarchy and the “New Woman”: Competing Constructions

The “new woman” appears as an ambiguous figure in both authors’ work. In The Home and the World, Bimala’s transformation into the new woman is partial and mediated by male interlocutors. Bhakat and Biswas claim that “Bimala unfolds her journey to emerge as a new modern woman, retreating to her conjugal life with Nikhil, as she grapples with her emotions and her illusory love, disguised as Sandip” (Bhakat and Biswas). Although Bimala’s movement seems to promise self-definition, the narrative demonstrates how the new woman, when produced through nationalist narratives, may become a “product of the new patriarchy” rather than an emancipatory figure.

By contrast, Dutt’s Savitri is deliberately reconstituted as an assertive subject: “Savitri is a perfect collaboration of both traditionality as well as modernity who is well aware about her true self” (Das). Dutt’s use of myth produces a model of the new woman that is not defined by male designation but by rhetorical force: Savitri’s dialogues, her capacity to address divine authority, and her refusal to accept fatalism construct a self-determining femininity.

3. Myth as Resource and Constraint

Myth functions on two registers. In Tagore, epic analogy complicates Bimala’s agency by prescribing moral expectations based on Sita’s image. As Banerjee notes, Tagore “allegorises the iconographic representation of Bimala resembling the ‘divine feminine strength (Shakti) for creation and (Kali) for the cause of destruction’” (Banerjee). Such imagery supplies rhetorical power but also imposes archetypal restrictions.

Dutt’s poems, however, use myth to authorize speech acts. Sen asserts that Dutt “succeeded in transcending the purely Christian milieu and this enabled her to treat with sympathy and gusto the characters from the mythological characters from the Puranas” (Sen). The difference is strategic: while Tagore’s epic frame is used to expose the social consequences of nationalist worship, Dutt’s retellings convert mythic roles into opportunities for vocal agency.

4. Comparative Evaluation of Agency and Moral Responsibility

A comparative reading reveals two divergent ethical implications. In Tagore, moral responsibility is bound to an ethics of relational fidelity and cosmopolitan humanism: Nikhil’s ethical stance privileges interior moral development over public fanaticism. Bimala’s moral failure—stealing, devotion to Sandip—constitutes an ethical rupture that yields personal and social harm: Bimala confesses, “I had robbed my house, I had robbed my country” (Tagore). The novel thereby links personal transgression to national betrayal.

Dutt’s works, however, reconfigure moral responsibility as active, dialogic, and rhetorical. Savitri’s ethical project is to preserve life through discursive perseverance; her refusal to accept Yama’s judgment is both a moral and performative assertion: she refuses passive sacrifice and instead demands justice. Dutt’s model suggests that moral agency is compatible with feminine autonomy.

Part IV — Close Readings: Selected Passages and Interpretive Notes

This section offers close readings of selected passages from both authors, integrating critical quotes where relevant.

1. Bimala’s Journal Entry — “I was no longer the lady of the Rajah’s house…”

Bimala’s assertion—“I was no longer the lady of the Rajah’s house, but the sole representative of Bengal’s womanhood” (Tagore)—encapsulates the novel’s central conflict. This sentence demonstrates how a personal reorientation becomes a symbolic assignment. Khushi and Johri’s observation that “Bimala is conflicted between choosing the traditional rules of ‘Home’ or the political stance of the ‘World’” (Khushi and Johri) clarifies how that sentence functions: it marks a conflation of private identity and public emblem. The rhetorical move from private lady to national representative is precisely the mechanism that enables Sandip’s instrumentalizing speech.

2. Sandip’s Invocation of Shakti — “Have I not told you that, in you, I visualize the Shakti of our country?”

Sandip’s rhetoric—“Have I not told you that, in you, I visualize the Shakti of our country?” (Tagore)—is an instance of political eroticism. Banerjee et al.’s critique that “Attributing divinity to women also silently snatches their individuality” (Banerjee et al.) is directly applicable: Sandip’s idolatry simultaneously invests and erases. The invocation of Shakti is a classical nationalist trope, yet Tagore’s representation exposes its ideological costs.

3. Dutt’s Savitri — “Savitri at her pleasure went / Whither she chose.”

Dutt’s line—“Savitri at her pleasure went / Whither she chose” (Dutt)—functions as an emphatic claim of mobility and choice. Das’s statement that “The modern idea of ‘New Woman’ elevates in searching of a woman’s true self” (Das) resonates here: Dutt literalizes choice as movement. The poem’s rhetoric thereby contests restrictive gender norms by foregrounding female volition.

4. Lakshman — Sita’s Eruption: “Was this the gentle Sîta? No. / Flames from her eyes shot forth and burned”

The dramatic image—“Was this the gentle Sîta? No. / Flames from her eyes shot forth and burned” (Dutt)—refigures the epic heroine as emotionally potent and rhetorically dangerous. Prasad and Thakur’s account—that Lakshman “begins with the repetition of the term ‘Hark’ and ‘it is’. This shows the impatience and restlessness in the mind of Sita” (Prasad and Thakur)—reinforces the reading that Dutt’s Sita is characterized by active affect rather than passive resignation.

Part V — Discussion: Implications for Postgraduate Study and Theory

1. Feminist Theory and Mythic Interpretation

The texts examined here demonstrate that mythic reinterpretation is a potent feminist strategy. Toru Dutt’s reworkings exemplify how legend can be mobilized to produce alternative models of femininity and moral agency. Phillips’s contention that Dutt’s poetry exhibits “an indigenous proto-feminism” (Phillips) suggests that such rewriting anticipates later feminist recoveries by centering speech, moral courage, and agency within a mythic frame.

Tagore’s novel, conversely, provides a cautionary tale about the limits of nationalist rhetoric as a vehicle for female empowerment. The novel suggests that the appropriation of women as emblems often operates to erase or subordinate female subjectivity. Banerjee et al. state pointedly that “In Sandip’s vision, Bimala is a goddess as well as the nation, leading him to engage in a sexual politics that changes his mantra from ‘Vande Mataram’ (Hail Motherland) to ‘Vande Mohinim’ (Hail Temptress)” (intertextual summary). The analytic implication is that feminist theory must interrogate not only explicit oppressions but also symbolic appropriations that appear as reverence.

2. Political Fiction and Ethical Responsibility

Tagore’s narrative demonstrates tensions between political fervor and ethical responsibility. Bimala’s moral failures are not mere personal lapses; they are embedded in rhetorical structures that valorize sacrificial violence. Banerjee et al.’s observation that “Tagore was never in favor of the selfish nationalist agenda of deifying women as Sandip does by portraying Bimala as the visible representation of the country” (Banerjee et al.) aligns the novel with a broader moral critique: political projects that instrumentalize private devotion risk producing ethical harm.

Dutt’s poems, by locating agency in speech and moral argument, suggest a different ethical formation wherein the female subject claims responsibility not through submission but through discursive negotiation.

3. Pedagogical Relevance for Postgraduate Inquiry

For postgraduate scholarship, these texts offer rich case studies for applying feminist theory, narratology, and myth criticism. The materials are particularly suitable for assignments that require: (a) close reading of narrative voice and form (Bimala’s journal), (b) intertextual analysis between epic models and modern fiction, and (c) comparative literary-historical work tracing how different genres (novel vs. lyric/ballad) construct female agency.

Conclusion

This paper has argued that Tagore’s The Home and the World and Toru Dutt’s mythic poems present competing, and at times complementary, portrayals of women negotiating agency within patriarchal and nationalist frames. Bimala’s movement between home and world dramatizes the ethical costs of becoming a national sign—an experience that both empowers and erases. Toru Dutt’s reimaginings, in contrast, reclaim mythic authority by granting speech, autonomy, and moral efficacy to legendary women. Together, the texts illuminate the ambivalent status of the “new woman” in colonial Bengal: while political rhetoric could invent new roles for women, it could also instrumentalize them; conversely, poetic re-visioning offered a discursive technology for reclaiming agency. The comparative study demonstrates the value of combining feminist theory, myth interpretation, and political fiction to understand the complex dialectics of gendered agency and moral choice.

References

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Das, Amrita. “The Emergence of New Woman in Toru Dutt’s Savitri.” The Creative Launcher, vol. 2, no. 5, Dec. 2017, pp. 398–401. www.redalyc.org/pdf/7038/703876865067.pdf.

Dutt, Toru. Ancient Ballads and Legends of Hindustan. Project Gutenberg, 2007, www.gutenberg.org/cache/epub/23245/pg23245-images.html.

Khushi, and Manjari Johri. “Examining Cultural Space and Gender Embodiment in Tagore’s the Home and the World.” The SPL Journal of Literary Hermeneutics: A Biannual International Journal of Independent Critical Thinking, vol. 5, no. 1, Jan. 2025, pp. 191–210. literaryherm.org/index.php/ojs/article/view/244.

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Phillips, Natalie. “Claiming Her Own Context(S): Strategic Singularity in the Poetry of Toru Dutt.” NINETEENTH-CENTURY GENDER STUDIES, no. 3.3, season-04 2007, www.ncgsjournal.com/issue33/PDFs/phillips.pdf.

Piyushbala. “Culture and Civilization in Toru Dutt’s Ancient Ballads of Hindustan.” The Creative Launcher, vol. 4, no. 5, Dec. 2019, pp. 68–75. https://doi.org/10.53032/tcl.2019.4.5.11.

Prasad, Amar Nath, and Shailendra Kumar Thakur. “Toru Dutt’s Great Work Lakshman : A Thematic and Literary Interpretation.” Epitome: International Journal of Multidisciplinary Research, vol. 10, no. 1, Jan. 2024, pp. 17–22. www.epitomejournals.com/VolumeArticles/FullTextPDF/782_Research_Paper_(34).pdf.

Sen, Swarnadeep. “An Analysis of Toru Dutt’s Approach to the Ancient Indic Mythological Characters in Her Corpus.” INTERNATIONAL JOURNAL OF RESEARCH CULTURE SOCIETY, vol. 2, no. 12, Dec. 2018, ijrcs.org/wp-content/uploads/IJRCS201812004.pdf.

Singla, Priyanka. “Some Feminist Features of Toru Dutt’s Poetry.” International Journal of Multidisciplinary Research and Growth Evaluation, vol. 4, no. 2, Apr. 2023, pp. 542–46. www.allmultidisciplinaryjournal.com/uploads/archives/20230425113619_B-23-142.1.pdf.

Tagore, Rabindranath. The Home and the World. Translated by Surendranath Tagore, Project Gutenberg, 2020, www.gutenberg.org/cache/epub/7166/pg7166-images.html.

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