Heights of feminism in the works of Salman Rushdie Essay Example

and disasters. Yet, she possesses an unexplained strength and determination that allows her to fulfill her artistic destiny. Vina's resilience in the face of misfortune is a testament to her womanhood. Even as a child, she narrowly escaped abandonment by her biological father and avoided her mother's murderous rampage, though tragically losing her siblings. While there may be a sense of divine intervention in Vina's life, she also draws strength from her inner resources. (Mishra, 1999, p.42)

The feminism of Vina Apsara can be understood by comparing her to her eventual replacement, Mira. Unlike Vina, Mira is young and stable, the complete opposite of her predecessor. Vina's biggest enemy is herself, as her tendency to suddenly explode causes numerous problems. She is burdened by her unattainable and constantly changing image. On the other hand, Mira embodies ordinary human love and stability, which ensures longevity without the radical and self-destructive characteristics of Vina's feminism. Despite this contrast, Mira's feminism is just as powerful as Vina's, if not more. The name Mira can be seen as a play on the word "mirror," representing the false image one holds of oneself. Through Vina and Mira, Rushdie explores the diverse aspects of the female psyche.

The Enchantress of Florence is another example of Rushdie's acknowledgment of the power of women. Qara Koz, the Mughal princess, is the central character who travels across continents and empires as a war prize, captivating men along the way. The novel follows a European traveler who arrives at the court of Mughal Emperor Akbar and claims to be the child of a lost princess. The traveler captivates the emperor with stories of this enchanting and sorcerous

beauty. Qara Koz and Vina Apsara can also be connected to notable female characters in Rushdie's other works, both fictional and historical.

"In Jodha and Qara Koz, Rushdie introduces captivating female characters who are comparable to Aurora Zogoiby in The Moor’s Last Sigh, Jamila Singer in Midnight’s Children, and India Ophuls in Shalimar the Clown. Qara Koz and Jodha are portrayed as existing primarily to please the men in their lives, utilizing their powers of enchantment and entrancement. Furthermore, the narrative takes us to Florence where Machiavelli, the master of intrigue, resides alongside Ago Vespucci, Amerigo's cousin who is credited with naming the New World. The story also delves into the world of Ottoman janissaries, the Medicis, the monk Savonarola, and even offers a mention of Elizabeth the virgin queen." (Tripathi, 2008, p.57)

All novelists draw from personal experiences for their literary content, including Rushdie. Understanding Rushdie's feminist perspective can be an interesting exercise in light of his four failed marriages. It could be debated whether the failure of these marriages reveals a lack of understanding of feminine psychology and therefore undermines the credibility of his female characters. However, Rushdie's unique circumstances of living under constant threat of assassination for a significant part of his adult life make answering this question difficult. Despite this, recent interviews with the author indicate that his novel "The Enchantress of Florence" was a way for him to cope with his divorce from his fourth wife, Padma Lakshmi. It is not uncommon for writers to turn to subjects that cause them pain as a means of finding catharsis. Therefore, the character Qara Koz can be analyzed from a feminist perspective on multiple

levels.

According to an interview with Hannah Stephenson, Rushdie reveals the inspiration behind his formidable female characters. He explains that it was not challenging for him to investigate the theme of empowered women.

Stephenson (2008) discusses his interest in strong female characters and acknowledges his personal experience with the women in his life. Growing up with three sisters and influential mother and aunt, he has been surrounded by forceful characters. In a world dominated by male power and ruled by great warriors, women exhibit a distinct power through sensuality and witchcraft. Stephenson argues that men often become overwhelmingly reliant on the women in their lives.

In The Ground Beneath Her Feet, there are parallels drawn between the characters Vina Apsara and Ormus Cama and the mythic figures Eurydice and Orpheus. Vina is compared to Eurydice, while Ormus takes on the role of Orpheus. Their love story resembles the Greek myth not only because music is central to their lives and relationship, but also because they are both considered "outsiders". Ormus exists in two realms, linking him to another world, while Vina is portrayed as the "queen of darkness" who dangerously flirts with death. The similarities between Vina and Eurydice extend even to their deaths; Vina is swallowed by a hole in the earthquake-ravaged ground, while Eurydice is plunged underground in the myth. (Chun-Yen Chen, 2010, p.51) The theme of being outsiders is further emphasized through their shared experiences.