Analysis of Boatman Tarini by Tarashankar Banerjee

Tarashankar Banerjee’s short story Boatman Tarini is a poignant exploration of human

resilience, survival instincts, and the unyielding power of nature. The narrative follows
Tarini, a boatman who earns his living ferrying people across the Mayurakshi River, a force
that both sustains and threatens his existence. The story is deeply rooted in rural Bengal,
painting a vivid picture of a life where nature dictates the rhythms of survival. Through
Tarini’s character, Banerjee examines themes of man versus nature, love and sacrifice, fate
and helplessness, and the stark realities of poverty. The climax, where Tarini, in a desperate
act of self-preservation, strangles his beloved wife Sukhi, is a powerful commentary on the
brutality of survival. This analysis will delve into the themes, characters, and stylistic
elements of the story, incorporating key quotes to illustrate its depth.
The most striking aspect of Boatman Tarini is its portrayal of the river Mayurakshi. The river
is not merely a setting but a living entity, embodying both life-giving and destructive forces.
For most of the year, it remains a dry stretch of sand, but during the monsoons, it transforms
into a raging, merciless current. The story opens in the month of Asharh, a time when the
river swells with rain, and pilgrims return from their holy dip in the Ganges. The river’s dual
nature is encapsulated in the line: “The Mayurakshi is famous for its strong current… when
the rains come, she is terrible, demoniac.” This dichotomy underscores the precarious
existence of those who rely on it. Tarini’s livelihood depends on the river’s rise, yet he
remains at its mercy, a theme that resonates throughout the narrative.
Tarini’s physicality and demeanor are described in a way that immediately establishes his
connection to the river. He walks with a stoop, having learned to avoid hitting his head on
low ceilings, but on the river, he stands tall, exuding confidence. This contrast highlights how
the river is both his domain and his adversary. His relationship with it is one of reverence and
dependence, as evident in his words: “Does one ever fear one's mother? The Mayurakshi is a
mother to me, isn't she? I get what food I can because of her, don't I?” His worship of the
river during Dasahara further cements this bond. However, as the story unfolds, this very
mother figure turns monstrous, threatening to take away everything he holds dear.
A significant theme in the story is the irony of survival. Tarini is a skilled boatman, someone
who rescues others from drowning, yet he himself falls victim to the river’s wrath. His ability
to read natural signs, such as the movement of ants and the direction of the wind, showcases
his deep understanding of nature. When he observes these signs, he confidently tells Sukhi,
“Look, the ants are going up the trees with their eggs in their mouths. It's going to rain, I'm
sure.” His prediction is accurate, demonstrating his intuitive grasp of environmental changes.
However, this knowledge proves futile in the face of an overwhelming flood, highlighting the
helplessness of human beings against nature’s might.
The relationship between Tarini and Sukhi is at the heart of the story. Their interactions,
though sparse in overt expressions of affection, reveal a profound bond. Sukhi is a resilient
woman who endures hardships silently. She sells her ornaments to sustain them during the
famine, a sacrifice she never boasts about. When Tarini asks her why she has no jewellery,
she replies with dry simplicity: “How do you think I ran the house all this time?” This
moment underscores her quiet strength and devotion. Unlike Tarini, who vocalizes his
frustrations and joys, Sukhi internalizes her struggles, making her an emblem of fortitude.
Tarini, despite his rough exterior, deeply values Sukhi. His interactions with her are filled
with a mix of playfulness and genuine admiration. When he receives a nose-ring as a reward
for rescuing a girl from drowning, he insists that Sukhi wear it immediately. The scene where
he lifts a lantern to admire her wearing the nose-ring is tender and revealing: “Let me have a
good look at you, Sukhi.” This moment is particularly poignant because it showcases Tarini’s
pride in his wife, contradicting his earlier dismissive remarks about her appearance. It also
serves as a stark contrast to the tragic climax, where he is forced to kill the very person he
cherishes most.
The famine that strikes the village serves as a grim backdrop to the narrative, illustrating the
harsh realities of rural life. Tarini and Sukhi, like many others, are forced to leave their home
in search of sustenance. The desperation of the people is evident when Tarini encounters a
group of villagers migrating to Burdwan in hopes of finding work. Their exchange is bleak:
“Has it rained well in Burdwan?” “No, there hasn’t been much rain. But there is a canal for
irrigation.” This simple conversation reflects the deep dependency of the agrarian
community on rain, and the catastrophic consequences of its absence. The image of
abandoned homes and starving people adds a layer of realism to the story, making it a
powerful social commentary on poverty and displacement.
The climax of the story is one of its most harrowing moments. As the floodwaters rise, Tarini
and Sukhi are forced to flee. The description of the flood is almost apocalyptic: “The roar of
the Mayurakshi, the noise of the downpour and the cruel laughter of the winds… it was as if
plundering bandits were shouting down the cries of their terrified victims.” This imagery
paints the flood as a merciless force, swallowing everything in its path. As Tarini and Sukhi
struggle in the water, Sukhi clings to him, her grip tightening as she panics. It is in this
moment of utter desperation that Tarini’s survival instinct takes over. He finds himself
suffocating under her grasp, and in a final, horrifying act, he strangles her to free himself. The
narrative describes this moment with brutal honesty: “He was gasping painfully for breath…
he could not bear it… in an instant his hands were round Sukhi’s throat… all his strength
flowed to his hands.” This act, though shocking, is not one of malice but of primal
desperation.
The final image of Tarini, having freed himself, gasping for air and longing for land and
light, is deeply tragic. He survives, but at what cost? The woman who stood by him through
every hardship, who sacrificed for him, is gone by his own hands. The river, which he
revered, has claimed its ultimate price. This ending leaves the reader with a profound sense of
inevitability—Tarini’s fate was always bound to the river, but it is this final betrayal of his
own nature that marks his ultimate defeat.
Stylistically, Banerjee’s narrative is rich with natural imagery and realistic dialogue. The
language is earthy, capturing the rhythm of village life. The dialogues, particularly between
Tarini and Sukhi, are laden with subtext, revealing more about their relationship than direct
exposition ever could. The humour in the early parts of the story, such as Tarini’s playful
exchanges with pilgrims and his banter with Kalachand, serves as a contrast to the grim turn
of events later. This shift in tone makes the tragedy even more impactful.
In conclusion, Boatman Tarini is a masterfully crafted story that delves into the depths of
human resilience, love, and the merciless forces of nature. Tarini is a deeply human character
—flawed, humorous, loving, and ultimately, desperate. The river Mayurakshi, which he
worships, becomes the instrument of his greatest tragedy. Sukhi, his steadfast companion,
represents the quiet sacrifices made in the face of hardship. Banerjee’s storytelling, rich in
realism and emotional depth, ensures that the story lingers in the reader’s mind, long after the
final words have been read.
\
Introduction
Tarashankar Banerjee’s Boatman Tarini explores human resilience, the struggle against
nature, and the instincts of survival. While deeply rooted in the socio-cultural realities of rural
Bengal, the themes it addresses resonate across various literary traditions. Several works,
both from Indian and global literature, offer intriguing parallels to Boatman Tarini, either in
their depiction of human suffering, the relationship between man and nature, or the tragic
inevitability of fate. This essay examines six literary works that share thematic and narrative
similarities with Banerjee’s story: Two Leaves and a Bud by Mulk Raj Anand, Pather
Panchali by Bibhutibhushan Bandyopadhyay, The Old Man and the Sea by Ernest
Hemingway, Things Fall Apart by Chinua Achebe, Typhoon by Joseph Conrad, and Dopdi by
Mahasweta Devi.
Two Leaves and a Bud by Mulk Raj Anand
Mulk Raj Anand’s Two Leaves and a Bud (1937) is a powerful indictment of colonial
oppression and economic exploitation, following the struggles of Gangu, an impoverished
worker in a British-owned tea plantation. Like Tarini, Gangu is a man of resilience who
fights against forces beyond his control. While Tarini battles the elements, Gangu’s struggle
is against the British planters who exploit Indian labourers without mercy. Both characters
are ultimately powerless before the larger forces that dictate their fates—Tarini succumbs to
the merciless river, while Gangu is shot dead by a British officer, a stark reminder of the
structural violence that governs their lives. Both stories highlight the dehumanisation of the
working class and their helplessness in the face of oppressive systems, whether natural or
colonial.
Pather Panchali by Bibhutibhushan Bandyopadhyay
Bibhutibhushan Bandyopadhyay’s Pather Panchali (1929) is a classic of Bengali literature
that shares thematic parallels with Boatman Tarini in its depiction of rural life, poverty, and
the indomitable spirit of its characters. The novel follows Apu and his sister Durga, two
children growing up in a poor Brahmin family, as they navigate the hardships of rural Bengal.
Like Tarini, their lives are dictated by nature’s whims. The river in Pather Panchali plays a
crucial role, much like the Mayurakshi in Boatman Tarini—it is both a source of sustenance
and destruction. Durga’s fascination with water leads to her untimely death in a storm,
mirroring how Tarini, despite his reverence for the river, is ultimately undone by it. Both
works capture the fragile balance between human aspirations and the unrelenting forces of
nature.
The Old Man and the Sea by Ernest Hemingway
Hemingway’s The Old Man and the Sea (1952) tells the story of Santiago, an aging
fisherman who embarks on an arduous battle against a giant marlin in the open sea. Tarini
and Santiago share a profound bond with the waters they navigate, viewing them both as a
source of livelihood and as a formidable adversary. Santiago’s resilience in fighting the
marlin, only to have it devoured by sharks, echoes Tarini’s battle against the river, which
eventually claims everything he holds dear. Both stories explore the theme of human
perseverance against insurmountable odds, with nature ultimately asserting its dominance.
The finality of Santiago’s loss and Tarini’s tragic ending reinforce the existential reality that
man, no matter how skilled, is often powerless before the forces of nature.
Things Fall Apart by Chinua Achebe
Chinua Achebe’s Things Fall Apart (1958) presents another tragic protagonist, Okonkwo,
whose downfall is precipitated by his rigid adherence to traditional values in a world that is
rapidly changing. Like Tarini, Okonkwo believes in his own agency and ability to control his
fate, yet he finds himself at the mercy of larger, uncontrollable forces—colonialism in
Okonkwo’s case, and nature in Tarini’s. Both characters face an inevitable downfall, despite
their attempts to fight against their respective adversaries. The theme of fate versus free will
is prominent in both works, highlighting the fragility of human existence when confronted
with overwhelming external change.
Typhoon by Joseph Conrad
Joseph Conrad’s novella Typhoon (1902) follows Captain MacWhirr as he steers his ship
through a violent storm, showcasing the clash between human resilience and the
unpredictable force of nature. Much like Tarini, MacWhirr is a seasoned seaman who
understands the waters, yet he finds himself struggling against a natural disaster beyond his
control. Both stories use the sea and river as metaphors for life’s unpredictability, illustrating
how human beings, no matter how skilled or experienced, are ultimately subject to the whims
of nature. Conrad’s story, like Banerjee’s, paints nature as an indifferent force, unconcerned
with human survival.
Dopdi by Mahasweta Devi
Mahasweta Devi’s Dopdi (from Breast Stories, 1978) offers a different but equally powerful
parallel in its exploration of survival, resilience, and systemic oppression. Dopdi, a tribal
woman and a rebel, is captured and brutally tortured by the police. Unlike Tarini, who
succumbs to nature’s might, Dopdi refuses to submit, defiantly standing her ground despite
her suffering. While Boatman Tarini deals with nature’s indifference, Dopdi highlights
human cruelty, yet both stories emphasize the brutal realities faced by those on the margins of
society. Tarini’s struggle against the river and Dopdi’s battle against the state both reflect the
futility of resistance in the face of overwhelming power.
Conclusion
Each of these literary works offers valuable insights into the themes explored in Boatman
Tarini, whether through the lens of nature’s indifference, human resilience, or the tragic
inevitability of fate. By drawing these parallels, students can better appreciate how
Tarashankar Banerjee’s narrative fits within a broader literary tradition that examines human
endurance against forces beyond individual control. Whether in the form of natural disasters,
colonial oppression, economic exploitation, or systemic violence, the struggles faced by
Tarini find echoes in stories from around the world, reinforcing the universality of his plight.