54 pages • 1 hour read
Gita MehtaA River Sutra
Fiction | Novel | Adult | Published in 1993A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Symbols & Motifs
The Narrator’s Confusion or Indignance
A motif throughout A River Sutra is the narrator’s defensive or confused reactions to the stories he hears and to the commentary other characters provide on those stories. For example, after telling Tariq Mia the story of the Jain monk, Ashok, Tariq Mia behaves as though the meaning of Ashok’s “one love” was obvious. This reaction upsets the narrator, who quickly asks for elaboration, at which point Tariq Mia explains that Ashok’s love was figurative, referring to humanity’s capacity for love. Tariq Mia’s response encourages the narrator to review Ashok’s story, looking for ways to reframe it and develop a greater understanding of the story.
The novel includes this motif of the narrator’s confusion in order to encourage reinterpretations of the stories in the novel. At first, a story is presented as the narrator perceives it, followed by the narrator’s confusion or indignation, which then leads to another interpretation of the story. The most noteworthy moment of confusion and indignation in the novel occurs at the conclusion, in which the narrator does not understand how Professor Shankar could be the Naga Baba; he even rejects the idea that the Naga Baba could reenter the world. However, the narrator’s reaction is meant to encourage a review of the Naga Baba’s story in comparison to the narrator’s own story, revealing how both characters leave and re-enter the world in their own ways. The narrator’s indignation, then, shows his frustration with his own life, rather than the more superficial indignation at the Naga Baba seeming to reject his faith in asceticism.
Since the novel uses the narrator’s exposure to various stories as a framework through which to discuss complex topics like love, enlightenment, and contentedness, the narrator’s frustration and confusion punctuate the stories with questions and concerns, gradually leading toward a greater understanding of India, humanity, and the world. Whenever the narrator seems confused or upset, it is a sign to look deeper into the nature of the narrator’s reaction, observe closely the way other characters respond to the narrator, and reinterpret the stories of the novel for different possible meanings.
The Diyas or Clay Lamps
At Mahadeo, the town near the rest house, pilgrims and religious people set diyas or clay lamps adrift down the Narmada. The narrator notes the clay lamps drifting downstream, which he can see from his bungalow, commenting that he and visitors often watch the Narmada look “as if catching fire” (3). The clay lamps are a symbol of enlightenment in the Hindu faith, but they serve as a symbol of the consistency of faith in the novel. The clay lamps are mentioned early in the novel, and it is assumed that they are constantly pouring forth from Mahadeo throughout the novel, with the last line of the novel reading: “At the bend of the river the clay lamps were still flickering as the current carried them toward the ocean” (265). The inclusion of the word “still” implies that the lamps have been flowing downstream over the course of the novel, and they will continue to pour out from Mahadeo regardless of the narrator’s spiritual state.
The stories of the novel present varied religious and spiritual ideas, and the narrator himself is torn between the different possible perceptions of his life, work, and future. The lamps serve as a reminder that many people are seeking answers to the same questions the narrator asks; they are proof of the devotions of those aspiring to enlightenment. Though the narrator progresses in his own journey throughout the novel’s stories and interludes, he begins and ends the novel by observing the lamps of other people’s aspirations toward enlightenment, which locates him as one of many seekers.
Music and Singing
Music and singing play a significant role in the narrative of A River Sutra, both as a means by which stories and legends are conveyed and as a representation of spirituality and human emotion. Music is a motif, appearing regularly in the text to remind the reader of the importance of storytelling; it is also a symbol that represents devotion and spirituality. Some of the notable examples of music in the text are the Sufi singers in Tariq Mia’s story of Master Mohan, the musician’s daughter who uses her talent to find love, and Uma’s final performance of a devotional hymn to the Narmada, all of which embody faith, worship, and spirituality while also conveying stories of the world, humanity, and divinity.
While discussing the Sufi performers, Tariq Mia notes how they “become drunk with singing and no longer remember fatigue in their praise of God” (47), imbuing music with the power to overwhelm the senses and invigorate worship. Similarly, the musician’s daughter compares playing a duet with the stranger to lovemaking, noting how they become close, seduce each other, and leave each other “exhausted.” In the final song of the novel, Uma compares the Narmada to many facets of humanity, praising the river as both a physical landmark and a spiritual figure of Shiva’s desire. In each case, the music is a means by which characters express a story and embody a feeling of closeness to another person, divinity, or themselves.
It is important to note that the title of the novel, A River Sutra, refers to the sutras of Hinduism and Buddhism, which were recited works that communicated important information, rules, or stories in ways that were easy to remember and pass on. Commonly, sutras would be chanted or sung, linking the novel to music in the invocation of an inherently musical medium. Though it would not be accurate to equate sutras and songs, the novel can be compared to a devotional or meditative piece on the Narmada, and the title implies that the novel itself is musical or meant to be recited. As such, the novel includes many instances of lyrics or poetry being recited or performed by characters, each of which indicate an important message regarding love, divinity, or humanity.
