Literature of Colonial South Asia: A Digital Archive

Summary of Cornelia Sorabji, "Between the Twilights" (1908)

Cornelia Sorabji, “Between the Twilights” (1908) Summaries
The full text of this book is here.

Tags: Women and Hinduism, Hindu rituals and practices, Caste, Hindu Widows, Enforced Widowhood, Child Marriage, Western-returned women, Educated Women, Violence against women, Saraswati, Durga, Kali 


Chapter 1: The Story of Wisdom

The first chapter, “The Story of Wisdom,” describes the annual two-day arrival of the Goddess of Wisdom, often identified as Saraswati, into Indian households. This visit is marked by ritualistic preparations, including women bathing in sacred waters and the decoration of a guest chamber with white chalk marks representing tridents and fishes for good luck. An altar is constructed to hold diverse offerings, ranging from yellow flowers and coconuts to ancient Sanskrit manuscripts and modern Western textbooks like "The Vicar of Wakefield". The inclusion of these "Europe" products signifies a silent prayer to sanctify Western education within the traditional Indian context.

But the centre of interest was naturally the Altar. This was just a plain raised platform of wood, carrying bravely its variety of offering. Great mountains of yellow and white flowers, with fruits, chiefly the cocoanut, fruit of healing, old Sanskrit manuscripts, lettered palm-leaves, thumbed and blotted copybooks and tattered “primers”—the prayers of children—the pointed reed, and ink-horns, glass inkpots and steel pens from the “Europe” shop across the way; a school edition of “The Vicar of Wakefield,” Ganot’s Physics, quaint combs and mirrors, powder-boxes, and perfumes, “the tears of scented grass,” or that more subtle “scent of red rose leaves.” Why not? Is she not woman, even though a Goddess and learned? The “Europe” products, I notice, carry milk in place of ink. “Sanctify to us this Western Education”—is that what it means in this country, where deepest feeling finds outlet other than through doors of speech?  


As the Goddess of Perfect Speech and Harmony, Saraswati is represented in some homes by a life-sized figure playing a bina (a stringed instrument) while dancing on a lotus. Her worshippers provide oblations of rice and milk to atone for "benevolent falsehoods"—lapses in accuracy committed for pious motives, such as saving a life or protecting a cow. 

Sometimes, by no means generally, there will be an image of the Goddess. One such I have seen in the house of a rich merchant. It was a life-sized figure dancing on a lotus, the full bloom, pink-edged, in her hand she bore a bina, for the Goddess of Wisdom is also Queen of Harmony; and the rich man’s friends had honoured her as was meet, with priceless gifts of Kincab, of gem, of trinket. Now Wisdom of necessity has yet one more aspect, she is Goddess of Perfect Speech. It is of her that the tongue-tied prays eloquence, the scholar success; and the offering to her in this capacity you will find absent from no Altar, rich or poor. To omit this would mean the curse of the dumb for ever. It is a little cake of rice and milk, this oblation for lapses from accuracy, for “benevolent falsehood.”
“Oh Guest of the hours, remember the past, the puzzling need of the tangled moments, remember—and forgive.”
A list of benevolent falsehoods must needs vary with the age. Manu includes (viii, 130) “The giver of false evidence for a pious motive, for such an one shall not lose a seat in heaven,” his lapses being called the “Speech of the Gods.”
“To save a life,” “To protect a cow,” “To counteract the thriftless ways of husbands,” have added Hindu women of my acquaintance.



The chapter highlights a Children's Festival where youngsters are anointed with sandalwood oil and offer jasmine wreaths while playing at the Goddess's feet.

On the second day, the image of Wisdom is set afloat in the Ganges to return to the "Mounts of Blessing". Sorabji also recounts a legend wherein Brahma slighted Saraswati by choosing a milkmaid, Gayatri, as a substitute wife for a sacred sacrifice. In her wrath, Saraswati cursed Brahma to be rarely worshipped, Priests to serve only for gain, and the Goddess of Wealth to dwell with the foolish. However, Gayatri modified these curses to ensure that not all priests or wealthy individuals would be base. Ultimately, Wisdom is portrayed as the creative power that connects the creature to the Creator.

Chapter 2: The Story of Destruction

Chapter Two, “The Story of Destruction,” narrates the legend of Kali the Mother, created by Shiva to defeat two powerful giant demons, Shumbo and Nishumbo. Initially named Jugatdatri (Nurse of the World), she was a figure of immense beauty who vowed to marry only the man she could not conquer. When the Gods realized the demons' strength, they each infused her with their collective power. This influx of divine strength caused her to turn black and lose her comeliness, transforming her into Kali.

Intoxicated by the strength of the Gods and the blood of her enemies, Kali fought with a ferocity that led to victory. However, she then began a "Dance of Death," threatening to destroy the very world she had saved. To halt her destruction, Shiva lay down in her path. When Kali inadvertently stepped on her husband's chest, she was instantly shamed and sobered, a vision now immortalized in Hindu worship as the four-armed conqueror vanquished only by her husband.

And Shumbo maddened by her laughter vowed victory, and her very glory was a peril, for he seized upon her hair, and impeded her much. Then did the Gods take counsel again together. It was the Destroyer who found help. “Let us each give her of our strength,” said he, “that evil may be smitten for ever.”

And they did all even as he suggested, and the incoming of this great strength made her so that she lost some of her comeliness. And now was she called Kali . . . She that is black.

And the strength of the Gods was as wine to her, and she fought intoxicate. And behold, while all the Gods and Demons watched, they fought—those two—the Nurse of the World and the King of Evil, and Kali won.
Then was there great rejoicing on earth and in heaven, and Kali joyed no less than her creatures, and she danced in her joy, drunk with the blood of her victim.

And for the third time the Gods took counsel, for they said, “The thing we have ourselves made strong will at last destroy even us.”

And the Great God said: “She is wife to the Destroyer. This is his business.” And Shiva thought long and earnestly, for even he could not causelessly retake the strength that he had given. And the end of the meditation was that he went forth from Heaven and lay in her path as she came down from the Snow mountains in her dance of Death. And she, mad with victory and blood, seeing nothing, danced on to his chest exultant, when looking down, she recognized her husband, and was shamed and sobered. And this final vision of Kali is the one worshipped by her children—Kali, the four-armed, the Conqueror of Demons, vanquished only by the husband who lies under her feet. 



Sorabji describes her visit to the Mount of Kali, where she observes the gruesome sacrifice of goats and the deep pathos of women making difficult vows in hopes of protecting their children. A "Wise Woman" of the Zenana explains the iconography of the garland of skulls and waistlet of hands as a parable: while the physical body perishes, intelligence and work are the only things that outlast destruction. For the women of the "Inside," the ultimate lesson of Kali's legend is that even the most powerful and dreaded force is ultimately subject to her husband, reinforcing the cultural ideal of wifely submission as a stage of perfection.

I went back to my Wise Woman of many years. “To the ignorant,” she said, “Kali but wants a life—Kali slays and Kali makes alive. Said I not once before, blessing and cursing, death and life, these are the Soul’s eternal doors. In the house of Kali the doors are ever open. But, for us women, the lesson to hide in the heart is this—Kali, the Great Destroyer, the Nurse of the World, the Dread-Inspirer, is vanquished only by—her husband.”

Here, then, meet ancient story and modern history, the history of every Hindu woman throughout the Land. The last stage of perfection is wifely submission.




Chapter 3: The Story of a Woman

The third chapter, “The Story of a Woman,” explores the legend of Durga and her subsequent rebirth as Uma. The story begins with a conflict between Durga’s father, Dokhio, and her husband, Shiva. Enraged by Shiva's poverty, Dokhio excludes the couple from a great feast. Despite Shiva’s warnings that she would face mockery, Durga uses feminine wiles and eventually manifests ten terrifying forms to compel Shiva to let her attend. When she arrives, Dokhio’s public curses against Shiva cause Durga to die of a broken heart. In retaliation, Shiva destroys the sacrifice and punishes Dokhio by replacing his head with that of a bearded goat.

Durga’s soul eventually enters the body of a new babe named Uma, who grows up in the snow mountains with no memory of her past divinity. She is later sent to tend to Shiva, who has become a mourning ascetic. Although the God of Love attempts to wake Shiva from his trance, he is incinerated by the fire of Shiva’s eye. Eventually, Shiva recognizes Uma as his lost Durga, fulfilling the woman's destiny of reunion.

This myth is commemorated during Durga-pooja, when the "Ten-handed" Goddess is said to return to her parents for three days. Sorabji notes that Zenana women interpret the story differently than men; while men may see it as a tale of divine energy and conquest, the women focus on the husband's forgiveness and the importance of wifely devotion. For the women, the central theme remains “No God so great as my God,” seeing their husbands as the earthly embodiment of the divine who must be served with total self-abnegation.

And so, once more was fulfilled the destiny of a woman.

“But for three days in every year does Uma go back to her parents and her swanlets in the mountains of Snow; and this journeying of Uma is always at Durga-pooja time when we make feast for many days to worship the Ten-handed.”
In the silence which fell upon us after this story, she of many years was heard to yawn, while all the women snapped their fingers till her jaws met again.

From Shiva’s Temple gleaming white among the yellow-green of the date palms came the sound of the pooja bell—some one, a woman probably, praying for her Lord to the Lord of Killing and Cursing. Clear against the gray-blue sky stood the cross-crowned spire of the Christian Cathedral; and almost at our doors, rang out the prayer-keeper’s call to the faithful Moslem: “There is no God so great as God.”

“There is no God so great as—my God.” It is what we are all saying; and it makes at once the strength and the tragedy of human lives. “No God so great as my God.” What different things we mean when we say that—we of the bustling outside world.

The Hindu woman means one thing only. “No God so great as my God.” That was the lesson each was taking from the story of Durga and Uma. Did not almost every fable and legend chant that chorus? “No God so Great.” . . . In punishment may be sometimes, or in penitence (see the miracle of the Destroyer himself turned monk for Durga)—but most of all in graciousness.



The Nasal Test—A Study of Caste

In this chapter, Sorabji explores caste as a complex socio-religious ladder that originated as a guide for marriage, once determined by the "Nasal Test"—the idea that caste varied inversely with the width of one's nose. While it began as a distinction between Aryan and Dravidian, it evolved into a rigid barrier believed to be ordained by God, defining a person's social standing, spiritual privileges, and professional value. Unlike Western social classes, caste contamination is ceremonial rather than moral; a high-caste man may work with an inferior but cannot eat with him, as sharing food and water is a restricted religious act.

For women, caste requirements necessitated infant marriage, as high-caste women were forbidden from marrying beneath their station, leading to a shortage of eligible men. Sorabji highlights the irony of ceremonial cleanliness; while a Hindu may be horrified by a reused toothbrush, they may eagerly bathe in a sacred river that is "thick as pea soup" because its holiness is intrinsic and cannot be defiled.

The chapter also addresses the "enforced widowhood" resulting from priestly excommunication, noting that few have the courage to face the social death of being out-casted.

This same penalty, loss of caste, is the reason for what has been called in official documents “enforced widowhood.” The Priests attached excommunication to re-marriage. And since, as we have seen, things social and things religious overlap in Hinduism, the Priests had the opportunity of banning in both ways. No more invitations to caste dinners, as well as no more visits to the Temple, to sacred Tanks and Wells and Bathing Ghats, for the excommunicated. Few women and fewer men will face excommunication of this type, and one reads with amusement of the ardent reformer who, before proposing marriage to a charming widow of his acquaintance, wrote a hundred notes to friends and acquaintances, “Will you dine with me if I marry So-and-so?” There were not fifty righteous found willing, even on paper! But in truth the number of those who wish or would countenance re-marriage is very small. The feeling of the orthodox about marriage is this: It is a Gift—the gift by a Parent of a daughter to a husband. The Gift must be a first Gift, no one must have had earlier use of it, no one must even have had earlier chance of longing for it. You must be certain the possession is your very own—wherefore the giving in infancy. Wherefore again, even if you died after mere symbolic and before actual possession of your gift, the Gift was nevertheless yours. Infant widowhood. How can it be given again—that Gift? If it would be sin in infancy, it would be worse sin later on. And the woman’s reasoning is of the same class. The best believe in the sacrament of marriage: they worship their husbands as the life-force: for his using or abusing, his pleasure or neglect they exist. He being gone, what is there? In the old days there was suttee, and who shall say but that the moral strength it represented did not make for something in the national consciousness? No one ever enforced widowhood. No one enforced suttee: no one to-day can really restrain suttee. One old test was putting your smallest finger into the fire and burning it to the bone: if you could stand that, unflinching, you were worthy to be suttee. Another was stirring boiling hot rice with your bare hand. I know a woman whose proudest memory is that some Great-Aunt or Grandmother stood the test. 

 Sorabji concludes with the titular "Nasal Test" of her own era: the practice of punishing a wife’s lapse in rectitude by mutilating her nose, a public mark of her status as an outcast who has been "cut off" from her husband and caste.

One word more. I have called this study the Nasal test. We all know what happens when a Hindu wife lapses from rectitude. There is no scene in a law Court, but she goes through life self-betrayed; she has lost the tip of her nose. The pain of the punishment is obviously its publicity; but it would be interesting to know whether in origin it had any connection with caste. Is it possible that the mutilated nose was but symbolical of the husband’s right to excommunicate? “For this sin you are to me outcast. I know no greater punishment. Reap even as you have sown!” 


The Mothers of Fighters

This chapter shifts to Rajputana, a rugged, "grim and gaunt" landscape that breeds the warrior caste. Sorabji contrasts the Khattriya (warrior) women with those of Bengal, noting that the "Mothers of Fighters" possess a unique beauty of self-respect alongside their subjection. While the Bengali woman’s love is characterized by total self-abnegation and a refusal to criticize her lord, the Rajputni remains an individual who demands her husband live up to the highest standards of his ancestry.

Sorabji recounts legends illustrating this fierce spirit, such as a Queen who, rather than rejoicing that her husband avoided a dangerous battle, felt shame at his cowardice. In another tale from the Sack of Chittore, a widow pauses before the funeral pyre only to ask how her husband died; hearing he died heroically, she enters the flames smiling.

A central tradition described is the "Bracelet-bound-Brother" (Rakhi), where a woman sends a silken cord or golden circlet to a man, establishing a selfless bond of protection and devotion. Sorabji observes that even though modern Rajput women live strictly behind the Purdah, they maintain the "spirit of the free". She concludes that while the Fighter demands his women be of a certain stature, the women themselves see their love as a service to the world by compelling the highest virtues in their beloved.

The Queen Who Stood Erect

This chapter examines the domestic life of the Zenana through the lens of devotion and the significance of male heirs. Focusing on "Nanni-Ma" (Baby’s Grandmother), Sorabji illustrates how a child is viewed as a "passport to heaven" and a saviour for the family's ancestors. The birth of a son is the ultimate success for a woman, while failure to produce one—or the death of a husband—is often viewed as a punishment from the Gods for sins committed in a past life.

Sorabji describes the absolute worship a Hindu wife offers her husband, planning her entire day around his needs and viewing him as the one who brings God close to her. Because marriages are arranged in childhood, love is not a choice but a sense of belonging that grows over time, similar to the bond between siblings.

The chapter’s title comes from a parable of a King who fell at his Queen's feet in an ecstasy of love. When jealous co-wives urged the Queen to place his hands on her head in a gesture of honor, she "stood erect," explaining that since both her feet and her head already belonged to her lord, she had nothing of her own with which to receive his honor. This story encapsulates the ideal of total identity-erasure in marriage, where the woman possesses no individual self-interest, viewing her very existence as an instrument for her husband's pleasure or service.

Portraits of Some Indian Women

In this chapter, Sorabji provides a gallery of different "types" of women. The "middle-class" wife is the "true guardian of the past," uneducated and submissive, whose world revolves around domestic duties and the bearng of a son. In contrast, the "England-returned" wife often faces a pathetic existence, wedded to a man who has adopted Western habits while she remains rooted in tradition, though some husbands attempt to painfully "educate" their wives into this new life.

For our studies in sad monotone we must go to the wives of one section of the “England-returned,” as they are called.
Try to picture this lady. She can speak her own vernacular, perhaps read it, but Western influences have passed her by. Greatly skilled is she in things domestic. She has watched her husband with awe through the throes of his local university, and then he sails away out of her ken to that unknown land beyond the “black waters” of separation. Dimly through the years does she hear of him, and great fears are at her heart as she thinks of the women he must meet in that land of “the unveiled”; but these are fears she may tell to none. What pre-emption can she have in his affections? Then he comes back, wearing a bright pink shirt, an English top-hat, and patent leather shoes. He drives a dog-cart, and divides his time between his office and his club; he dines at English houses—new fears here for breach-of-caste rules. But she worships nevertheless. To buy him blessings is still left to her, and Indian wifehood was ever a school for altruism; but in a family group you will grant the inharmoniousness of the anachronistic.

Let it be ceded here, however, that there is another sketch possible of that “England-returned” one. Some diversity of interests cannot be avoided; but I have known a few little wives whose Anglicized husbands did their best to educate them, led them painfully through the new ideas, brought them somewhat into the “reformed” life.

To myself the attempt has often seemed pathetic, trying “to walk with one foot,” to “clap with one hand”; but our little lady is painted this time in a glad luminosity of gratitude that, having seen the world, he should still deign to care.

But sometimes the woman, too, has had chance of Western education. I have known one or two of her kind in Bengal and Madras, more in Bombay. Perhaps she passed through the stage transitional herself once; at any rate, she has arrived all safely, keeping her pretty national dress, keeping also her vernacular. A great part of her day must be re-made for the ceremonies of orthodox Hinduism which she has discarded; yet, something solid she has in its stead, since no influence will ever make a Hindu woman irreligious, thank God.



The Reformed (Brahmo) woman represents a successful "admixture," keeping her national dress while participating in her husband's intellectual life through reading authors like Emerson and Browning. Sorabji also details the lives of Queens, from those who rule states with shrewdness to those trapped in "intermural imprisonment" in windowless palaces.

The portrait of the widow is the most somber; she is a "thing of ill-omen" who serves as a "willing drudge" to win merit for her deceased lord. However, Sorabji notes a significant shift toward individualism; many widows are now "buying back the curse" by training as doctors, nurses, and teachers. 

How can we help the fact that the number of women in this class must increase daily? The age marches forward towards personal and individual dignity, and the old ideals of the vicarious are being pushed into the background of the unregenerate.

The majority suffer in silence; some gloriously, some ingloriously and sadly rebellious. Some fall into the hands of the Widow Remarriage Committee, and are re-married. It is not for the onlooker to say whether this solution is sufficient. A few are now beginning to find that life has some use for a woman unmarried, even for her. They are learning to earn their own living and to bless the world with honest labour. She is buying back the curse, this widow who works, in a way which must surely conserve for the nation much of that selflessness which we claimed in the suttee, and certainly much more apparent usefulness. As doctor, teacher, nurse, and in humbler walks of life, which of us who know modern India have known and not blessed the Hindu widow? For the first time, too, since the Vedic era, do we find in India unmarried girls over ten years of age. This is the nearest approach to spinsterhood in the East, and the spinster—she is very rare—is almost always a self-respecting woman earning her own living.


She concludes that the redemption of Indian womanhood lies in women growing to their full stature and proving that womanly grace is compatible with independence.

Garden Fancies

In “Garden Fancies,” Sorabji reflects on the sacred nature of the Tulsi (sacred basil) plant in Indian life. When she attempts to move a sprawling Tulsi plant from her driveway, her gardener (Mali), a holy man from Puri, refuses to touch it without a proper ceremony. The plant is eventually moved with the help of another holy man who reads sacred texts and explains the situation to the plant to avoid offense. The relocation concludes with an “Hour of Union” ceremony involving oil lamps, offerings of tools, sugar biscuits, and white lilies crushed into the roots. Sorabji marvels at the Mali’s utter unselfconsciousness during this ritual, noting the irony that the plant’s sacred status likely originated from its practical use as a mosquito repellent.

A friend of the "Inside" provides a mythological context for the plant’s sanctity: the Tulsi is the wife of the Great God. Legend tells of a giant whose wife was so beautiful that the Destroyer himself became enamored of her after killing her husband. To remain with her, he stayed by the giant's funeral pyre until she was transformed into the sweet-smelling Tulsi. Sorabji eventually learns that in this culture, the perception of sin is subjective; the Mali concludes that if the "Huzoor" (author) does not deem the plant's death a sin, then it is not one. The chapter highlights the deep-seated reverence for nature where every plant is treated as a "garden-person" with a soul.

A Child or Two
This chapter details Sorabji’s interactions with children of the Zenana, specifically two sisters named “Lightning-Beloved” and a girl named after a Greek Goddess. In a poignant attempt to win the author's affection, the children arrive for a visit dressed in second-hand English mourning clothes, including crepe veils and false black curls, believing the author would love them more if they resembled English children. Sorabji also explores the complexities of child marriage, noting how “Lightning-Beloved” is betrothed at age four to a "domesticated son-in-law"—a male of the right caste but no fortune who is supported by the bride's family.

The narrative takes a darker turn with the story of “Lotus-born,” a six-year-old heiress whose relatives attempt to drug and kill her to secure her inheritance. 

A new little settler has lately sought the shelter of this Raj, a six-year-old Baby in self-protective exile from her own Estate. Under local law she succeeds as the only unmarried “female” to a considerable inheritance, and as a consequence all around her, grandmothers and sisters included, are interested in her death. They have been drugging her, and she has been brought into headquarters under Police guard. I found her in a wretched house set down in a swamp, and furnished with a hard plank-bed and a box. “Lotus-born,” that is her name, is a miserable shrimp of a Baby, arms like sticks, and a plaintive long-suffering little face, like a cry for help sounding in my ears to this day. She was very ill indeed, burning with malarial fever, and aching, she said, in every limb. She lay on the hard “takht-posh,“ and beside her sat her nurse, another baby, eight years old. She sat like a frog, legs crunched up, and her nursing consisted in giving the sufferer a loving pinch every now and then, murmuring, “There! that makes it better.” And the six-year-old, in a monotonous little voice which struggled after cheeriness, would answer, “Yes! Oh! yes.” 

Despite the author’s efforts to provide medical care, the child dies in a swampy, neglected house. Sorabji also recounts a tragic case of a mother who murdered her own child to save her from the “Jagannath Car of Hindu widowhood,” believing death was a mercy compared to a life of social ostracization. Finally, she introduces the “Dog-girl,” a young woman who rejected caste restrictions to care for mangy pariah dogs, arguing that the “spark of life” in an outcast animal is the same as that in a high-caste human. 

 Later I saw more of the child, and watched her grow human and childlike. The “dog-girl,” I called her, because she had a passion for dogs, would rescue the most mangy pariahs off the streets and care for them herself, fearless of consequences. I promised that my own dear “Chow” should visit her, but as he was, I explained, a high-caste dog, it could only be when the outcasts were out of the way! It was so I got rid of the yapping pack in the days of heat; but watching from her window, one later day of hail and thunder-showers, she saw some ill-treatment in the street, and re-admitted the “outsiders from Caste.” It was on this occasion she rebuked me. “Is the spark of life in Caste-Brother and outcast, in Chow=dog and Pariah? Then why should I not care for these?”
“But you are a Hindu, Caste is your religion?”
“That is man’s invention; where man has not invented, let me hear the voice of God calling me to have compassion on a fellow life.”
And now she has heard the voice of God calling her out of this life of fellowship, perhaps, who knows, in supreme compassion of her own little stunted, shadowed life of high-castehood.


Her death suggests a final release from the "stunted, shadowed life" of rigid high-caste expectations.

The Tie that Binds

“The Tie that Binds” is a philosophical reflection on the nature of Hindu faith compared to Western Christianity. Sorabji observes that while the Christian bell calls people to communal prayer, the Hindu worships individually and silently, seeing sin not as an offense against a deity but as being out of harmony with one’s own highest attainment. Life is viewed as more inexorable than death, as one must continuously reap the seeds sown in previous cycles. Death is merely a “next chance” or a "new start" on the long, lonely journey toward absorption into the Divine.
Sorabji identifies caste as the essence of Hinduism, serving primarily as a marriage register and a code of ceremonial rules rather than a moral compass. 

There is in her the strangest mixture of ritual and freedom from ritual. That is because she is a woman. Hinduism, as we find it in India now, is but a tradition, of which the women keep the record. You may believe what you will, there are no articles of belief, there are idols for the ignorant, there is poetry, allegory, which you may interpret as you will; there are the beautiful songs of the Bhagavad Gita, there is the propitiation of evil spirits, there are the extortions of the ash-smeared; there is the ecstasy of the wife-worship of Life, of her husband, her child. There is the crown of self-sacrifice, and there is the demand of the stronger for the service of the weaker. All stand for Hinduism; but none connote Hinduism. Of its essence is caste . . . and here we are back again at our marriage register. The one fear of the Hindu is, lest so-and-so will not marry into his family. If he does that which would prevent marriage he has ceased to be a Hindu. 

Excommunication occurs for breaking ceremonial laws, not for moral lapses; a man may be accepted after serving a prison sentence, yet outcasted for eating forbidden food. Altruism in this context is often a "soul-saving arrangement" where one performs good works primarily to buy merit for their next life. She illustrates a higher form of faith through a story of a woman who missed her pilgrimage to Mecca to tend to a sick dog, discovering that God dwells where one tends a fellow life. The chapter concludes with the image of a leper in the Temple of the Foot, whose face is "a-quiver with peace" during worship despite her physical suffering, finding a sense of reality in a world she views as a "world of illusions".


 

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