Forster’s story is not limited to the physical experiences of Forster’s characters. The book is not so much a story about Indians under British rule as it is an attempt to map the religious and interpersonal journeys people take. British colonial control over India is the real reason the British interact with Indians. However, their interactions together create personal change. The novel structure is designed to focus on certain characters, namely those who have their religious and godly beliefs most heavily manipulated. The relevant passages to explain these changes do not always appear in the most significant events, like Aziz’s court case. Changes in character relationships, land use, and God are all affected by the changes. The three-part structure chronicles a process of transformation when everything is challenged, especially religious beliefs.
Forster calls his readers’ attention to “hour-glass” novels (134) in Aspects of the Novel. We pay special attention to A Passage to India, which is a book of this type. Part II disturbs the characters and releases them into Part III – the bottom of the hourglass. The climax and spiritual confusion are both found in “Caves.” Marabar Caves represent this confusion. “Nothing, Nothing Attaches To Them, And Their Reputation-for They Have One-Does Not Depend On Human Speech” (137). Hinduism is often cited as having a strong influence on this confusion, but it’s not the only factor. The story is always framed by the nothingness.
Without first understanding the author’s own religious views and motives, it is difficult to evaluate how he handles religion. Frederick C. Crews says that Forster does not claim to have a particular religious belief, but he is trying to be open minded. Forster has no preference for Hinduism. He does not favor Hinduism as a religion, but rather the part of it that appeals to him because of his disbelief, his perception of man’s ignorance about divine truths, and his rejection of an idea of a human-centered universe (176). The Hindu celebration is a major undercurrent in the novel’s final stages. The celebration of the Hindu festival in Part III helps readers to understand how to bridge a gap between Indians & British. Aziz, an atheist, and Fielding, a Muslim embrace the idea of peace and harmony between all people. Fielding is the most outgoing of them both. The title of Part III, “Temple,” signals a departure from the God-to man relationships that are prevalent in Christianity and Islam. Instead, it promotes the universal harmony promoted by Hinduism. Forster celebrates Hinduism through the celebrations of its believers, showing them in jubilation and making it into a happy religion in which so many people find hope.
Forster often makes reference to his flawed solution to social injustices. The Indians, however, chose to use the English words on the banners in order for them to demonstrate the universality and peace of God. The beautiful courtyard where part of the ceremony is held can be “barely seen” behind the iridescent ball chandeliers, murky photos, and coloured rags (318). The images that stand out are the ones where gods are either blatantly obvious or masked. When the wind blows, the banana’s tattered foliage completely covers one of them (319). It is the wind in this case that prevents the viewer from seeing God. The same thing happened to Mrs. Moore. She was able to experience nature and harmony in the caves but couldn’t find God.
Forster is aware that harmony can be a difficult concept. He highlights this by having Mrs. Moore interpret Godbole’s music in a way that leads her to despair. Forster’s portrayal of Mrs. Moore shows how universal harmony may be difficult for some people, particularly those who are accustomed to simpler conceptions of God. The British assign names and order to everything, not just to understand it but to keep control. In essence, they control what they are able to define. India is a chaotic place and it is impossible to define the relationships of people with the world. Forster, unlike Fielding, will be able to find Westerners with the right apparatus for judging India and its inhabitants.
Adela is also a labeler who has difficulty, as you can see from the example of the green bird. Ironically, Adela was terrified of being called an Anglo Indian wife due to the associations that would be made. Adela experienced the fear of being labeled as an Anglo-Indian wife, because it would limit her speech and actions. Adela was in India during Part I both to find her mate and the “real India”, however she found more when she went into the caves. In the caves, she felt most uncertain about marriage. She knew the feelings she had were not able to be described. She didn’t marry Ronny until the physical instinct she felt with him kicked in. She thinks she has full control over her emotions and her thoughts at this stage because she already knows her instincts.
Adela Moore visits the Marabar Caves immediately after hearing Godbole’s Song. They both look at the landscape while on their way to Marabar. Both are aware of the void. Adela is unable to find answers about anything in the caves. This includes a stick that she mistakenly believes is a snake, and the identity of the ravager. She knows who the attacker is, but the mystery of caves makes her unresponsive and unable process what’s happening. Mrs. Moore is left with nothing but the monotonous “boum” sound, which every word or prayer becomes. They are deeply troubled by their emptyness, which permeates all of the women’s thoughts. Adela is concerned about marriage while Mrs. Moore is worried about religion.
By the third part, Adela and Mrs. Moore are barely present in the story. The lesson they leave is what helps the readers get through Part 3. Adela and Moore struggle to grasp India’s true nature, and they get lost when they realize there are no recognizable things in India. The West has a concrete, absolute understanding of India. But the West cannot do the same. They have found out-or unearthed little-and Mrs. Moore feels hopeless and Adela is overwhelmed by the situation.
The implications of the events are what give them strength. As an example, although the incident that occurred in the caves didn’t really occur as it was described, it is still significant due to the tensions created between Indians and English. Forster wants to draw the reader’s attention to the thoughts of his characters. A Passage to India’s third section shows that Forster wants the focus of the novel to be on the events happening in the minds of his characters.
Mason, “When addressing Part I of the novel, it is…the title ‘Mosque’ that should guide our thinking about its place in the composition” (Mason 25). Mason says, “It’s…the title of ‘Mosque.’ That should guide us in determining the position of Part I within the novel.” (Mason 25,). The only time Mrs. Moore is able to have a positive interaction with an Indian, in Part I’s discord, occurs on holy, common ground. Christians believe that salvation and heavenly bliss are the only things they can hope for. Moore can’t overcome her religious feelings despite the factors. She understands that harmony is the only way to save the world, but becomes depressed when the caves “rob” infinity and eternity their vastness (165). All the promises of her religion about an afterlife are swallowed, echoed in “boum”, and her actions become meaningless. Her actions and words are echoed in the same monotonous way.
The most interesting incident in the book is the meeting at the mosque. This meeting is crucial because it shows how much Dr. Aziz’s and Mrs. Moore’s lives have changed. It is a unique experience to see a friendship between an Indian and Englishwoman. This was especially important because English women tend to be more racist. If you examine the conflict more closely, it has a haunting effect because Aziz is the one who takes Mrs. Moore into the caves of Part II. It is here that she hears an ominous echo.
It is important to remember that the meeting in the mosque was not an isolated incident. The last section, in which Aziz speaks with Ralph Moore (the son of Mrs. Moore), is inextricably connected to this meeting. Forster’s use of the word “Oriental” by Aziz to describe Ralph Moore, the son of Mrs. Moore, shows that the two are linked.
Aziz is a native Indian and cannot guide Ralph on the caves trip or boating trip. Aziz has to give control of the boating trip and the caves expedition to the young Indian, as he can unravel India’s mystery more effectively than Aziz. Forster’s optimism does not rest solely with Aziz, Fielding or even Ralph and Stella Moore. Ralph and Stella appear to be the most susceptible of all characters to universal harmony. Forster believes that universal harmony is the ideal.
Hinduism is based on three basic principles: death, birth and rebirth. Forster introduces his characters in Part I with all their existing beliefs, including those of Mrs. Moore and Adela. Part II’s caves kill these perceptions. Especially those of Adela and Mrs. Moore. Part III is a rebirth. However, this rebirth has a strange twist. It is the new souls that Mrs. Moore’s kids bring to life. As with the other characters, we meet them in Part I. We learn about their current beliefs and perspectives. New characters bring hope.
Forster closes his novel with an underlying Hindu idea, despite the scathing portrayals of the British in “Mosque”, “Caves” and “Most notably “Caves”) as well as the Indians. Part III (as in Hindu worship) is the section where the chaos of the previous two sections is at least partially relieved. Forster uses Hindu festivities to ensure that harmony-oneness-with-the-universe-is not lost as the novel ends. Hinduism instills in Aziz’s and Fieldings minds the notion of harmony and unity that Hinduism represents. They continue on past the “No, not now” (362) and look forward to the future of friendship.
Forster is concerned that the British should treat Indians respectfully. This is illustrated in A Passage from India, which has a three-part arrangement. Part I features characters who have fairly firm ideas about spirituality and life. Part II shows the confusion and muddled mysteries that are common in this part. Part III brings out the best in characters. They shine brightly under the Hindu celebration. India’s muddle and British interference is being clarified, even if the mystery continues. The social order that allows one to degrade the other by labeling them inferior has been a barrier between man and his fellowmen. From the beginning to the end, labels hampered relations. Even the last paragraph shows the division. Forster hopes that, if it takes “fifty five hundred years” (361) the souls will harmonize and disintegrate social order.
