Symbolism refers to impel objects with a certain meaning that is different from their original meaning or function. Like that, the title of these two texts also represent symbolism, to portray the very real scenario after the partition of India and Pakistan in 1947 due to the two nation theory. By the title The Shadow Lines, Amitabh Ghosh did not mean the actual lines which are being created through shadows on wall, he used the word shadow lines, to represent the difference we are creating among ourselves due to religion, community, and nation. Like that, By the title of The story of a Tulsi Plant, Sayed Waliullah did not mean the actual story of the growth a tulsi plant, it was used to mean the story of the refugees who had to leave their mother land due to religion, like the owner of the house perhaps he was Hindu, who had to leave Bangladesh, also the tulsi plant, which was being treated as Goddess, The condition of the refugees was destitute, like the tulsi plant. The writer symbolized the condition of refugees through the condition of the tulsi plant.
The Indian-Bengali author Amitav Ghosh?s novel The Shadow Lines (1988), the theme of borders and maps which also separate people reflects a great significance in the postcolonial contexts of Ghosh believe that the divisions made by geopolitical boundaries have caused for the suffering of their people. The readers are provided with an awareness into the history of colonization legacies. Moreover, the death of the main character on the border symbolizes the suffering that many people have to face as they shift between the borders of their homeland. With this in mind, this also draws attention to the power of such boundaries and political maps and to the suffering of the people due to these divisions and borders. The novel also highlights the usage of the “house” as an allegory of partition. The novel also reports to brutality that followed the riots of Calcutta and Dhaka in 1964. The title, “The shadow lines” includes many significance; it does not only indicate to borders between countries. Ghosh selects his title to propound that the borders which separate people are mere “shadow”, and nothing but the artificial lines created by politicians. He demonstrates this point through Thamma, the narrator?s grandmother. When she is supposed travel to Calcutta with her family in the plane, she naively asks “whether she would be able to see the border between India and East Pakistan from the plane” (p. 167). Ghosh?s entrance toward borders and geographical separation is that they are irrational and fake divisions between people and nations. This point is clearly symbolized by Thamma?a?s uncle, Jethamoshai when Thamma impels him to return to Calcutta to attend his elongate family, he told her: “I don?t believe in this India-Shindia . . . Suppose when you get there they decide to draw another line somewhere? What will you do then? No one will have you anywhere. As for me, I was born here, and I?ll die here” (p. 237). The emptiness of the border lines is evident in Jethamoshai?s speech as he accepts in the rootedness of identities and nations.The narrator disputes that if the politicians sketch the border lines on the political maps, this does not mean that they actually divide the nation into two nations. He projects the image (also a symbolism) of “looking-glass” to recommend that Dhaka and Calcutta are associated to each other as images in a mirror; one reflects the other. One might think that these border lines would seperate people, but ironically, they take them closer together because their memories remain undivided.
As a part of his investigation of these “shadow lines”, Ghosh metaphorically tells the story of the partition of Thamma’s house in Dhaka. Ghosh contributes of this use allegory of the house partition to illustrate the political partition of the nation. It also represents the isolating power of borders and the stories people tell about them.
“Ekti Tulsi Gacher Kahini” (“The Tale of a Tulsi Plant”, 1965) is the story is located in East Pakistan and includes a group of refugees from India who break into and occupy an abandoned home. One day the refugees notices a dying tulsi plant indicating that the previous owner of the house was hindu, “It has to be torn out. While we are in this house, no Hindu symbols can be tolerated” one of the refugee speaks out. Another refugee, who has been attacked by a cold, traces out its healing power in treating coughs and colds, and the plant is spared. They think of the woman who must have served the plant every evening. One of the refugee who was a railway employee, imagines the women sitting at a train window, remembering the house and the tulsi plant she had left behind. Someone softly tends the plant and it begins to bloom again. Though the man who had first noticed it tries to chop it down with a bamboo rod, he only brooms the top of the plant, and the tulsi is uninjured. The readers never understood who tended the plant. The story ends with the government removing the refugee form the house and the officials never took care of the plant. The tulsi plant becomes a symbol of a common fate faced by both the refugees who reside the house and the owners who left it behind.
Both the tenants and the owners of the house endured loss and ambiguities in an unknown place due to the partition. Like the tulsi plant, Waliullah advice opines, “as far as the partition is concerned people are only victims of the political decisions that indifferent to the human consequences. Despite religious and political differences as well as different reasons to tend the tulsi plant, it also becomes a symbol of common humanity underneath the differences.” The Tale of a Tulsi Plant becomes a story of human feelings and small kindnesses.
Waliullah’s stories do not import the requirement of partition nor the euphoria of achieving a new homeland for Muslim.

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