“Muddles” and Mysteries Theme Analysis

“I do so hate mysteries,” Adela announced.
“We English do.”
“I dislike them not because I’m English, but from my own personal point of view,” she corrected.
“I like mysteries but I rather dislike muddles,” said Mrs. Moore.
“A mystery is a muddle.”
“Oh, do you think so, Mr. Fielding?”
“A mystery is only a high-sounding term for a muddle. No advantage in stirring it up, in either case. Aziz and I know well that India’s a muddle.”

How can the mind take hold of such a country? Generations of invaders have tried, but they remain in exile. The important towns they build are only retreats, their quarrels a malaise of men who cannot find their way home. India knows of their trouble. She knows of the whole world’s trouble, to its uttermost depth. She calls “Come” through her hundred mouths, through objects ridiculous and august. But come to what? She has never defined. She is not a promise, only an appeal.

The echo in a Marabar cave is not like these, it is entirely devoid of distinction. Whatever is said, the same monotonous noise replies, and quivers up and down the walls until it is absorbed into the roof. “Boum” is the sound as far as the human alphabet can express it, or “bou-oum,” or “ou-boum” – utterly dull. Hope, politeness, the blowing of a nose, the squeal of a boot, all produce “boum.”

“Why can’t this be done and that be done in my way and they be done and I at peace? Why has anything to be done, I cannot see. Why all this marriage, marriage?... The human race would have become a single person centuries ago if marriage was any use. And all this rubbish about love, love in a church, love in a cave, as if there is the least difference, and I held up from my business over such trifles!”

“This is no way to defend your case,” counselled the Magistrate.
“I am not defending a case, nor are you trying one. We are both of us slaves.”
“Mr. Mahmoud Ali, I have already warned you, and unless you sit down I shall exercise my authority.”
“Do so; this trial is a farce, I am going.” And he handed his papers to Amritrao and left, calling from the door histrionically yet with intense passion: “Aziz, Aziz – farewell for ever.” The tumult increased, the invocation of Mrs. Moore continued, and people who did not know what the syllables meant repeated them like a charm. They became Indianized into Esmiss Esmoor, they were taken up in the street outside.

Perhaps life is a mystery, not a muddle; they could not tell. Perhaps the hundred Indias which fuss and squabble so tiresomely are one, and the universe they mirror is one.

He had forgotten the beauty of form among idol temples and lumpy hills; indeed, without form, how can there be beauty? Form stammered here and there in a mosque, became rigid through nervousness even; but oh these Italian churches! …something more precious than mosaics and marbles was offered to him now: the harmony between the works of man and the earth that upholds them, the civilization that has escaped muddle, the spirit in a reasonable form, with flesh and blood subsisting.

Thus Godbole, though she was not important to him, remembered an old woman he had met in Chandrapore days. Chance brought her into his mind while it was in this heated state, he did not select her, she happened to occur among the throng of soliciting images, a tiny splinter, and he impelled her by his spiritual force to that place where completeness can be found. Completeness, not reconstruction. His sense grew thinner, he remembered a wasp seen he forgot where, perhaps on a stone. He loved the wasp equally, he impelled it likewise, he was imitating God. And the stone where the wasp clung – could he… no, he could not, he had been wrong to attempt the stone…

“Can you always tell whether a stranger is your friend?”
“Yes.”
“Then you are an Oriental.” He unclasped as he spoke, with a little shudder. Those words – he had said them to Mrs. Moore in the mosque in the beginning of the cycle, from which, after so much suffering, he had got free. Never to be friends with the English! Mosque, caves, mosque, caves.