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Don't you want somebody to love? Don't you need somebody to love? Wouldn't you love somebody to love?

You better find somebody to love. - 'Somebody To Love', Jefferson Airplane Morality and ethics have for long fascinated writers who have used the tools of fabulism at their disposal to question the mores of society in their time. Were the guidelines of propriety invented by man or laid down by higher powers to segregate and set men against each other if conformity was challenged?

Leo Tolstoy, Gustave Flaubert and countless others have explored the theme of illicit love in their works but what characterizes Tagore's 'Chokher Bali' is it's humane attempt to capture the ambiguity of virtue in a patriarchal society reeling under major social and political upheaval in its search for identity prior to Independence. Set in late 19th Century Bengal, 'Choker Bali' revolves around the life of a wealthy family whose inner family dynamic which rested on the gentle stasis between the progressive Mahendra and his widowed mother, collapses under the duress of altered circumstances.

Rajalakshmi, the mother, is kept company in her old age by her sister-in-law who is also a widow, and Behari, a very close friend of Mahendra is also a part of the family circle. The story begins with an episode where both Mahendra and Behari turn down a marriage proposal from a certain Binodini without as much as a glance at her photograph, unknowing then, of how her life would get entangled with their own in the near future. Rajalakshmi frets, but is soon mollified when her subsequent efforts bear fruition and a marriage is arranged between the teenaged Asha and Mahendra. In the early days of connubial bliss, the young couple stay cooped up in bed and this consummation of early love causes Mahendra to miss classes at the University where he is training to become a doctor. On this pretext, the first cracks form in his relationship with his mother who suddenly feels jilted and displaced from her earlier position of undivided adulation in her son's affections. As in D.H Lawrence's 'Sons and Lovers', the metaphorical umbilical cord that had thus conjoined mother and son is severed after the entry of Asha, and so the mother decides to take a journey to her village for a change of scenery.