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has been felt in recent years (1970). Under the influence of these forces, Indian women writers
have made successful attempts to defy the literary and social conventions of the time period in
question. It allows them to delve deeply into the psyches of their characters while also
introducing a new concept of morality. While some writers, such as Kamala Markandaya, Anita
Desai, Shashi Deshpande, Shobha de, Bharati Mukherjee, and others have claimed that their
works are free of any feminist bias, a close examination of their work reveals that they do indeed
have a strong feminist intent, as women's issues are the primary concern of their plots. Women
writers in India can no longer be claimed as the exclusive asset of India alone; rather, their talent
and art are the property of the entire universe. It all started with writers like Sarojini Naidu,
defined as the nightingale of India, who expressed her honest and heartfelt concerns about the
state of India's affairs in her writings. Authors such as NayantaraSahgal, Rama Maheta, Kamla
Das, Anita Nair, Susan Viswanathan, Dina Maheta, and Kamala Markandaya have used the
themes of feminism effectively on a national and regional level. Aniita Desai, BharatiMukharji,
Indira Goswami, Ruth PawarJhabvala, Manju Kapoor, Shobha De, Arundhati Roy, Kiran Desai,
JhumpaLahiri, and many more are among the actors and actresses who have appeared in the film
(Purushottam, 2021).

2.2 THE FEMALE IDENITY OR CONSCIOUSNESS

It was Richardson's admirers who linked her to Proust and Joyce, but her real tradition and
subject matter was female consciousness (Gubar, 2000). This struggle for control over a female
identity that held the potential for self-destruction led her to develop novel narrative techniques
and aesthetic theories. There are many parallels between Richardson's professional life and Mary
Wollstonecraft or George Eliot's: she began her career in the classroom, then went on to work as
an editor for a literary journal; she had relations with selfish men, and she was exposed to both
the solid core and the outskirts of London intellectual and intelectual society. First volume of a
12-volume, 30-year study of "Miriam Henderson," a female lead whose life mirrored her own
up to the point of authorship, was written when she was nearly forty years old. A portrait of a
young woman on her way towards becoming an artist, Pilgrimage resembles Proust as well as
Joyce in its convolution—the story ends when the leading lady decides to write it—and
Richardson (Orlova&Rudometova, 2017).

Shobha De is credited with the reformation and rise of women's fiction because she had the
courage to express herself through her writing. Two famous Bollywood off-screen couples are
said to have inspired her second novel, Starry Nights, which will be published in April 2019.
The book delves into the inner workings of the Indian entertainment industry. Once again, it was
an immediate success, establishing Shobha as a renowned writer in the process. She also has a
book out called Spouse – The Truth About Marriage, which is a study of the institution of
marriage in contemporary urban [Link]'s novel That Long Silence (1988) is
widely regarded as her formal debut as a major novelist in her own right. This novel, which won
her the Sahitya Academy Award for best novel in 1990, tells the story of an Indian housewife
named Jaya, who is an upper-middle-class housewife who has maintained her silence throughout
her life in Bombay in the face of adversity that threatens to break it. In this novel, the lack of
depth in a woman's life is clearly depicted. She, on the other hand, demonstrates how mundane,
meaningless, and mechanical a woman's life truly is, demonstrating that many of the traditional
family rules, such as the idea of attempting to secure one's life by marrying a wealthy man and
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establishing one's name in society by sending children to good schools, are partly self-imposed
by women themselves. Attempts are made in another novel, A Matter of Time (1996), to depict
three generations of female human relationships in one novel. As we read her most recent novel,
Small Remedies (2000), we come to realize that she has an excessively possessive attitude. An
exploration of the many facets of motherhood is the subject matter of this novel. Finally, Her,
The Binding Vine, compels the reader to investigate how the "binding vine" of human emotions
connects and sustains a diverse range of human beings as they navigate the journey of life. Away
from this line of writing about the lives of women, the most successful of the Indian women
writers is JhumpaLahiri, who stands out from the rest of the country's female writers by creating
a distinction between them. She has a captivating storytelling ability and a distinct voice. She
differs from other Indian writers who write in English, as she is a woman. JhumpaLahiri, an
author of Indian Diasporas, vividly depicts in her fiction the plight of Indian immigrants,
particularly women, in foreign countries where their status is pitiable. Lahiri is a writer of Indian
Diasporas. Her female characters suffer the most as a result of their loss of identity in a land that
has been taken over by their husbands as their own. Her women struggle to assimilate in foreign
countries where they have arrived as immigrants. Therefore, they recall their ancestors and hold
on to their traditional clothing and mannerisms. Women who stay at home and take care of their
families make up the majority of the female characters in the novel. Despite the fact that they
have relocated to other countries, their responsibilities remain the same: to give birth, sweep the
floor, cook, and serve her husband and children. Because of their silent suffering, they continue
to be subjugated, dependent, and neglected women. The author believes that "for immigrants,
the difficulties of exile, the solitude, the constant sense of alienation, and the knowledge of
longing for a lost world are more explicit and distressing than for their children."

[Link]/ RESULTS

3.1 THE DIMINISHING ASPECTS OF MASCULINITY IN ENGLISH LITERATURE

Anti-male themes were also prevalent in early twentieth century novels that threatened the
"male" technology, law, and government as well as denigrated masculine morality. In the 1909
communications between Virginia Woolf and Clive Bell, we can understand the muted clash of
swords (Schulz &Bahník, 2019). As he began to slam the "absurd and bad art" of drawing such
stark contrasts between the "subtle, sensitive, delicate, tactful, magnanimous, delicately
perceptive, and perspicacious women" and the "obtuse," "vulgar," "blind," "florid," "rude,"
"tactless," "emphatic," "indelicate," "vain," tyrannical, stupid men," Bell became less diplomatic.
Depersonalizing the disagreement and putting Bell in his place, Woolf said, "Perhaps, for
psychological and philosophical reasons that seem to me very interesting," a man may not be a
very great judge of his very sex; and a 'formation' may appear to him "didactic” (Fan, 2017).
Self-recognition and self-betrayal occur at the same time in Katherine Mansfield's short stories.
When a woman exceeds the threshold into such a new and greater understanding of the
womanhood in her fiction, she's typically humiliated or completely destroyed. Women are
enticed onto the extremities of consciousness by Mansfield, who then lops them off. Her fiction
is both cautionary and punishing. This is the case with Bertha in "Bliss," where she realizes that
the very "fire in her bosom" is actually sexual arousal. Her husband's infidelity is then discovered
(Angel, 2010). After reading "Bliss" in English Review in 1918, Virginia Woolf found it to be a
disgusting piece of writing. Woolf wrote in her journal: "Rather than a glimpse into the mind of
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