s in the fact that love becomes a crime, while cruelty becomes honour.
Irony of Politics and Power: The novel satirises Indian politics, especially the Communist movement in Kerala. Leaders like Comrade Pillai speak about equality but act selfishly. The narrator says,
“It was a time when the unthinkable became thinkable.”
This ironic tone shows how political ideals are turned into personal gain. Pillai talks about freedom but betrays Velutha to save himself. Roy uses irony to show how politics forgets human love and justice.
Satire on Religion and Morality: Religion in the novel is full of hypocrisy. Baby Kochamma joins a convent for love, not for faith. Later she becomes cruel and jealous. The narrator says,
“When you hurt people, they begin to love you less.”
This irony shows how religious people fail to love. Roy satirises those who use religion to control others. Their moral pride hides their sins. Through Baby Kochamma, Roy mocks false holiness and the emptiness of blind faith.
Irony of Modern Culture: Roy also satirises modern Indian culture and globalization. Baby Kochamma spends her old age watching foreign TV shows. The narrator says she
“presided over the world in her drawing room on satellite TV.”
This scene is full of irony. While she watches Western wars and soaps, her own house falls apart. Roy mocks how people forget their real problems and worship foreign lifestyles. The satire exposes the empty influence of Western culture on Indian minds.
Irony of Human Life and Love: The greatest irony in the novel is the contrast between love and suffering. Ammu and Velutha’s pure love ends in death. The narrator says,
“Things can change in a day.”
The world that forbids love allows cruelty. Estha and Rahel, the innocent twins, lose their childhood to social hatred. Roy uses irony to show how small, honest emotions are destroyed by big, cruel systems. This irony gives the novel its deep tragic power.
In termination, we can say that through satire and irony, Arundhati Roy exposes the cruelty and corruption of Indian society. She laughs softly at its false pride but weeps for its victims. Her irony makes readers see truth hidden behind politeness and tradition. “The God of Small Things” becomes not only a story of love and loss but also a sharp mirror of a divided and unjust world.
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