Dr. Ruwan M. Jayatunge, M.D. PhD
Martin Wickramasinghe, a prominent figure in Sri Lankan literature, marked a significant milestone in Sinhala literature with his 1956 psychological novel, Viragaya. The title, meaning "Devoid of Passions" or "Dispassion," explores existential themes through its protagonist, Aravinda. In this narrative, Wickramasinghe examines Aravinda's inner thoughts, his social interactions, and his responses to mundane life. The author intricately investigates Aravinda's character, offering a profound exploration of his psyche. Viragaya has become a turning point in Sinhala literature.
Viragaya can be viewed as an archetypal psychological novel in Sinhala literature. focuses on external plots, societal shifts, and chronological life struggles. In Virāgaya, the plot is driven by the protagonist's conscious and unconscious psychological conflicts. The story is framed through a distinct psychological literary device. The narrative moves fluidly based on emotional memory rather than strict chronological time, taking the reader through his inner thoughts.
In Viragaya Martin Wickramasinghe structures Aravinda Jayasena’s childhood as the critical period where his complex psychological vulnerabilities, emotional detachment, and adult dysfunctions are deeply rooted. Aravinda’s early years are marked by repressed tension, emotional distance, and intense familial pressure. Aravinda suffers from an insecure attachment style stemming directly from a cold relationship with his mother. His childhood home lacks maternal warmth, leading him to suppress his emotional expression.
Aravinda struggles between deep-seated biological urges, unresolved structural mental conflicts from childhood, and intense social conformity to traditional Sinhala Buddhist village values. The author skillfully articulates Aravinda's emotional struggles and psychological conflicts in a compelling literary style.
Wicramasinghe's skill in character analysis is prominently displayed throughout his novels. A prime example is Piyal from Gamperaliya, a dynamic character who experiences significant personal growth amid adversity, though his fragile ego, shaped by caste-related oppression, often reveals his insecurities. In contrast, Saviman Kabalana from Yuganthaya represents an egocentric businessman whose self-interest aligns with Friedrich Nietzsche’s concept of the Übermensch. Kabalana is a progressive businessman who consciously rejects the herd mentality prevalent in traditional Sinhala society, having transcended nihilism to establish and adhere to his own values. He is depicted as a physically imposing, assertive alpha male.
Conversely, in Viragaya, Wicramasinghe presents Aravinda, a character marked by sensitivity and a disinterest in hedonistic pursuits, standing in stark opposition to Saviman Kabalana. Aravinda can be described as the antithesis of Saviman Kabalana."
There are notable parallels between Tissa Kaisaruwatte from the novel "Gamperaliya" and Aravinda, with the latter serving as a psychological extension of the former. Both characters share similarities with Ilya Ilich Oblomov from Ivan Goncharov's 1859 work, who also grapples with issues of ambition and decision-making. Aravinda, Tissa Kaisaruwatte and Oblomov exhibit a profound sense of inertia, encapsulated in the concept of Oblomovism, which describes a tendency toward apathy and a lack of motivation.
Oblomov's struggle to devise a plan reflects his profound disillusionment with life, stemming from his early experiences in a mundane office job that he found trivial and unfulfilling. This dissatisfaction led him to retreat into a life of lethargy, where he ultimately chose to remain in bed rather than confront the challenges of adulthood. Although he briefly emerges to engage with society, fall in love, and contemplate marriage, the overwhelming burden of managing his affairs drives him back into his previous state of inertia, epitomizing what is often referred to as Oblomov's syndrome—a manifestation of a melancholic man's aversion to action.
Similarly, Wickramasinghe positions Aravinda as an introverted counterpart whose identity is defined by profound introspection and chronic hesitation. Rather than reacting to external stimuli, Aravinda focuses entirely inward, creating a complex psychological interplay across his emotional, interpersonal, and motivational dimensions.
Raised within the confines of Sinhala Buddhist village traditions, he grapples with the tension between his biological instincts and societal expectations, leading to a profound internal conflict. His experiences in a collectivist culture foster a tendency toward conformity, while his lack of confidence and insecurity in relationships further complicate his social interactions. This highlights the essential human need for connection, as articulated by John Donne, emphasizing that while biology and societal norms shape individuals, cultural influences also play a significant role in their development. Aravinda values human connections; however, he simultaneously distances himself from others and emotional ties, opting for a path of alienation.
Margaret Mead, the American cultural anthropologist, posited that individuals are significantly shaped by their cultural environments, which influence them in distinctive ways. Some scholars suggest that culture intertwines with human biology, operating through biological mechanisms such as the brain and hormones, creating complex interactions with genetic factors (Richerson & Robert, 2001). In the case of Aravinda, the Sinhala Buddhist village culture profoundly influenced his thoughts, ethics, and actions, instilling values of nonviolence, restraint, and strong moral principles.
The Buddhist approach to living emphasizes minimalism- "fewness of desires". Aravinda is connected to this philosophy by consciously restricting his material belongings, social status, and sensory indulgences, thereby distancing himself from consumerist tendencies. However, it remains ambiguous whether his adoption of this lifestyle stems from his cultural and religious background or if it is a reflection of his weak personality that could not withstand competition. Additionally, it is unclear whether Aravinda finds fulfillment in this chosen way of life.
Aravinda was a product of his own culture. He uses detachment not as a path to true spiritual liberation, but as a psychological shield to avoid the messy risks of living. Growing up in a traditional collectivist culture, Aravinda exhibits a high degree of conformity and fear of social disgrace. His submission to cultural and collectivistic norms dictates his destiny.
Martin Wicramasinghe recognized the critical role of culture in shaping individual behavior, emphasizing the socio-cultural factors that influenced Aravinda's conduct. Culture serves as a fundamental expression of humanity, encompassing creativity, meaning, knowledge, and values, and is central to the social fabric of various communities. Aravinda was shaped by culture, but he was trapped by its taboos.
As noted by Hogan (1996), the evolution of social roles and environments throughout life significantly impacts personality traits. Thus, while Aravinda's character was molded by the cultural and moral traditions of his Sinhala Buddhist upbringing, his childhood experiences and life events further contributed to his moral development.
The complexities of Aravinda's early life are underscored by his close attachment to his father, who played a crucial role in his development during the phallic stage, as posited by Freud. It can be inferred that during his pre-Oedipal years, his father was a primary figure, profoundly shaping his future. Early experiences are pivotal in influencing later development, as they contribute to individual differences in cognition, behavior, social skills, emotional responses, and personality. Theories suggest that attachment plays a critical role in how children confront threats and challenges, relying on parental support for coping. Aravinda’s phallic stage and his intense pre-Oedipal attachment to his father form the critical developmental foundation of his entire personality.
His father was his hero and was the guiding star; when his father died, his external and internal world fell apart. Aravinda shares a cold, emotionally distant, and rejecting relationship with his mother. This maternal detachment disrupts his early "internal working models" of relationships, causing him to experience an early emotional vacuum.
The bond between Aravinda and his elder sister was defined by a profound emotional chasm, aggravated by her domineering temperament and frequent verbal hostility. Menaka represents a stark psychological antithesis to Aravinda; her presence intensifies domestic friction and exposes a complete lack of mutual empathy. Fiercely aligned with the cutthroat, urban materialism of her era, she channels her energy into chasing social mobility, prestige, and wealth. Consequently, she views Aravinda’s passive non-conformity as a source of familial disgrace, casting him as the ultimate outcast.
In Viragaya, Aravinda’s early childhood fails to establish healthy affectional bonds, which severely impacts his adult psyche, fracturing his capacity for intimacy and driving him toward moral masochism. The concept of "affectional" bonds, as described in 1989, aligns with Bowlby's assertion that such bonds represent a specific type of attachment behavior characterized by persistence and emotional significance. In Aravinda's case, however, his affectional bonds appear to be shallow, lacking the depth and stability typically associated with strong emotional connections.
Aravinda's relationship with his mother is characterized by emotional distance, which likely stems from an insecure attachment formed during his childhood. This type of attachment can lead to negative internal working models, resulting in difficulties in establishing secure relationships.
Aravinda’s middle-class roots in rural southern Sri Lanka are fundamental to understanding his psychological conflict and behavior in Viragaya. Aravinda was the son of an Ayurvedic physician. His family fiercely pushes him to become a Western medical doctor—the ultimate status symbol for a middle-class family during that era. When his psychological aversions (hematophobia and necrophobia) cause him to abandon medicine, it isn't just a personal choice; it is seen as a massive failure that compromises his family's socioeconomic prestige.
In Martin Wickramasinghe's Viragaya, morality for Aravinda is complex and multifaceted, serving as a conflict zone among theoretical Buddhist principles, societal constraints, and his personal psychological struggles. He resonates profoundly with the fundamental philosophies of Buddhism, perceiving the concept of property ownership as an illusion. For Aravinda, leading a moral life entails rejecting the exploitation of others, abstaining from the competitive nature of capitalism, and embracing a life of complete simplicity.
Aravinda’s morality in Viragaya is complex, unconventional, and frequently misunderstood. He does not subscribe to the rigid, hypocritical moral codes of the society around him; instead, his morality is deeply inward, guided by a radical interpretation of Sinhala-Buddhist ethics, absolute non-violence, and self-sacrifice.
Sociologists suggest that morality is shaped by cultural influences, viewing human morality as an evolutionary adaptation. This perspective posits that individuals who engage in pro-social behavior historically had greater fitness, indicating that such behavior may be rooted in self-interest rather than altruism (Price, 2008). In this framework, Wicramasinghe raises the question of what defines a good life: is it the renunciation of worldly pleasures through asceticism or the embrace of them? Aravinda's attempts at asceticism reveal a struggle between theoretical morality and lived experience, ultimately resulting in moral ambiguity and a failure to adhere to ascetic principles.
Close examination reveals that Aravinda did not engage in genuine asceticism. Aravinda's extreme lifestyle was driven by psychological retreat, depression, and a tragic misapplication of Buddhist detachment. Aravinda, did not have a structured spiritual goal. His withdrawal from physical comfort was an escape from the responsibilities of life.
Aravinda's fate is significantly influenced by various social factors, particularly the premature loss of his father, which led to financial difficulties that forced him to abandon his education and take on menial work. This disruption thwarted his aspirations for upward mobility, resulting in a life marked by simplicity and insignificance, leaving him in a state of internal confusion.
Aravinda is often viewed as unsuccessful from a traditional middle-class perspective due to his lack of ambition and competitiveness, as well as his disinterest in pursuing wealth or power. His introverted nature leads him to embrace a solitary lifestyle, further distancing him from conventional measures of success. According to Friedrich Nietzsche’s philosophy, Aravinda Jayasena does not possess a healthy or active Will to Power; instead, he represents a classic psychological manifestation of a "decayed" or "exhausted" Will to Power.
There are remarkable parallels between Aravinda and Sigmund Freud's notable case study of the "Wolf Man," whose real name is Sergei Pankejeff. Both individuals exhibit repressed childhood memories, and their unconscious conflicts significantly contribute to adult experiences of anxiety, phobias, and melancholia.
Aravinda’s self-alienation has become the central theme of the novel. Aravinda suffers from a deep disconnection from his own desires, impulses, and true identity. Aravinda experiences self-alienation rooted in his own castration anxiety, which complicates his psychological development.
Aravinda Jayasena’s severe self-alienation, emotional passivity, and avoidant behaviors can be interpreted as manifestations of deep-seated castration anxiety. He has phobias and aversion to bodily realities. He has a deeply compromised ego and cannot stand up to authority figures. He flees from sexual and emotional intimacy. Aravinda’s love life is defined by retreat rather than pursuit. His fear of mature sexuality is prominent. He lacks masculine assertion. He retreats into a safe, sexless isolation. His detached, desireless living was not a choice it stemmed from his castration anxiety.
Aravinda's castration anxiety manifests as developmental paralysis, severe sexual repression, and a pathological fear of authority and social rule. Freud emphasizes the significance of castration and the ego's mechanisms for defending against castration anxiety. He discusses the process of relinquishing Oedipal attachments and replacing them with identification with parental authority, which contributes to the formation of the superego. This process involves the de-sexualization and sublimation of libidinal desires, transforming them into more tender impulses, as noted by Loewald (2000).
The question of whether Aravinda was a latent homosexual is significant. Maybe he experienced same-sex attraction but did not fully recognize, accept, or openly express this aspect of his identity. The fear of societal stigma, potential family rejection, and cultural expectations may have compelled him to conceal his true sexual orientation. This created a profound psychological conflict, leading Aravinda to repress his same-sex desires into his unconscious mind. His rejection of traditional family structures can be seen as a response to intense heterosexual repression, moral masochism, and a deep-seated aversion to biological realities. Certain elements of his behavior reflect the defensive mechanisms often associated with individuals who are in the closet.
Aravinda’s unconscious, relentless need for self-punishment, failure, and humiliation indicates his moral masochism. He is dominated by a hyper-punitive, cruel Superego (conscience) that demands they suffer to alleviate deep, hidden feelings of guilt. He sabotaged his own happiness just when success is within reach. Aravinda repeatedly demonstrates this "success neurosis". His slow, agonizing deterioration is an unconscious act of penance—he believes he deserves to suffer for his perceived inadequacies. Aravinda’s detachment, however, is born out of chronic depression and a pathological need to suffer.
Aravinda’s moral masochism is not a desire for physical pain, but a deep-seated, unconscious psychological structure where the ego actively seeks out failure, emotional suffering, and social castigation. Masochism, as described by Blum, often arises from unresolved conflicts from infancy, while Freud posited that repressed guilt can create a compulsion for suffering, termed "moral masochism." Lebe (1997) further emphasizes that severe masochism can develop from the dynamics between an indifferent or rejecting mother and a vulnerable child during formative years.
Margaret Schönberger Mahler's separation-individuation theory highlights the impact of maternal relationships on child development, suggesting that even without outright maternal deprivation, a child like Aravinda can experience psychological conflicts due to emotional distancing. This raises critical questions about Aravinda's identity and whether he embodies the traits of a moral masochist, as his actions throughout the narrative reveal patterns of self-torment, alienation, and self-sabotage. Freud's perspective on sadism and masochism suggests that these behaviors may be interconnected, with masochism representing a self-directed form of sadism fueled by underlying libidinal drives.
Aravinda's behavior was profoundly shaped by an underlying sense of guilt, which manifested as obsessional neurosis. This neurosis served as a psychological barrier, leading him to prefer chronic behavioral inertia—often referred to as "Oblomovism"—rather than actively engaging with the world around him. The most prominent symptom of his obsessional neurosis was a debilitating inertia and a tendency to hesitate, mirroring Ivan Goncharov’s character Ilya Ilich Oblomov, who, despite having high expectations for life, succumbed to apathy when faced with reality.
Jacques Lacan noted that obsessional neurosis is defined not merely by a set of symptoms but by a core structure, which can occasionally be mistaken for psychosis; however, Aravinda did not display any psychotic characteristics. His obsessional neurosis was evident, and as Rosenberg pointed out, it is often accompanied by depression. In the later phases of his life, Aravinda exhibited notable depressive symptoms, underscoring the profound effects of his mental condition.
The question arises whether Aravinda harboured an unconscious desire to fail or engaged in self-sabotage. Rather than being a victim of bad luck, Aravinda actively orchestrates his own failures to satisfy a psychological need for self-punishment and to protect his ego from anxiety. The concept of an "unconscious wish to lose" was first explored by Sigmund Freud and later expanded by researchers like Rosenthal (2015) in studies of self-sabotaging personalities.
Rosenthal suggests that pathological gamblers may possess an "unconscious wish to lose," a concept rooted in the theories of Freud and Bergler. Similarly, Aravinda appears to have an unconscious masochistic inclination to sabotage his relationships and endure emotional suffering. His moral masochism is evident in his passive response to verbal abuse from his elder sister and his willingness to host Bathie and her mother despite the damaging rumour circulating in the village.
Aravinda faced a significant moral dilemma when his girlfriend Sarojini revealed her love and desire for them to live together. The influence of Victorian sexual morality, which took root in Sri Lanka during the colonial period, profoundly shaped societal behaviors and expectations. While Sarojini exhibited boldness and confidence, Aravinda grappled with societal fears and the pressure to conform. As Friedrich Nietzsche described, Aravinda embraced herd morality. These socio-cultural constraints left him without a feasible alternative to propose to her. His indecision and lack of self-assurance ultimately jeopardized their relationship, leading to Sarojini marrying his best friend and leaving Aravinda in solitude.
Wicramasinghe observes that Aravinda exhibits a lower level of self-confidence compared to Sarojini. Sarojini, displaying remarkable self-assurance, proposed the idea of cohabitation despite facing opposition from both her parents and Aravinda's relatives, while Aravinda remained indecisive and ambiguous, ultimately leading to the deterioration of their relationship. When Sarojini married his best friend Siridasa, Aravinda felt heartbroken rather than jealous, attempting to move on and adapt to a monotonous life by suppressing his desires and adopting an ascetic lifestyle, though his sexual urges remained unresolved.
Aravinda's personality appears to undergo gradual changes, as suggested by Seivewright, Tyrer, and Johnson (2002), who note that personality alterations can occur in individuals with neurotic disorders. Over time, Aravinda transforms into an emotionally numb and dormant individual, exhibiting signs of apathy in his later years. This apathy, is marked by a lack of motivation and diminished engagement in daily activities, manifests as a reduced effort in goal-directed behavior, an unchanging emotional state, and a lack of responsiveness to both positive and negative experiences. Aravinda’s apathy is a profound, pathological emotional numbness—a state of anhedonia and moral paralysis where he completely detaches himself from his own feelings, desires, and the world around him.
Following Sarojini's departure, Aravinda's apathy intensifies, leading to feelings of both social and emotional loneliness. According to Clinton and Anderson (1999), social loneliness arises from a lack of companionship, while emotional loneliness pertains to a deficiency in intimacy, independent of the number of friendships. Aravinda's diminished motivation to engage in social activities and his perceived incompetence may stem from melancholic depression, further contributing to his restricted socio-sexual orientation, as noted by Simpson and Gangestad (1991).
Socio-sexual orientation illustrates the variations in individuals' willingness to engage in sexual activities outside of committed relationships. Those with a more restricted socio-sexual orientation tend to shy away from casual encounters, favoring emotional intimacy and commitment prior to sexual involvement. In Aravinda's situation, this restricted orientation results in sexual deprivation, which contributes to his sense of isolation.
Aravinda's experiences of sexual deprivation and repression are compounded by feelings of guilt and shame associated with his sexual impulses, as noted by McClintock (2006). This guilt is further exacerbated by the cultural traditions of his Sinhala Buddhist village, which reinforce these feelings. The influence of Victorian morality, stemming from Sri Lanka's colonial past, has also played a significant role in shaping societal attitudes towards sexuality. Despite this, Martin Wicramasinghe's discussions on de facto relationships in his 1956 work, Viragaya, provide a counter-narrative to the prevailing norms.
Chattopadhyay (2011) highlights that Victorian women were often denied narratives that offered imaginative possibilities for challenging societal norms, leading to a profound ignorance about their own bodies and sexual experiences. This resulted in a form of sexual 'amnesia' among women. In contrast, Aravinda's girlfriend Sarojini embodies a challenge to these Victorian ideals. Wicramasinghe's portrayal of her character reveals a nuanced understanding of female sexuality, suggesting that Sarojini transcends the limitations typically imposed on village girls of her time.
After Sarojini's departure, Aravinda found himself devoid of interest in worldly pleasures or the pursuit of wealth, leading to an intensifying sense of desolation and nostalgia. His sexual deprivation compounded his loneliness, prompting him to grow closer to his young servant, Bathie, towards whom he began to harbor concealed erotic desires.
Bathie's beauty stirred repressed feelings within him, creating a conflict between his moral values and biological instincts, ultimately resulting in a state of despair. In her childhood, Aravinda had experienced a fatherly affection for Bathie, which gradually morphed into a hidden longing, yet he refrained from acting on these desires due to societal ethical constraints.
This internal struggle can be examined through a psychoanalytic lens, as Freud posited in "Moses and Monotheism" that ethics stem from a guilt associated with suppressed hostility towards a higher power. He argued that any human emotion, regardless of its distance from sexual themes, can be traced back to primal impulses essential for the continuation of life. Freud emphasized that primitive instincts remain intact, and the complexities of civilization often exacerbate the conflict between our innate desires and cultural expectations, leading to various human flaws and behaviors.
Aravinda's non-hedonistic perspective is rooted in his cultural upbringing and frugal childhood experiences, resulting in a profound sense of self-denial. However, upon realizing that Bathie stirs his biological instincts, he attempts to bridge the gap between them, challenging societal norms despite the significant social and age disparities that exist. Unfortunately, Bathie does not reciprocate his feelings, perceiving his intentions through the lens of her middle-aged master, which leads her to resist him, sometimes with rudeness.
When Aravinda learns of Bathie's romantic involvement with another man, he is consumed by jealousy, experiencing a tumultuous mix of anxiety, sadness, and anger, though he manages to conceal these feelings without succumbing to pathological jealousy.
Bathie's refusal to remain with him and her choice to marry her lover intensify Aravinda's sense of abandonment, leaving him emotionally numb and creating a lasting impact on his psychological well-being. As Bathie represented a significant part of his emotional landscape, her absence exacerbates his struggle with repressed sexuality, plunging him into a state of despair.
Consequently, Aravinda's mental and physical health deteriorates, as guilt and self-inflicted pain escalate, leading to melancholia that manifests physically. Following the losses of both Sarojini and Bathie, he exhibits depressive symptoms, further isolating himself due to anhedonia, which hinders his ability to find joy in previously pleasurable activities. This intertwining of depression and moral masochism fosters a deeper sense of alienation, leaving Aravinda in a profound struggle with his emotional state.
When Aravinda fell gravely ill, Bathie returned to care for him, embodying a fatherly affection towards her old master. During this time, Aravinda's emotional state became profoundly dulled, ultimately leading to his death while under Bathie's attentive care.
Wicramasinghe’s Viragaya explores themes of meaninglessness and absurdity, concepts that resonate with the ideas of French philosopher Albert Camus. Camus posited that life lacks inherent meaning unless one chooses to embrace faith in the divine or, alternatively, to end one's life; he also suggested a third option: accepting a life devoid of apparent purpose. However, Aravinda allows the absurdity of society to paralyze him completely.
Central to Camus's philosophy are the notions of the absurd and rebellion, with Aravinda exemplifying a rebel who rejected conventional living. Camus advocated for a metaphysical revolt as a response to the absurdity of existence, a rebellion that Aravinda attempted following the loss of his girlfriend, though ultimately without success. Aravinda's inability to break through cultural walls and his repression of natural biological urges plunge him into a profound, isolated nihilism.
His alienation from society manifested as a quiet protest against social norms and institutions, reflecting Seeman's (1976) analysis of alienation, which identifies various forms such as powerlessness and cultural estrangement. This condition of alienation affects individuals differently, often intensifying based on their societal status. As Aravinda distanced himself from social connections, he experienced a profound loss of belonging, leading to the disintegration of his interpersonal relationships and a deepening solitude following the deaths of two significant figures in his life.
There are notable parallels between Camus's Meursault in "The Stranger" and Wicramasinghe's Aravinda in "Viragaya." Both characters exhibit a profound emotional numbness, rejecting the conventional emotional responses that society expects. They refuse to perform or fake the standard emotional scripts that society demands. Both refuse to participate in cultural illusions.
Aravinda is a classic victim of historical transition, caught in a cultural "no-man's-land." In Viragaya, Aravinda Jayasena’s lack of belongingness is the foundational wound that fractures his psyche. He cannot fully belong to the traditional village agrarian lifestyle. Baumeister and Leary (1995) assert that the need for belonging significantly influences emotional and cognitive processes, with a lack of belongingness leading to a solipsistic nihilism in individuals like Aravinda. This alienation results in isolation and self-estrangement, which can manifest as loneliness, anxiety, or depression, as noted by Hobart (1965).
In the latter stages of his life, Aravinda exhibits signs of depression, stemming from his repression of biological urges due to socio-cultural taboos. Lacking the moral strength to challenge the societal and cultural barriers that confine him, he experiences moral masochism, which complicates his personal relationships.
In a world perceived as absurd and devoid of meaning, Shah (2012) suggests that true significance must encompass the inherent meaninglessness of established values and concepts. Consequently, Aravinda ultimately reconciles with this meaninglessness and his fate, leading to his demise as an isolated individual unable to realize his inner desires. Despite his failures in the material realm, he confronts death with a sense of calm, free from fear or anxiety, demonstrating a remarkable acceptance of his mortality.
Aravinda’s confrontation with death is the ultimate, tragic realization of his philosophy and his underlying psychological conditions. He does not face death with the terror of a desperate man, nor with the grand triumph of a martyr; instead, he meets death with absolute passivity, physical self-neglect, and a cold, analytical detachment.
Death, defined as the end of life, has long been a profound concern for humanity, serving as a catalyst for creative expression and philosophical exploration throughout history. The confrontation with death and the anxiety stemming from its inevitability represent a universal psychological challenge, as highlighted by Lehto and Stein (2009). This anxiety, often referred to as death anxiety, is likely a common human experience, rooted in our emotional memory and cognitive capabilities that allow for future anticipation and prediction, as Yalom (1980) notes. Aravinda faces his death with absolute detachment, psychological apathy, and an absence of existential anxiety.
The conscious recognition of death's inevitability can elicit fear, termed thanatophobia, which is characterized by an intense and structured fear of death. Aravinda confronts his final days with remarkable courage and vitality, exhibiting neither fear nor trepidation. Ultimately, he emerges as a hero by conquering his anxiety surrounding death, successfully overcoming the fear of the unknown.
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