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| Hana |
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| The English Patient |
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| Caravaggio |
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| Kip |
With the emergence of two new
characters, the story becomes more complicating. Living under the same shelter,
Hana begins to feel uncomfortable in the company of the three men. Conflicts
build up as the two new characters, Caravaggio and Kip, both show their
interest in Hana, the only woman in the villa. However, Hana is deeply in love with the
disfigured English patient. Caravaggio tries to tell her that it is foolish to
throw herself away on a ghost, but she does not care. Caravaggio is frustrated
with Hana because she is so in love with the English patient that she refuse to
do the reasonable thing and leave Italy to save herself. At this point of the
story, I realize that the attraction between the English patient and the young
nurse is way beyond physical features or any other superficial elements. Their
love is purely internal, even though, not many words are shared between them.
On the other hand, a seemingly inevitable romantic relationship between Hana
and the Indian, Kip, soon develops. However, the love she feels for Kip is of a
different kind. Kip becomes her protector, a strong, healthy male figure to
save her from dangers. Hana shows her toughness when she is with the patient,
while she suddenly becomes a fragile woman seeking for protection when she is
with Kip. After all, Ondaatje explores the nature of love, which can surface
even in the middle of war.
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