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naked bodies, making love in various positions” (Lahiri 417) at the Temple may indicate the faintpossibility of future intimacy between him and Mrs. Das. When the family and Mr. Kapasi stop before arriving at the temple, he can “smell a scent on [Mrs. Das’s] skin, like a mixture of whiskey and rosewater. He worried suddenly that she could smell his perspiration, which he knew had collected beneath the synthetic material of his shirt” (Lahiri 415). At the same time, he realizes some mango juice “dripped onto his chin. He wondered if Mrs. Das had noticed” (Lahiri 415). Such details and diction, once again, set the tone. It is the result of Mrs. Das’s request for his address which starts to fuel his dreams and fantasies. Then the dramatic irony, the miscommunication between characters begin with the growing tone of emptiness and sadness. Before Mr.Kapasi’s daydream begins, we all know about his son’s death which changes his life irrevocably, and though he has come to terms with such unfortunate fate, he keeps on harboring
vain hopes. Therefore, when Mrs. Das shows an interest in him, in his job, “an interest she did not express in either her husband or her children” (Lahiri 414), he is so blinded by such new “intoxicating” (Lahiri 414) infatuation that he forgets the fact that she does not see him the same way. This description, especially the word “intoxicating”, changes the tone to melancholy and futility which adds up to the story’s ending when the “slip of paper with Mr. Kapasi’s address on it fluttered away in the wind” (Lahiri 424) just like his desperate hopes shattered. By this, it also