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Women roles in hinduism mahabharata
Gender roles of ancient india
Gender roles of ancient india
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Mahābhārata has always been the dominant cultural text of Ancient Bhāratavarṣa to stir the imagination of different ages. In this article, I venture to study the interpretation of Mahābhārata and the Woman of Mahābhārata during Colonial Rule, with the intention to understand the dialogic process between a colonized culture and colonizer culture.
As such, in this paper, with reference to Kunti’s portrayal in Romesh Chunder Dutt’s (1848-1909) Mahābhārata re-telling, I propose to study the Construction/Re-Construction and Fashioning/Re-Fashioning of the Woman of Mahābhārata in Colonial India in English Re-tellings.
Romesh Chunder Dutt’s Mahabharata: the epic of India rendered into English verse in English first appeared in 1898, hence, expectedly, Dutt’s renderings represent the outlook on Mahābhārata in India in its formative days as a Nation. It is also expected that Dutt’s portrayal of Kunti would give us valuable insight into the Construction of Woman in those days, as also give us insight into Indian Writing in English in its formative days.
Kunti and Draupadī are the foremost Woman in Classical Mahābhārata, and understanding Woman of Mahābhārata cannot be fruitful without understanding Kunti first. Choice of Kunti as Representative Woman is also motivated by Tradition – as Kunti is one of the celebrated Pañca-Kanyās of Indian Itihāsa-Puraṇa-Kāvya.
In this paper I shall argue that though laudable attempt of Dutt to render Mahābhārata to the mass has contributed to keeping alive Mahābhārata in Cultural Memory and inspired perennial search for Mahābhārata’s relevance in modern world, such attempt ironically acts as block in properly understanding Mahābhārata, Woman of Mahābhārata, and consequently Ancient Bhāratavarṣa.
KUNTI, TH...
... middle of paper ...
... in the light of Classical Mahābhārata, let us examine this Script.
2. Kunti in Classical Mahābhārata
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Works Cited
1. Bandyopadhyay, Indrajit. 2011, Mystery of Birth and Death in Mahabharata. ISBN: 978-1-105-22137-8. Lulu Press Inc.
2. Hirsch, Marianne and Valerie Smith. 2002, Feminism and Cultural Memory: An Introduction. Signs, Vol. 28, No. 1, Gender and Cultural Memory, The University of Chicago Press, pp. 1-19
3. K. Kunjunni Raja, 2009, ‘Architectonics of the Mahabharata’, in TRS Sharma ed. Reflections and Variations on the Mahabharata, Sahitya Academy, New Delhi, p-64-68
4. Dutt, Romesh Chunder. 1890, A History of Civilization in Ancient India, Based on Sanscrit Literature. 3 vols. Thacker, Spink and Co.; Trübner and Co., Calcutta-London
5. Dutt, Romesh Chunder. 1898, Mahabharata: the epic of India rendered into English verse, London: J. M. Dent and Co.
Narayan, R. K., and Kampar. (2006). The Ramayana: A Shortened Modern Prose Version Of The Indian Epic (suggested by the Tamil version of Kamban). New York: Penguin Books. PDF e-book.
3. Jackson J. Spielvogel. Western Civilization Third Edition, A Brief History volume 1: to 1715. 2005 Belmont CA. Wadsworth Publishing
“Ramayana.” The Language of Literature Ed. Arthur N. Applebee, et al. Boston: McDougal Littell, 1983. 130-140. Print.
Gurinder Chadha’s Bride and Prejudice, a Bollywood adaptation of Pride and Prejudice, places Jane Austen’s emphasis of equality in marriage within an intercultural context, where the difference in culture is the source of social tension. As West meets East, American tycoon William Darcy sparks cultural conflict with his presumption of Indian girls’ “simple” and traditional characteristics and of their ready subordination to American men. Parallel to Elizabeth’s assertion of her father and Darcy’s equal class standing, Lalita’s fierce rebuttal of Darcy’s assumption highlights his ignorance of the Indian culture, especially his inability to understa...
Smith, Brian K. Classifying the Universe: The Ancient Indian Varna System and the Origins of Caste. New York: Oxford University Press, 1994.
Bailkey, Nels M. Readings in Ancient History: Thought and Experience from Gilganesh to St. Augustine. Third edition. Lexington, MA: D.C.Heath and Co., 1987.
Some of the most well-known work of literatures in the world are examples of epic poetry. These epics consist of heroic adventurous tales that have contested time and have been around long enough to aspire many readers and writers. Two literary works that demonstrate the attributes and qualities of an epic is, The Ramayana and The Odyssey. Through the adventures of the protagonist we learn the traditions of the ancient world and its culture. Many themes are shared between both epics. However, the theme that stood out the most in these epic, was the influence and power of women roles. The male characters play the most significant roles in this poem, but without
Khan, Benjamin. The Concept of Dharma in Valmiki Ramayana . Delhi: Munshi Ram Manohar Lal, 1965. Print.
As we compare the traditional women versus modern women, we perceive differences and similarities. Prachi fights for a belief system that controls her meanwhile Ruhi struggles with self-identity and depends on the beauty pageant to empower her as an Indian woman. Prachi defends Hinduism but at the same time, is Hinduism that restrains her from becoming “modern.” Ruhi on the other hand considers herself a very modern girl and she values freedom therefor the pageant is a road to liberation for her. Both girls struggle in distinct ways but their goal is similar, to shape their countries future.
Swami Venkatesananda, THE CONCISE RĀMĀYAṆA of Vālmīki, (Albany, NY: State University of New York Press, 1988), 13.
When Rape of Sita was first published it was immediately attacked because of the title linking the Hindu goddess Sita, who symbolized chastity, to the word “rape.” Even though Collen’s novel does focus around political struggles, literature is not politics. However, literature is able to be a form of social action. What is literature is it doesn’t post those crucial questions that get humans thinking? Collen believes in reflecting on concrete situations and posing moral dilemmas in literature. For her it is a way to share experiences towards the “other” (Williams 201). The Rape of Sita is a part of a postmodern turn to ethics. Where it uses language to make political comments suggesting a new perspective on history. Williams examines how The Rape of Sita calls for that change in attitudes through its narrative structure and symbolism. Which in turns allows for the story of rape to be told differently.
The Ramayana as retold by R.K. Narayan, explores the roles and duty of women and what it takes in order to be a good woman in Indian society. He explores these roles through the women through out the epic whether it is the wife of a King or some form of deity. While in general women were viewed as subpar to men and were seen as second-class citizens, the women in the book shape the men into who they become and account for much of the manipulation of the individuals and the caretaking of the individuals. Women such as Sita and Kausalya demonstrate those women that are good. These women were regarded as beautiful, not only for their physical attributes, but for their behavior in regards to the males in the epic. They are everything women should be- they are kind and respect the males in their lives above all else. However these women are also met with their opposites, those women who have much improvement to make before being recognized as good women in the Indian society. These women, like Kaikeyi and Soorpanaka go against all Indian ideals. They use their sexuality in order to attempt to manipulate the men of the epic. They do everything in their power in order to get their way, even if it is at the cost of others.
In contemporary society, feminism is emerging as a theory of social construct. In literature it is often challenging to discover female characters that go beyond the limits of marginalized female stereotypes and roles as a means to transgress beyond societal norms. Women are characterized as subordinate objects, amid the dominant patriarchal nature entrenched amid the epic. In The Ramayana, women are portrayed as powerless objects that succumb to the manipulation of men as the text portrays a false empowerment of women, which ultimately succumb to common archetypes accustomed to women in literature; implementing a hierarchy of gender that institutionalizes male dominance amid female inferiority. The women of The Ramayana struggle to oppose the systemic patriarchy and pursue a pathway towards attaining dynamic elements of power, that enable their ability to embody autonomous authority. In Valmiki’s The Ramayana, while women appear to be empowered, ultimately they are feeble instruments utilized to fulfill the desires of men.
Classical Hindu Mythology. Cornelia Dimmitt and J. A. B. van Buitenen. Philadelphia: Temple University Press, 1978. 38-40. Print.
Mishra, Vijay. "The Texts of Mother India." After Europe.Ed. Stephen Slemon and Helen Tiffin. Sydney: Dangaroo Press, 1989. 119-37.