Subversion From Within Three Rebels from Literature

Vasanthi Sankaranarayanan

HE search into indigenous interviews. He asked Satyakama, require. Tell everyone who asks you literature provides us with “Who is your father? What is your whose son you are, that you are Tthree ways of women’s Gotram?” Satyakama did not have an Jabala’s son, Satyakama - Jabala assertion, traditional ideas and and answer to either of these questions. Satyakama.” In one sweep she subversion of characters. These are: He did not know who his father was brushed aside the need for a father to  Examining traditional literature for or which Gotram he belonged to. He claim one’s identity. She also examples(error) which contain went back to his mother and asked dismisses the idea of a two-parent germs of feminist thought her, “Who is my father? What is my family.  Looking at examples where a Gotram? “Who wants to know all Even in matrilineal societies in traditional theme has been this?” Jabala asked. Satyakama said, Kerala, the identity is traced through subverted and a new perspective “Gautama, the sage, for these are the a tarawad (Family House) name, not given prerequisites for becoming his the name of the mother. Shifting one’s  Finding literature with modern disciple.” origins to the mother who carries the social themes of a traditional Jabala then told him, “Go and tell child in her womb and nourishes it society illustrating women’s him you do not know who your father through her own blood and with her struggle against male domination is or which Gotram you belong to. All life from the formative stage onwards and unjust subjugation of women. that you know is that you are son of asserts the importance of the mother, I propose to give one example Jabala and therefore you are Jabala her function as the creator of the entire for each of the above-mentioned Satyakama”. Her words implied that human race, her womb being the categories. Each piece highlights a the only identity he had or he required chrysalyis in which human beings are woman (mythical or actual) and her on any occasion was to know who moulded is a very positive example of own way of dealing with patriarchy. his mother was. female assertion I can think of. The story goes on to conclude Theirs was by and large an individual Ahalya, the Stone protest against society’s injustices, that Satyakama went back to Gautama but they all provide inspiration, and gave this answer and was The second woman who comes to courage and feeling of self-worth to accepted as a disciple. The sage did mind is Ahalya, wife of sage Gautama women of later times. not insist on the young man giving who was seduced by (the god Jabala, the Matriarch his father’s name to be eligible to be of thunderbolt) in the guise of his disciple. Jabala doesn’t cow down Gautama and was consequently The first example is from the in shame when her son confronts her cursed by her husband to be reduced . It is the story of Jabala, with the question who his father was. to a stone. The sage gave her a release a woman who had a son named She tells her son in a forthright and from the curse also — after serving Satyakama. When Satyakama came of bold language, “Son, when I was her time as a stone for many years, age, he had to seek a , who alone young, I used to work for many (an incarnation of Lord ) could initiate him into a formal system people, then your were conceived and would come her way and touch her of learning. So, he went to Gautama, a born. I do not know who your father with his feet at which time she would sage who conducted an interview of is. It does not matter. What is regain her womanhood. This is the sorts, which was very strangely important is that you are my son, son gist of the story as it is given in the similar to modern educational of Jabala. That is the only identity you . K.B Sreedevi, a well-

No.103 11 known short story writer and novelist no feelings, it is a block of unfeeling of literature using the mythical story in Malyalam has used this story as a mass whereas a human being to subvert traditional partriarchal reference point and written a short endowed with a heart and emotions values and reinforce a pro woman story Silaroopini (Stone-woman). has feelings. So, we assume it is better vision. to be a human being than a stone. Here, she has linked the original story Paptikutty, the Outcaste to a later event, ie. Rama forsaking his Sreedevi makes her Ahalya project a pregnant wife, , in the forest and view that when a human being acts The third voice is that of a woman sage giving her protection. without feelings towards fellow from the twentieth century. It is the Rama forsaking Sita in the forest is human beings, he/she becomes in heroine of a Malyalam novel Brashtu the theme of Uttararamayana (a effect a stone. Ahalya’s strain of written by Matampu Kunhukuttan and sequel to the original Ramayana). But thought was, “I was cursed because I translated by me under the title Ahalya’s appearance in this part of was unfaithful to my husband; what Outcaste. Kunhukuttan’s novel is the story is Sreedevi’s creation. about Sita who was faithful to her based on an actual event that took Ahalya remembers Rama and his husband? Why was she place in Kerala in the early twentieth for her while he redeemed abandoned?” The conclusion she century (1920s). A Namboodiri her from stonehood to womanhood. arrives at is that men would always woman, Kuriyedathu Tatri, spurned She openly admires him and compares be unjust and unfair to women while and slighted by her own husband, him to her own husband who lacked fulfilling their own self-centred, selfish has liaisons with important men from the quality of compassion. It is openly objectives and ambitions. She wanted the upper castes - Namboodiris, hinted that she found her husband to abdicate such a world and thereby Kshtriyas, and Nairs. At the time of wanting as a “true” man. This is quite assert her solidarity with another her trial for outcasting her in Vedic uncommon for an Indian woman for suffering woman. This is also a case style, she quotes the names of illicit whom the husband (pati) is supposed to represent a devta (god), and so beyond any criticism. This is a big step forward. Ahalya gives shape to her own perception of an “ideal man”—a gentle, compassionate loving human being, quite the opposite of the accepted ideal of manhood, who is an aggressive, macho man. Sreedevi’s Ahalya is different from the mythical heroine, Ahalya. She is more critical and not subservient and self abnegating. The story is taken to another level when Ahalya hears that Rama, her ideal man, had forsaken his wife on flimsy grounds. She once again turns into a stone, this time of her own free will and not as a result of an external intervention. I see in this act of hers a silent protest. She, who was redeemed from stonehood to womanhood by a compassionate man, feels betrayed at his behaviour to his faithful wife. Disillusioned, she does not see any purpose for retaining any human form; instead she prefers to be a stone. There is a subtle questioning of our usual notions as — a stone has

12 MANUSHI lovers and argues that as partners in revealing great empathy and not in vain. From assertion of sin they should also be outcasted. As understanding for the woman. The womanhood, to protest against a result seven members from 64 woman’s voice is heard through a injustices to womanhood through prominent families in Kerala were man’s writing. In literary terms, it has withdrawal, to protest through outcasted. It created quite a furore in a new significance - the alternate revenge. Jabala of the Upanishads is Kerala and paved the way for social women’s voice can be projected by a very sure of herself; she never reforms. Matampu has used this story man, thus merging the man’s voice apologises or justifies her status. and created a novel which has turned with that of the woman and giving it a Ahalya of the epics is not able to out to be a social and political new timbre. Even though the woman protest when she was punished the document of the times. Here the protagonist had carried out her first time. But, when the same injustice original story, or the event as it took revenge on the Namboodiris, was perpetuated on another woman, place, has not been given the particulary their male folk, a male she protests, through her silent withdrawal form life. But, Paptikutty, importance it deserves from a feminist Namboodiri like Matampu could find the heroine of the modern novel, and perspective. However, in writing this meaning in her actions and support real life character takes life into her book, about 30 years back, Matampu her. These three cases show an hands and wreaks revenge on the has highlighted an event which has interesting range - from a mythical wrongdoers without assistance from great importance in the women’s story to subversion of a mythical story anyone. Her protest is vehement, struggle to retain self-respect and and then to a story based on an actual shattering the very strongholds of dignity. Unlike in the other two event. From an unknown author or society and religion. Her act is so instances, here it(error) only is group of authors to a woman author public that the society which ignores should come is a man who has come and finally to a man author. The and humiliated women has no other forward to relate this woman’s story, woman’s voice has travelled long and choice but to sit up and take note. 

Women Bhakt Poets “No one can stop you - Mira set out in ecstasy. Modesty, shame, family honour - all these I threw off my head Flinging away praise and blame, I took the narrow path of knowledge. Tall the towers, red the windows - a formless bed is spread, Auspicious the five coloured necklace, made of flowers and buds, Beautiful armlets and bracelets, vermillion in my hair parting, The tray of remembrance in my hand - a beauty more true. Mira sleeps on the bed of happiness - auspicious the hour today. Rana, you go to your house - you and I annnot pull together. No one can stop you - Mira set out in ecstasy.” Mirabai

Available in an attractive hardbound edition. Contains accounts of the life and poetry of some of the most outstanding women in Indian history from the 6th to the 17th century - Mirabai, Andal, Avvaiyar, Muktabai, Janabai, Bahinabai, Lal Ded, Toral, Loyal. Many of these poems had never been translated into English before. 120 pages, profusely illustrated  Price: Rs 100 (+ Rs 15 postage) Overseas Price : US $ 10 Send advance payment to the Manushi address. Makes A Beautiful Gift

No.103 13