Ahalya's Curse

Total Page:16

File Type:pdf, Size:1020Kb

Ahalya's Curse SHORT STORY Ahalya’s Curse P. Raja Ahalya, of Ramayana, was the wife of Rishi Gautama. This beauty was seduced by Indra, who had to suffer the sage’s curse for his adultery. According to the epic, Indra (Lord of the Firmament) sought the help of the moon, who assumed the form of a cock and crowed at midnight. This roused Gautama to his morning devotions. When he went out, Indra went in pretending to be Gautama and made love to Ahalya. The Rishi punished both. He turned his wife into a stone and cursed Indra to have vaginas all over his body. Ahalya was restored to her natural state by Rama, the hero of the epic. Not knowing one’s limitations is cent of women in our country. It is a sin… an unpardonable one at that. destined so perhaps. Or is it a curse You married me. on our motherland? What if Brahma had given me as Brahma made you happy by your bride? You could have easily advising you to marry me. You made rejected the offer had you put your Brahma happy by obeying him. To common sense to use. Why do you you he is the Guru. And Guru’s efore you decide to curse me, men lose all your senses when it comes words are law. To him you are the let me have your audience. to woman? best among sages. He had two birds BCursed be me if I fail to Sages like you are revered by flinging a single stone. You had convince you. If you feel convinced, everywhere. People place you on a two mangoes in a single shot. then leave me to myself. To live with pedestal in their hearts and worship Neither of you seemed to care a you or go with Lord Indra is my you. They consider you as an hay for me. The butcher made the concern. intermediary between god and men. eater happy. The eater made the O Sage! You brought me up. You They think you are wise. Yet how butcher happy. But where did the sincerely and whole-heartedly shamelessly you fall for women! lamb disappear? fulfilled the wishes of Brahma, who Brahma created me. You nourished The poor lamb has lost its entrusted me with you. I am grateful me. What are you both to me if not identity. From lovely lamb to meat, fathers? None of you ever seemed to to you as a daughter would be to from mutton to food, from delectable have any respect for the woman in me. dish to faeces and from foul-smelling her father. You were a mother, too, to To both of you I should have looked faeces to earth again. me, for I have learnt to distinguish like a commodity. A commodity can In the case of the helpless lamb, between affection and love. You never have any opinion of its own. it had the satisfaction of becoming taught me everything that an And so both of you never bothered food for someone who appreciated impartial guru would to his about my wishes. And your decisions it as it melted on one’s tongue. But illustrious disciple. were final. me? Sage Gautama’s wife… That’s You should have stopped there, Brahma if asked would have given how the world began to identify me. O Sage! You should have stopped a slippery answer: Where can I find I was Ahalya, no more. From there. It is out of greed that you for you a better being than Gautama? childhood to girlhood, from girlhood played the fourth role. It is You for your turn would have said: to wifehood, from wifehood to unexpected of you. All calamities in You will be safe in my hands. motherhood, from motherhood to … life are caused by greed. Greed is the I became your wife. Rather I was Oh! The several offspring of over-confidence. We made your wife even before I could -hoods of women, they are destined develop this sort of confidence once ask myself whether I liked it or not. to pass before they become dust we fail to understand our limitations. Such a thing happens to ninety per with dust. 42 MANUSHI Brahma gave a body to my soul. magnetism failed. One who has waved my hand smiling at him all the He gave me to you. But you saw only conquered all his senses can never time. He, too, smiled back and the soul and ignored the body. be a man. disappeared. I am Brahma’s daughter. I am In all these years of married life, The next day when I was bathing, I beauty incarnate. I am special to the I’ve been living just like a stone, a dead heard a voice from behind the bushy great creator. He told me once that he wood. I doubt if you ever knew what a trees that said, “ No tongue can paint made much use of sandal paste to wretched life I was leading. It was a your beauty.” mould my body. death-in-life-existence. I was happy at heart. I jumped for O Sage! Have you ever looked at I needed a saviour who could joy. All because someone has seen me me at close quarters? Who in all the look at me with lust-filled eyes. This is and found that I am a beauty beyond seven worlds has such a shapely and what every woman worth her salt ever words. Neither a lexicographer nor a well-chiselled nose as mine? wants her man to do. It is only lust fertile poet can ever express in words It is the nose that speaks for the that leads to love, and never the joy I experienced on that day, at face. And mine is the most beautiful love to lust. that hour. one. It is unique in its own way. Lust is the essence of life…the I looked around and asked, ”Who Have you ever noticed my eyes… only means of satisfying the biological is it?” Indra showed up as if he were my swimming eyes? What beauty in urge. Without it there can be no waiting for my words of permission. any part of the world has them? creation. Brahma would have to sit idle I smiled. My long tresses were Well? I am a stupid woman talking only to be forgotten once and for all. hiding the front of my body, and I didn’t of beauty to you. All my make any attempt to hide it words will sound nonsensical with my hands. Neither did I to you. When you can’t even go down into the water. see and admire my face which Instead I stood hip deep. is an open book, what use can Indra came closer to me there be if I speak of the on the bank. His words told hidden treasures that my me that I am tall and graceful father took pains to bless me and that my magnificent hair with? cascades in profusion from Devas and Asuras would my shapely head. have vied with each other to Beneath my arching sing of my frame in glorifying eyebrows, I learnt only from terms. Poetasters, too, would him that my eyes like twin have come out with genuine stars shine forth with a lines of pure poetry. brilliancy only softened by A good woman inspires a long, black, curving lashes man; a brilliant one interests him; a Indra, the lustful lad of the that veil them. beautiful one fascinates him; and a firmament, is really my prayer It is not that I do not know how sympathetic one gets him. I know I answered. delicately and finely my features are am all the four rolled into one. Yet I Just try to recollect what happened moulded. But when he continued, I fell failed to get you. in the morning, a short while ago. I in love with myself. He spoke at length I spent several days, months, and know you are not in that mood now. of the winning sweetness of my smile then years in trying to know the root So I will do that for you. and certified that the tender lines of my of my failure. Then one day I The cock crowed. You woke up. lovely mouth personify the gentleness understood that it was not my failure. You went out to take your morning of my nature. It dawned on me that you are not a bath. You never knew that you were He was all praise for my complexion. man. tricked by a human voice. People call Deliciously creamy, he said, with a It was a late realization, of course. you sage. But how gullible are you? transparent yet perfectly healthy You have no feeling for me. Fine! But I knew it. I knew it was not a texture that never wearies one’s eyes you have no feeling for any other rooster’s voice. I was also certain that and becomes insipid. woman either. my saviour had come. He stopped awhile as I admired him Perhaps you have outgrown all A few days ago when I was half- and his words of praise. He stepped such human feelings, which you clad and bathing in the river, Indra into the water and embraced me. would call human weakness. This is speeding in his vehicle amidst the It was really a man’s touch, a touch one solid case in which body clouds, eyed me and slowed down.
Recommended publications
  • The Plurality of Draupadi, Sita and Ahalya
    Many Stories, Many Lessons: The Plurality of Draupadi, Sita and Ahalya Benu Verma Assistant Professor, USHSS Guru Gobind Singh Indraprastha University Dwarka, Delhi Abstract: The relationship between life and literature is a dialogic one. Life inspires literature and literature in turn influences life. Various genres in which literature is manifested reflect on the orientation, significance as well as the place of the text in its social environment. Mikhail Bakhtin proposes that genres dictate the reception of a text. Yet the same text could be interpreted differently in different times and contexts and be rewritten to reflect the aspirations of the author and her/his times. The many life stories of the feminine figures from the epics of Ramayana and Mahabharata assert not only the inconclusive nature of myth and the potency of these epics, they also tell us that with changing political and social milieu the authors reinterpret and record anew given stories to contribute to the literature of their times. Draupadi as the epic heroine of Mahabharata has been written about popularly and widely and in each version with a new take on the major milestones of her life like her five husbands and her birth from fire. The motifs of her disrobing and her hair have been employed variedly to tell various stories, sometimes of oppression and at others of liberation, each belonging to a different time and space. Each story reflected the political stance and aspiration of its author and read by readers differently as per their times and contexts. Through an examination of various literary renditions of the feminine figures from the epics, like Draupadi, Sita, and Ahalya, this paper discusses the relationship between life and literature and how changing times call for changing forms of literature.
    [Show full text]
  • South-Indian Images of Gods and Goddesses
    ASIA II MB- • ! 00/ CORNELL UNIVERSITY* LIBRARY Date Due >Sf{JviVre > -&h—2 RftPP )9 -Af v^r- tjy J A j£ **'lr *7 i !! in ^_ fc-£r Pg&diJBii'* Cornell University Library NB 1001.K92 South-indian images of gods and goddesse 3 1924 022 943 447 AGENTS FOR THE SALE OF MADRAS GOVERNMENT PUBLICATIONS. IN INDIA. A. G. Barraud & Co. (Late A. J. Combridge & Co.)> Madras. R. Cambrav & Co., Calcutta. E. M. Gopalakrishna Kone, Pudumantapam, Madura. Higginbothams (Ltd.), Mount Road, Madras. V. Kalyanarama Iyer & Co., Esplanade, Madras. G. C. Loganatham Brothers, Madras. S. Murthv & Co., Madras. G. A. Natesan & Co., Madras. The Superintendent, Nazair Kanun Hind Press, Allahabad. P. R. Rama Iyer & Co., Madras. D. B. Taraporevala Sons & Co., Bombay. Thacker & Co. (Ltd.), Bombay. Thacker, Spink & Co., Calcutta. S. Vas & Co., Madras. S.P.C.K. Press, Madras. IN THE UNITED KINGDOM. B. H. Blackwell, 50 and 51, Broad Street, Oxford. Constable & Co., 10, Orange Street, Leicester Square, London, W.C. Deighton, Bell & Co. (Ltd.), Cambridge. \ T. Fisher Unwin (Ltd.), j, Adelphi Terrace, London, W.C. Grindlay & Co., 54, Parliament Street, London, S.W. Kegan Paul, Trench, Trubner & Co. (Ltd.), 68—74, iCarter Lane, London, E.C. and 25, Museum Street, London, W.C. Henry S. King & Co., 65, Cornhill, London, E.C. X P. S. King & Son, 2 and 4, Great Smith Street, Westminster, London, S.W.- Luzac & Co., 46, Great Russell Street, London, W.C. B. Quaritch, 11, Grafton Street, New Bond Street, London, W. W. Thacker & Co.^f*Cre<d Lane, London, E.O? *' Oliver and Boyd, Tweeddale Court, Edinburgh.
    [Show full text]
  • The Ramayana by R.K. Narayan
    Table of Contents About the Author Title Page Copyright Page Introduction Dedication Chapter 1 - RAMA’S INITIATION Chapter 2 - THE WEDDING Chapter 3 - TWO PROMISES REVIVED Chapter 4 - ENCOUNTERS IN EXILE Chapter 5 - THE GRAND TORMENTOR Chapter 6 - VALI Chapter 7 - WHEN THE RAINS CEASE Chapter 8 - MEMENTO FROM RAMA Chapter 9 - RAVANA IN COUNCIL Chapter 10 - ACROSS THE OCEAN Chapter 11 - THE SIEGE OF LANKA Chapter 12 - RAMA AND RAVANA IN BATTLE Chapter 13 - INTERLUDE Chapter 14 - THE CORONATION Epilogue Glossary THE RAMAYANA R. K. NARAYAN was born on October 10, 1906, in Madras, South India, and educated there and at Maharaja’s College in Mysore. His first novel, Swami and Friends (1935), and its successor, The Bachelor of Arts (1937), are both set in the fictional territory of Malgudi, of which John Updike wrote, “Few writers since Dickens can match the effect of colorful teeming that Narayan’s fictional city of Malgudi conveys; its population is as sharply chiseled as a temple frieze, and as endless, with always, one feels, more characters round the corner.” Narayan wrote many more novels set in Malgudi, including The English Teacher (1945), The Financial Expert (1952), and The Guide (1958), which won him the Sahitya Akademi (India’s National Academy of Letters) Award, his country’s highest honor. His collections of short fiction include A Horse and Two Goats, Malgudi Days, and Under the Banyan Tree. Graham Greene, Narayan’s friend and literary champion, said, “He has offered me a second home. Without him I could never have known what it is like to be Indian.” Narayan’s fiction earned him comparisons to the work of writers including Anton Chekhov, William Faulkner, O.
    [Show full text]
  • Editors Seek the Blessings of Mahasaraswathi
    OM GAM GANAPATHAYE NAMAH I MAHASARASWATHYAI NAMAH Editors seek the blessings of MahaSaraswathi Kamala Shankar (Editor-in-Chief) Laxmikant Joshi Chitra Padmanabhan Madhu Ramesh Padma Chari Arjun I Shankar Srikali Varanasi Haranath Gnana Varsha Narasimhan II Thanks to the Authors Adarsh Ravikumar Omsri Bharat Akshay Ravikumar Prerana Gundu Ashwin Mohan Priyanka Saha Anand Kanakam Pranav Raja Arvind Chari Pratap Prasad Aravind Rajagopalan Pavan Kumar Jonnalagadda Ashneel K Reddy Rohit Ramachandran Chandrashekhar Suresh Rohan Jonnalagadda Divya Lambah Samika S Kikkeri Divya Santhanam Shreesha Suresha Dr. Dharwar Achar Srinivasan Venkatachari Girish Kowligi Srinivas Pyda Gokul Kowligi Sahana Kribakaran Gopi Krishna Sruti Bharat Guruganesh Kotta Sumedh Goutam Vedanthi Harsha Koneru Srinath Nandakumar Hamsa Ramesha Sanjana Srinivas HCCC Y&E Balajyothi class S Srinivasan Kapil Gururangan Saurabh Karmarkar Karthik Gururangan Sneha Koneru Komal Sharma Sadhika Malladi Katyayini Satya Srivishnu Goutam Vedanthi Kaushik Amancherla Saransh Gupta Medha Raman Varsha Narasimhan Mahadeva Iyer Vaishnavi Jonnalagadda M L Swamy Vyleen Maheshwari Reddy Mahith Amancherla Varun Mahadevan Nikky Cherukuthota Vaishnavi Kashyap Narasimham Garudadri III Contents Forword VI Preface VIII Chairman’s Message X President’s Message XI Significance of Maha Kumbhabhishekam XII Acharya Bharadwaja 1 Acharya Kapil 3 Adi Shankara 6 Aryabhatta 9 Bhadrachala Ramadas 11 Bhaskaracharya 13 Bheeshma 15 Brahmagupta Bhillamalacarya 17 Chanakya 19 Charaka 21 Dhruva 25 Draupadi 27 Gargi
    [Show full text]
  • Redemption of Ahalya in Pudumaippittan's
    IOSR Journal of Humanities and Social Science (IOSR-JHSS) e-ISSN : 2279-0837, p-ISSN : 2279-0845 PP 21-23 www.iosrjournals.org Redemption of Ahalya in Pudumaippittan’s “Akalikai” and “Sabavimochanam” C. Arulmugil, Ph. D. Research Scholar of English, Kanchi Mamunivar Centre for PG Studies , Puducherry Pudumaippittan, a radical writer and thinker whose pen name is C. Viruthachalam, was one of the most dominant and innovative writers of the Tamil language. Community satire, progressive thinking and honest criticism are the hallmarks of his works. The Government of Tamilnadu has nationalized the works of Pudumaippittan in the year 2002. He is primarily known for his short stories and he is the first to use a vernacular of Tamil other than Chennai and Tanjore. Most of his characters spoke the Tirunelveli dialect. His writings are the mixture of idiomatic and classical words. Though Pudumaippittan’s active writing was less than fifteen years in which he produced nearly 100 short stories. His writing gave him a reputation as a maverick. To portray his ideas he used various characters, both common and uncommon. Common like husbands and wives, rickshaw pullers, villagers, marginalizes peoples, saints, revolutionaries and uncommon-God, ghosts, devas and so on. The well known Tamil writer D. Jayakanthan said, “Pudumaippittan carried over the legacy of poet Subramania Bharathi and will be remembered for generations to come for the profundity of his writing”. Ahalya is a mythical personality from the Ramayana. She is also one among the Panchakanyas, the other kanyas are Tara, Sita and Mandodri from the Ramayana; Draupathi from the Mahabharatha.
    [Show full text]
  • RAMAYANA Retold by C
    RAMAYANA retold by C. Rajagopalachari (Edited by Jay Mazo, American Gita Society) Contents 1. The Conception 39. A Second Father Dies 2. Sage Viswamitra 40. Left Eyelids Throb 3. Trisanku 41. He Sees Her Jewels 4. Rama Leaves Home 42. Sugriva's Doubts Cleared 5. Rama Slays The Monsters 43. The Slaying Of Vali 6. Sita 44. Tara's Grief 7. Bhagiratha And The Story Of 45. Anger And Reconciliation Ganga 46. The Search Begins 8. Ahalya 47. Son Of Vayu 9. Rama Wins Sita's Hand 48. The Search In Lanka 10. Parasurama's Discomfiture 49. Sita In The Asoka Park 11. Festive Preparations 50. Ravana's Solicitation 12. Manthara's Evil Counsel 51. First Among The Astute 13. Kaikeyi Succumbs 52. Sita Comforted 14. Wife Or Demon? 53. Sita And Hanuman 15. Behold A Wonder! 54. Inviting Battle 16. Storm And Calm 55. The Terrible Envoy 17. Sita's Resolve 56. Hanuman Bound 18. To The Forest 57. Lanka In Flames 19. Alone By Themselves 58. A Carnival 20. Chitrakuta 59. The Tidings Conveyed 21. A Mother's Grief 60. The Army Moves Forward 22. Idle Sport And Terrible Result 61. Anxiety In Lanka 23. Last Moments 62. Ravana Calls A Council Again 24. Bharata Arrives 63. Vibhishana 25. Intrigue wasted 64. The Vanara's Doubt 26. Bharata Suspected 65. Doctrine Of Surrender And Grace 27. The Brothers Meet 66. The Great Causeway 28. Bharata Becomes Rama's Deputy 67. The Battle Begins 29. Viradha's End 68. Sita's Joy 30. Ten Years Pass 69. Serpent Darts 31.
    [Show full text]
  • Literary Horizon an International Peer-Reviewed English Journal Vol
    Literary Horizon An International Peer-Reviewed English Journal Vol. 1, Issue 3 www.literaryhorizon.com August, 2021 Protest of Woman through Silence in Sreedevi‟s “Shilpe-rupini” Dr. C. Arulmugil Assistant Professor of English, Saradha Gangadharan College, Velrampet, Puducherry, India. Myths are the important features in every culture and they have existed in every society. Indeed, it seems to be a basic constituent of human culture, because the variety is so great, it is difficult to generalise about the nature of myths but it is clear that in their general characteristic and in their details people‘s myths reflect, express and explore their self-image. The study of myth is thus of central importance in the study both of individual societies and human culture as a whole. Myths have always been powerful tools in managing societies. Myths have helped naturalising social orders. Myths have told us that this is how things have always been. But myths have also been used equally or powerfully by radical elements. Now-a-days many Indian writers demythify some characters in Indian mythology and make it more human and credible. Retelling of mythology is a common practice in literature. For the past few decades, the practice of retelling of mythology in literature, especially in Indian writing in English has undergone remarkable changes catering to the expectations of the modern readers. Retelling of ancient mythology is a common practice in Indian Writing in English. Starting from Raja Rao, the retelling of myth can be viewed even in the contemporary writer Amish Tirupathi. For instance, the portrayal of Shiva as a Tibetan in Shiva‟s Trilogy by Amish Tirupathi, the story of Karna through the eyes of his wife Uruvi in Karna‟s Wife: The Outcaste‟s Email: [email protected] Page 139 Literary Horizon An International Peer-Reviewed English Journal Vol.
    [Show full text]
  • Prayer Booklet
    PRAYER BOOKLET 1 HINDU RELIGION MANTRAS, SHLOKAS & BHAJANS 2 Table of Contents INTRODUCTION............................................................................................................... 7 WHAT IS DHARMA? .......................................................................................................... 7 THE SIGNIFICANCE OF THE SYMBOL OM .......................................................................... 7 MANTRAS AND PRAYERS ................................................................................................... 8 KIRTAN AND BHAJAN ........................................................................................................ 8 MANTRAS AND SLOKAS ................................................................................................. 9 OM MANTRA ................................................................................................................... 9 PRAYER FOR EDUCATION, ENLIGHTENMENT AND SUCCESS ............................................. 9 GANESH SHLOKA ............................................................................................................. 9 GAYATRI MANTRA .......................................................................................................... 9 PRAYER TO SARASWATI ................................................................................................... 9 PRAYER TO THE TEACHER .............................................................................................. 10 UNIVERSAL PRAYER FOR ENLIGHTENMENT AND
    [Show full text]
  • Select Stories from Puranas
    SELECT STORIES FROM PURANAS Compiled, Composed and Interpreted by V.D.N.Rao Former General Manager of India Trade Promotion Organisation, Pragati Maidan, New Delhi, Ministry of Commerce, Govt. of India 1 SELECT STORIES FROM PURANAS Contents Page Preface 3 Some Basic Facts common to Puranas 3 Stories related to Manus and Vamshas 5 (Priya Vrata, Varudhini & Pravaraakhya, Swarochisha, Uttama, Tamasa, Raivata, Chakshusa, and Vaiwasvata) The Story of Surya Deva and his progeny 7 Future Manus (Savarnis, Rouchya and Bhoutya) 8 Dhruva the immortal; Kings Vena and Pruthu 9 Current Manu Vaiwasvata and Surya Vamsha 10 (Puranjaya, Yuvanashwa, Purukutsa, Muchukunda, Trishanku, Harischandra, Chyavana Muni and Sukanya, Nabhaga, Pradyumna and Ila Devi) Other famed Kings of Surya Vamsha 14 Origin of Chandra, wedding, Shaapa, re-emergence and his Vamsha (Budha, Pururava, Jahnu, Nahusha, Yayati and Kartaveeryarjuna) 15 Parashurama and his encounter with Ganesha 17 Matsya, Kurma, Varaha, Nrisimha, Vamana and Parashurama Avataras 18 Quick retrospective of Ramayana (Birth of Rama, Aranya Vaasa, Ravana Samhara, Rama Rajya, Sita Viyoga, Lava Kusha and Sita-Rama Nidhana) 21 Maha Bharata in brief (Veda Vyasa, Ganga, Bhishma& Pandava-Kauravas & 43 Quick proceedings of Maha Bharata Battle Some doubts in connection with Maha Bharata 50 Episodes related to Shiva and Parvati (Links of Sandhya Devi, Arundhati, Sati and Parvati; Daksha Yagna, Parvati’s wedding, and bitrh of Skanda) 52 Glories of Maha Deva, incarnations, Origin of Shiva Linga, Dwadasha Lingas, Pancha
    [Show full text]
  • Hindu Sunday School Newsletter
    HINDU SUNDAY SCHOOL NEWSLETTER Connecticut Valley Hindu Temple Society, Middletown, CT September 2015 – May 2016 Discover Your Heritage, Your History and Your Hindu Faith Visit our web page at: www.cvhts.org/HSS.htm Lord Shiva Santhakaram Bujakasayanam,Padmanabham Suresham. LLLooorrrddd VVViiissshhhnnnuuu iiinnn AAAnnnaaannndddaaa SSSaaayyyaaannnaaammm Vishwadharam Gagana Sadhrusham, Meghavarnam Subhangam. Lakshmi Kantham Kamala Nayanam, Yogibhir Dhyana gamyam. Vande Vishnum Bava Bayaharam, Sarva Lokaika Natham. I adore Lord Vishnu who is the embodiment of peace, who lies on the Shesha serpent, whose navel is the source of the Lotus of the Universe, whose complexion is swarthy like the clouds, whose body shines with heavenly beauty, who is the beloved of Goddess Lakshmi, whose eyes are like Lotus, who is meditated upon by the yogis, who is the remover of the fear of the world-process, the cycle of birth and death. Editors team: Sanjeet Rakwal, Ramanpreet (Lily) Singh, Badri Narayanan, Sandhya Kalamadi, Harikrishna Govindram, Premkumar Nagabandi, Raja Chakarvorty and Anantha Venkataramanan. Disclaimer: Hindu Kids is created by the students and teachers of the Hindu Sunday School. The opinions expressed in the newsletter are those of the authors and do not necessarily reflect those of CVHTS teachers, moderators, program directors, Board of Trustees or Executive Committee members, assistants and/or staff, who also do not warrant or assume any liability or responsibility for the accuracy and completeness of the content or usefulness of any information or views expressed and published by the Hindu Sunday School. CVHTS shall not be liable for any damages or costs of any type arising out of or in any way connected with the newsletter.
    [Show full text]
  • SYMBOLS of STRENGTH OR of SUBSERVIENCE? VARYING STANDARDS of WOMANHOOD in INDIAN MYTHOLOGY and LITERATURE Lakshmi Sirisha Angajala (M.A
    VEDA’S JOURNAL OF ENGLISH LANGUAGE AND LITERATURE (JOELL) Vol.7 Issue 2 An International Peer Reviewed(Refereed) Journal 2020 Impact Factor (SJIF) 4.092 http://www.joell.in RESEARCH ARTICLE SYMBOLS OF STRENGTH OR OF SUBSERVIENCE? VARYING STANDARDS OF WOMANHOOD IN INDIAN MYTHOLOGY AND LITERATURE Lakshmi Sirisha Angajala (M.A. English II Year, K.L.E.F) Email: [email protected] doi: 10.33329/joell.7.2.94 ABSTRACT Women have been accorded varying statuses in the history of India and Indian literature. Ancient Indian texts such as the Vedas and the Upanishads have exalted the glory of women and celebrated womanhood as the most powerful, divine and empowering. As time progressed, however, the status of women has steadily declined. Post-invasion India imported standards and conventions from regions like Central Asia, Greece, Rome and other European countries. British India imposed gender roles that were an amalgam of the Brahmanical conventions and bourgeoise Victorian standards. The existing Indian literature was altered substantially to reflect these standards which were unfavourable to women. The Pativrata / Panchakanya tales stand as an example of such an alteration. The tales, which were simply depictions of the lives of inspiring women, were modified to preach domesticity and subservience to women. Modern Indian writers are reclaiming the tales by reinterpreting them based on modern literary theories and by unravelling the distortions made to the original lore. This paper seeks to examine the original Pativrata tales, the distortions made to the same over the course of time and their reinterpretation in the post-colonial period. Keywords: Mythology, Pativrata, Panchakanya, Victorian Gender Roles, Brahmanical Gender Roles.
    [Show full text]
  • Ramamurthy, Priti, Ed. Spotlight on Ramayana
    DOCUMENT RESUME ED 426 010 SO 029 230 AUTHOR Wadley, Susan, Ed.; Ramamurthy, Priti, Ed. TITLE Spotlight on Ramayana: An Enduring Tradition. INSTITUTION American Forum for Global Education, New York, NY. SPONS AGENCY Collaborative for Humanities and Arts Teaching.; National Endowment for the Humanities (NFAH), Washington, DC. ISBN ISBN-09-44675-54-9 PUB DATE 1995-00-00 NOTE 368p.; Funding also provided by CHART, Collaboratives for Humanities and Arts Teaching. AVAILABLE FROM The American Forum for Global Education, 120 Wall Street, New York, NY 10005; (Tel: 212-742-8232; Fax: 212-742-8752; e-mail: [email protected] ($40, based on numbers for quantity). PUB TYPE Guides Non-Classroom (055) EDRS PRICE MF01/PC15 Plus Postage. DESCRIPTORS Foreign Countries; *Indians; *Instructional Materials; Literature; Multicultural Education; *Non Western Civilization; Secondary Education; Social Studies IDENTIFIERS *India; *Ramayana ABSTRACT This collection of lessons was developed by teachers in an institute focusing on teaching about India and the Ramayana. Essays providing background information are "The Oral Tradition and the Many 'Ramayanas'" (Philip Lutgendorf) and "Bringing Ramayana into the Classroom" (Hazel Sara Greenberg) .After an introduction by Susan Wadley, a Ramayana glossary, a piece called "The Ramayana! A 'Telling' of the Ancient Indian Epic," and maps of India, the sections include: (1) "How is Ramayana Part of the Great Storytelling Tradition?"; (2) "To What Extent Does Ramayana Introduce India and Its Culture?"; (3) "To What Degree Does Ramayana Help Us Comprehend Hindu Values and Religion?"; (4) "How Can Ramayana Help Us Gain an Understanding of Hindu Rituals?"; and (5)"How Does Ramayana Reflect Change Over Time and Space?" There are 25 units with lessons throughout the five sections.
    [Show full text]