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The Virangana in North Indian History: Myth and Popular Culture Author(S): Kathryn Hansen Source: Economic and Political Weekly, Vol The Virangana in North Indian History: Myth and Popular Culture Author(s): Kathryn Hansen Source: Economic and Political Weekly, Vol. 23, No. 18 (Apr. 30, 1988), pp. WS25-WS33 Published by: Economic and Political Weekly Stable URL: http://www.jstor.org/stable/4378431 Accessed: 13/06/2009 19:05 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. 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Economic and Political Weekly is collaborating with JSTOR to digitize, preserve and extend access to Economic and Political Weekly. http://www.jstor.org The Virangana in North Indian istory Myth and Popular Culture Kathryn Hansen Thepattern of women'slives and their orientationto social realityare significantlyshaped by the models of womanlyconduct set out in stories, legends and songs preservedfrom the past. The epic heroine type-the sacrificing,chaste loyal wife-is viewedas representingthe idealfor female behaviourat least among the high Hindu castes.Hindu mythologyalso offersanotherfemaleparadigm-the all-powerfulmother goddess. Between thesepolarities lies an overlookedand yet importantalternative paradigm of Indian womanhood:the virangana, the woman who manifeststhe qualities of virya or heroism. IN India as in other societies, historicaland Dworkinhave analysedthe attitudestowards among the high Hindu castes.The ideal may mythologicalaccounts of heroic behaviour women contained in the common fairy tale be far from the reality as experienced by frame paradigms which assist individuals heroinesSnow White, Sleeping Beauty,and many women.7 However, the prescriptive and groups in defining their identities, in- Cinderella,all of whom, she declares, "are force of the epic heroines is such that few culcating values to the young, and judging characterisedby passivity,beauty, innocence, can escape their example. The story of the actionsof others. Womenas well as men and victimisation"4These heroines figure Savitri, for instance, teaches unswerving are powerfullyinfluenced by the exemplars largelyin the reproductionof a culturewhich devotionto the husband,which, if faithfully of their culture. The patterns of women's diminishes women, from generation to practised, can endow the wife with super- lives, their expectations and ideals, their generation. naturalcapacities, even the power to bring orientationto social reality,are significantly In the personsof the fairlytale-the wicked back the dead. Passive endurancein adver- shaped by the models of womanly conduct witch, the beautiful princess, the heroic sity is the lesson imparted by Sita, heroine set out in stories,legends, and songs preserv- prince-we find whatthe culturewould have of the Ramayana who follows Rama into ed fromthe past. Eventhe contemporaryim- us know about who we are. forest exile. Willingness to suffer even self- ages of women promulgated in the mass The point is that we havenot formedthat immolation for the preservationof the hus- media-cinema, advertising, popular ancientworld-it has formedus. Weingested band's honour is enjoined by the examples music-owe much to the prototypes of it as childrenwhole, had its valuesand cons- of Sita's fire ordeal as well as the self- on minds womanhood inherited from older sources. ciousnessimprinted our as cultural sacrifice of Sati, wife of Siva. In each case, absoluteslong beforewe were in fact men Moreover, in countries like India, these the self-abnegationand subservienceto the and women.We have sourcesare sanctified by their great and takenthe fairytales of husbandare seen to age childhoodwith us into chewedbut bestow power upon the prestige. maturity, wife. Literarymasterpieces such as the still lying in the stomach,as real identity.5 This povWermay be used for various epics Ramayana and Mahabharataamong ends. but customarily it is For Dworkin, the woman-hating stance directed toward the welfare, and other repositoriesof ancient lore, continue displayed in the fairy tale leads directly to long life, good name of the to provide lessons to today's women and the exploitation of women found in literary husband and the couple's offspring, par- men, with an authority that even the tech- and cinematic pornography.In responseto ticularly the sons. The epic stories do not nologicallysophisticated current generation portraywomen as powerless,but define their this type of analysis, some feminists have accepts.1 power as derived from begun to rewrite the traditional European self-effacementin a The nature of these relationship of : culturally-embedded fairy tale corpus with the non-sexist educa- subjugation to the male. images and their ideological in Hindu mythology offers dominance tion of childrenin mind. guniti Namjoshi's another impor- women'slives has been an issue for tant female women's FeministFables providesa parallel example paradigmwhich contrastswith activistsin both India and the west. Madhu of an adult-orientedreworking of tales from the wifelyideal, namely,the mothergoddess. one Kishwar, of the pioneers of feminist various traditions. The goddess,whether manifest in her benign journalism in India in 70s aspect as Lakshmi or or in the and*8Os,ex- The mythic female figures most often Parvati, her more presses dismay at "the pervasive popular menacingform as Kalior identified in India are the well known Durga,derives her cultural ideal of womanhood" power from her conveyed heroinesSita, Savitri,Anusuya, and others. fundamentally relationship through mythic role-models: as mother rather than as a The classical epics are the texts which pro- spouse, role in It is woman a which she exercises as selflessgiver, someone who vide authoritativereferences for them, but distinctive female con- givesand givesendlessly, gracefully, smiling- trol throughthe ability to generateand nur- ly, whatever the demand, however the storiesare actually transmittedto most people through vernacular retellings; folk ture life. Outside of folk religion, however, unreasonableand harmful to herself... Sits, her power is often versionsin traditionalgenres of song, dance subvertedor leashed by Savitri,Anusuya and variousother mytho- subordinationto a male Thus or drama,or in the urbanareas, comics, pic- deity. each god logical heroinesare used as the archetypes is matchedwith a consortwho is ture books, cassettes, records.For villagers, understood of sucha womanand women themrsleves are as his activating energy or shakti, deeplyinfluenced by this culturalideal.2 the 'texts' are usually performances of theatre,music, and dance which recreatethe Philosophically, the individual goddess- Kishwar,while acknowledgingthe tenacity consorts may be subsumed under one of such mythologicalantecedents, urges that stories in a t4ually-charged atmosphere. Recently scholars have begun to examine universal energy-principle or shakti, of indigenous cultural traditions be reinter- which they are moreclosely the contextswhich elucidatethe considered manifestations. preted and appropriated by the women's The Hindu recognition of an underlying movement rather than be rejected from a significance of the text to the participants, female principlehas impressedsome obser- western modernist standpoint. Thus she and there is a new appreciationof the wide vers as a more positive formulation of asserts, "Our cultural traditions have range of meanings which an epic character woman'splace in the cosmos than that of- or story may acquire within varying social tremendouspotential within them to com- feredby the Judeo-Christiantradition. Joan- and performativecircumstances.6 bat reactionaryand anti-womenideas, if we na Liddleand RamaJoshi go furtherto ion- can identify their points of strengthand use The epic heroinetype-the sacrificing, nect goddess worship with a strong self- them creatively-'3 chaste, loyal wife-is viewedas representing image of women and a matriarchalworld- In the west, feminists such as Andrea the ideal for female behaviour at least view in India: Economic and Political Weekly April 30, 1988 WS-25 Theworship of the mothergoddess does not defence of her people. Above all, she is a tempt has been made to delve into primary constitutea matriarchy,but it doesconstitute fighter and a victor in the struggle with the historical documents and resolve the con- a matriarchal culture, in the sense that it forces of evil. troversies regarding the events that took preservesthe value of womenas life-givers The evidence for the virangana is derived place duringtheir reigns.The synopsesgiven and sources of activatingenergy, and it first of all from the historicalrecord, which
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