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A Study of Rashmi Bajaj's Nirbhay Ho Jao Draupadi

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A Study of Rashmi Bajaj's Nirbhay Ho Jao Draupadi Journal of Advances and Scholarly Researches in Allied Education Vol. II, Issue II, October-2011, ISSN 2249-4510 Rewriting Culture through Rewriting Myths and Legends: A Study of Rashmi Bajaj’s Nirbhay Ho Jao Draupadi Meenakshi Research Scholar CMJ University, Meghalya -----------------------------♦---------------------------- Indian women writers have obtained critical praise Frischmann). Myth and legends are common to all for their brilliant literary skill and making social cultures. The very fabric of how we view issues a key part of their work. Indian women ourselves, our society, and reality itself, is governed authors writing in English such as Kiran Desai largely by these two factors. Myths deal with and Arundhati Roy have earned international various aspects of a culture, some are meant to renown. But a number of Indian women writing in simply tell a story, most have a deeper meaning regional languages such as Hindi, Tamil, Bengali, hidden within the tale for the listener/ reader to Malayalam and Kannada have gained wider consider. It gives a religious explanation for recognition due to a strong and growing market something: how the world or a particular custom for quality Indian fiction in translation. “Regional began. A legend, on the other hand, is a story language literature has always been a vast which is told as if it were a historical event, rather reservoir of wealth waiting to be explored and no than as an explanation for something or a matter how much of it is translated into English; symbolic narrative. The legend may or may not be only the tip of the iceberg emerges. Hindi writing, an elaborated version of a historical event. in particular, holds an embarrassment of riches that is just begging to be tapped.” (Basu 6) In the Rashmi Bajaj’s en-route to feminism deals with multitude of such Hindi writings, Rashmi Bajaj – a Indian myths and legends in a novice way. She bilingual poet and writer in Hindi and English, instigates a dialogue with mythical and legendary stands out with her poetry collection Nirbhay Ho characters and questions the stereotypical Jao Draupadi for its amalgamation of fierce construction of the dependent and helpless sarcastic articulation of feminism and silky serenity woman. The collection opens up with the anguish of persoanl voice. She is dissatisfied with the of being helpless in dealing with the relations that given world and wishes to transform it by have proved oppressive for woman. In the poem redesigning the very cultural construction which “Parajay”, she explains to Abhimanyu that one forces a human to become woman. does not loses in fighting with enemy; what vanquises woman is when her own family turns The simplest way to think about culture is to think into foes: about the distinction between nature and nurture. We have a particular form and certain abilities Suno Parthsut! because of our biology and genetics. But our biological nature does not exclusively determine nahi hoti/ kabhi parajay who we are. For that, we need culture. Culture is the non-biological or social aspects of human life, shatru se/ kar yuddh basically anything that is learned by humans is Parajay/ hoti hai tab part of culture. Anthropologist Edward B. Taylor offers a broad definition, stating that culture is “that shatru/ ho jaye jab complex whole which includes knowledge, belief, art, morals, law, custom, and any other capabilities apna hi/ sainyabal and habits acquired by man as a member of society (Edward B. Taylor, Culture 1)” (Quoted in aur/ garbh ban jaye vadh-sthal… Available online at www.ignited.in Page 1 E-Mail: [email protected] Journal of Advances and Scholarly Researches in Allied Education Vol. II, Issue II, October-2011, ISSN 2249-4510 (“Parajay” 16) while Indra and Chandra cheated her and still remained god; her husband cursed her fierely and She becomes the spokesperson of all the married continued to be called great sage. Ahilya registers her women from ancient times till date and complains resentment against Lord Rama by asking him why he against the eternal tradition of women being touched her by his toe instead of blessing by hands tormented for the false sense of pride and respect of in the act of obliging her. Ravan’s wife Mandodari the family: puts into words her failure to rescue Sita from confinement by saying that she was not the queen Ek rahe/ ya/ paanch huye/ tum but a captive herself. She throws a new light over the characters of Manthra and Kaikeyi and sympathises kauno sukh/ naahi/ tumhri sharan with the otherwise considered negative characters: mere baate/ agnipariksha Manthra ho/ ya ho Kaikeyi mere hisse/ cheerharan. naari, tu/ chir/ mudhmati (“Sukh Naahi” 18) maang/ purush hetu/ satta Men have always used destruction as a means to apne sar/ kalank liya! solve issues. She chuckles at this trait of men: (“Chir Mudhmati” 85) Hey pati!/ Hey pita! Women writers have often proclaimed against the kyun tumhara/ nahi chalta/ bin tode-fode? cultural and social conventions that have contrained woman’s freedom and perpetrated a sort of gath-bandhan bhi/ judwate ho tum/ to tudwa kar/ dhanush institutional subjection of women. But the poet goes a kya/dhawans mein hi hai nihit/ pourush? step further by reconstructing the culture. She does not wait for any lord or scholar to write legends from ( “Pourush” 36) woman’s point of view and decides to rewrite the legends in order to redesign the culture. In this As Arjuna in Mahabharata, she finds herself confused attempt, she gives female legendary characters a in revolting against her own family and urges Lord chance to change their decisions. Gandhari now Krishna to write another Gita for the women stuck regrets her decision of blindfolding herself as a into the choice between affection and conscience: gesture of love for her husband: Hey yadunandan! Meri sthiti mein/ kahan vibhajan Kaash! maine/ baandhi na hoti kaurav-pandav/ adharmi-dharmi apni in aankhon par/ patti paap-punya ka? dene ko/ tumhara sath Tumhara Brahmgyan Dekh sakti/ mai/ paar tumhare mujhe/ moksh nahi de sakta badal deti khooni itihaas… Bolo,/ likhoge mere liye (“Pashchataap” 88) Bhagwati-Gita? And Urmila, who suffers due to her husband Lakshmana’s decision of accompanying his brother (“Bhagwati-Gita” 14) during vanvaas while leaving the newly wed wife alone at home, stuns Lakshmana by asking: From Ramayana, the poet chooses less discussed characters like Ahilya, Mandodari and Urmila. In “ Mai Hey Arya! Ahilya”, she gives Ahilya a chance to articulate her suffering. It is only Ahilya who is considered defiled Chale gaye van/ sang agraj tum Available online at www.ignited.in Page 2 E-Mail: [email protected] Journal of Advances and Scholarly Researches in Allied Education Vol. II, Issue II, October-2011, ISSN 2249-4510 chod peeche/ navvivahita/ for his notion of humanism calls woman “sarpini”, “sherni”, “paini churi”, “agni ki jhaal”, “vish ki bel” and aur kahlaye/ aadarsh bhrata “mahavikar”. Rashmi Bajaj in her much acclaimed book Women Indo-Anglican Poets: A Critique Sumitranandan! opines,“India is a land with a long poetic tradition. Our earliest scriptures and literature are espression of man’s Sochti hai/ Urmila/ kai baar, mind in verse” ( Bajaj Critique 9). She comes out openly and boldly in reprimanding them one by one and Kya kahlati wo/ chali jati jo/ brings to a close saying, “Tum bhi mere nahi Kabira”. jeeji ke sang/ chod peeche/ Finding all these false notions taking the shape of eternal truth, she reveals acute awareness of the tumhe/ v/ tumhara parivar? conspiracy of construction of culture as a means of subjugation. In “Shadyantra”, she uncovers the scheme: (“Sochti Hai Urmila” 46) Is/ janm mein/ tumhara/ In this rewriting of the legend, Sita too gets a chance to answer back Rama in the poem “Sita-Rekha”: ekmatr/ mahakarm hai:/ Vivah Mere Ram,/ aashwast raho/ tum! mahadharm hai:/ pati, patiparivar/ ki sewa kahin bhi aao/ kahin bhi jao/ In sadharan karyon ko/ mahimamandit karti Dhobi-dhobin ke peeche lag/ yeh shadyantrik paribhasha/ nahin mangungi agni-pariksha. tay ki thi/ un logon ne ( “Sita-Rekha” 103) jo nahi chahte the/ ki tum Nirvana is the supreme goal of many Indian religions kabhi bhi niklo/ is paridhi se and hence of culture. The poet redefines the concept of Nirvana in her poem “Suno Tathagat” as: V aa khadi ho/ unki pankti mein/ unke samkaksh Suno Tathagat! ( “Shadyantra” 86-87) Nahin hai/ nirvan/ The woman who was not allowed to study holy scriptures and was destined to recite “dhai aakhar chale jana/ patni, putr/ v sansar/ ko tyag prem ka, padhe so pandit hoye” only, is no longer satisfied with it. The closing lines of the poem ‘Karz’ Nirvan hai make it very clear to the culture founders that they can no longer fool her: “sab mithya hai/ kuch mera nahi” Ae saudagar! jante huye bhi/ muskura kar/ Seekh rahi main/ ab/ dhai aakhar se zyada har pal/ jeena lo sambhal aur chukana/ har ik/ rishta apna bahi-khata Kintu Buddh!/ aisi tapasya ( “Karz” 100) kar sakti hai/ kewal Yashodhara. The poet also takes into account the contemporary ( “Suno Tathagat!” 53) contexts of Eastern as well as Western worlds. In her poem “Laash”, she finds a striking parallel to Eastern Authors of various legends have played the most Lord Rama in Western Prince Charles. She satirizes: important role in shaping the false image of woman. Tulsidas has categorised woman with “dhol, ganwar, Congratulations/ Prince Charles! shudra” and “pashu”. Kabira who is known worldwide Available online at www.ignited.in Page 3 E-Mail: [email protected] Journal of Advances and Scholarly Researches in Allied Education Vol. II, Issue II, October-2011, ISSN 2249-4510 Diana/ DNA pariksha me/ utri hai/ khari saat phere/ lagati hai Tumhare hi/ ansh hain keemat/ meri zindagi ki Prince Williams/ Prince Harry.
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