INTERVIEW: Traditions Versus Misconceptions
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Traditions Versus Misconceptions Romila Thapar talks to Madhu Kishwar and Ruth Vanita Shadow play puppet in leather illustrating Sita; Andhra Pradesh, 19th century (Crafts Museum, Delhi) Romila Thapar 2 MANUSHI From an assertive young woman who woman is shy, reserved, obedient than The situation of women in India enters into a marriage on her own one in which she is assertive, insists on today is often characterised as being strength and makes a precondition, she a condition before accepting a marriage .heavily influenced by tradition. How becomes proposal, and defends herself with great do you look at traditions and how they a submissive, obedient, retiring vigour when the king refuses to affect our life ? young woman. She is so overwhel-med recognise her status. So, the way in Very often, when we wish to insist by her love for Dushyanta that she is which present day society picks up a on a particular form of beha-viour or incapable of arguing for her rights. Also, tradition is determined by present day attitude or value system, we simply say, later, it is not so much Shakuntala who attitudes to women. “this is traditional”, the assumption demand her own and her son’s rights as being that it has been handed down to it is Dushyanta who, after he fails to What we regard as tradition us, unchanged, over a long period of recognise her and she leaves the court, time. That assumption is incorrect. becomes desperate to recover the lost today may have been invented Because traditions, even when they are heir apparent as well as his love. four or five generations ago. handed down, do not remain frozen. I think it is interesting that today, Nothing comes to us in a In the sheer process of handing whenever we talk about Shakuntala, we completely pristine form down a tradition from one generation to talk about the Kalidasa version. But if through the centuries. another, it is bound to change. Also, what one talks about tradition, the audience we regard as tradition today may in fact for the Mahabharata version would be something that was invented four or have been much larger. There would have Would you say that similar choices five generations ago. Nothing comes to been many more people listening to that of versions have been made in the case us in a completely pristine form through version. The, Kalidasa version was only of the ‘Ramayana’ ? the centuries. available to a small court circle. The versions that are always talked Once we recognise that traditions By projecting today only the Kalidasa about today and are popular, the version change, we have to ask when and why a version, we have exercised a choice in projected on television, for example, are particular change occur-red. Take the its favour. Obviously, we choose this the Valmiki version and the Tulsidasa example of the depiction of women in version and project it as traditional version. People are not told that there different texts, which have come to be because for our society today, it is more were many versions of the Ramayana regard-ed as depictions of traditional useful to project a version in which the. story. Some of them may have been prior Indian womanhood. In the Mahabharata to the Valmiki version. version of the story of Shakuntala, when In the Buddhist Jataka literature, Dushyanta meets Shakuntala at Kanva’s there are brief stories that relate closely hermitage, they have an open and frank to the episodes in the Ramayana. In one conversation after which he proposes such story, we are told that Rama and that they enter into a gandharva Sita were brother and sister, and they marriage which does not require any were exiled together with Lakshmana, rituals or ceremony. Shakuntala says she due to the fear of their wicked step- will agree only on condition that her son mother. Then, after Dashratha’s death, be declared the heir to Dushyanta’s their younger brother came to Rama and throne. They marry, he leaves, and a son asked him to return. Rama refused to do is born to her. After some years, she takes so until the stipulated period of exile was her son to Dushyanta’s court to claim completed. Eventually, after they his right as heir apparent. Dushyanta returned, Sita became Rama’s queen spurns and abuses her, until a voice consort. proclaims from the sky that the son is This relationship between brother Dushyanta’s legitimate child. He then and sister tells us a great deal about the states that he had merely pretended not assumptions of society at that time. The to recognise Shakuntala because he origin of the Shakya clan, to which the wished his people to have proof that the Buddha belonged, is, in Buddhist texts, child was indeed the legitimate heir. traced back to a brother-sister union. The But when the playwright Kalidasa relationship need not necessarily be picks up the theme, he completely Sinhalese artist George Keyt’s taken literally. What is being sug-gested changes the character of Shakuntala. Shakuntala — docile and curvaceous symbolically is that there is something NUMBER FORTY TWO-FORTY THREE, 1987 3 Paumacharyam and is written in Prakrit. It projects a different point of view from the Brahmanical view projected in the Valmiki version. Of course, we are not certain as to the details of.the original Valmiki version because the version we now have has been worked over by the Brahmans at some point and what was in origin a secular text converted into a sacred: text. How does the Sita of the Jaina version compare with the Sifa of the Valmiki version ? In the Jaina version, Sita is a much more assertive person. The kidnapping occurs but it is not the central event. Rama and Laksh-mana visit a number of royal courts. They do not just travel through forests. So the kidnapping is one event in an eventful story, not the sole focus of the story. Second, the relationship between Sita and Ravana is also different. Ravana is not a demon. He is a Jaina who has Rama and Sita—from an illustrated manuscript, date unknown. The artist’s conception of their features, figure and costume is very different from the version popularised today, for example, through the current TV serial. special about this lineage and perhaps a also south east Asian versions. In some, social demarcation is being established Sita is the daughter of Ravana ; in others, between it and others. she has some sort of kinship relation with Therefore, when a popular ver-sion him. As the story travelled to a new area, of the Ramayana claims to be projecting the social structure of that area, the kin a tradition, the Ramayana parampara, relations, ethnic relations, and belief Detail front a Malwa painting, Circa it is absolutely necessary that people be structures of the people there, influenced AD 16SO, showing Ravana with a told that alternate versions also exist, that the way in which they reconstructed the donkey’s bead atop his 10 heads. it was not a single tradition, but a floating story in accordance with their own Originally, the 10 heads symbolised tradi-tion of stories which were picked system of values and beliefs. Ravana’s multifaceted wisdom. up by different groups of people and This is the much more exciting part Portraiture of this kind reverses their changed in different ways. This is the of the Ramayana. At formal conferences significance. way epics are usually created. Stories are scholars tend to concentrate discussion (Courtesy National Museum) picked up and collected and put on the uniformity of the text, the similarity together. So, if the Valmiki version puts of the different versions. In fact, the practised austerities that give him together the floating tradition from one disparities are much more crucial and command over himself and others. He point of view, the Buddhist and Jaina contribute to the richness of the texts i& attracted to Sita as a person and there versions put it together from other points and need to be explored. The Jaina is no leering or vulgarity in the of view. version, for example, is an important relationship. He is really con-cerned that There are many folk variants too, and alternative version. It is called the she should respond to his love and upset 4 MANUSHI that she does not do so. Sita is not faced by a demon of whom she must be terrified. What do you think of the Tulsi version How do you account for the She has to react as one person to another in this respect ? transition from the story as poetic epic person. She has the right to respond or Well, I think the Tulsi version is a to one that is overshadowed by divinity? not to respond. very depressing version as far as women Probably, there were different cycles In the end, both Rama and Dashratha are concerned. Quite apart from the now of stories floating I around, stories about become Jain munis. It is Lakshmana, not famous verse where he refers to women Ayodhya and stories about Lanka, which Rama, who kills Ravana so Rama is not and Shudras deserving to be beaten, got linked together as the Ram Katha. there are many other disparaging The first change that occurred, roughly comments about a woman’s nature. in the period before the early centuries lgt vikofu ukfj Tulsi’s Sita is also submissive and the AD, was that the hero became an ifr lsor delineation of character in general tends incarnation of the deity.