women in Ramayana – Feminism and Religion

vibpic Although “the” Ramayana is a fluid narrative, scholarship has traditionally recognized the Sanskrit Valmiki Ramayana as the most authoritative of Ramayanas. But recent studies have brought to light the hundreds of regional stories of Rama and Sita which are more popular with the masses. These would include Krittibasa’s Ramayana in Bengal, Kamban’s Tamil Iramavataram in South India, notably in the state of Tamil Nadu, Tulsidas’s Ramcharitamanas among the Hindi-speaking belt of northern India, and so on. But even here, a pattern seems to emerge; all the above-mentioned authors are male. Within this scenario, a rather unique text stands out, and that is Chandravati’s sixteenth century Bengali Ramayana, for its author was a woman. Even more fascinating is the double-toned nature of the narrative – through Chandravati’s own voice and through the voice of its tragic heroine, Sita.

Chandravati (ca.1550-1600) was born in a village in eastern Bengal, today in Bangladesh. It is impossible to ignore the tragedy of her own life which perhaps played a role in her re-fashioning a well-loved epic; her Ramayana is built on a recurring theme that defines women’s lives – the theme of sorrow. Born the daughter of a poor fisherman, legend has it that on the eve of her wedding, her fiancé ditched her for another woman. A devastated Chandravati vows to never marry, instead becoming a devotee of Shiva, and at the urging of her father, takes to re-writing the Ramayana. But rather than simply recount the traditional tale, Chandravati, through the Ramayana – that symbol of Hindu patriarchy – turns the story into one lamenting the pitiful lives of women by centering it on Sita. That it is a story by a woman and for women is evident in the fact that Chandravati addresses her narrative with the vocative, “Suno Sakhijana!” or “Listen, my girlfriends!” rather than to members of the court as was the traditional salutation for stories involving mythological characters. Continue reading “The Chandravati Ramayana: A Story of Two Women by Vibha Shetiya”

Vibah Sita, as many know, is the tragic heroine of the Ramayana who gets discarded by her husband Rama because he doubted she had remained chaste while in his arch enemy Ravana’s captivity. Moreover, she is the “ideal Indian woman” in popular imagination because she remains loyal to Rama no matter how unfair his treatment of her. But there is another female character in the epic who meets perhaps a far more violent fate.

Unlike Sita, however, Shurpanakha gets little sympathy from the readers because she does not stick to her socially assigned roles. I would like to talk about Shurpanakha and how she comes to symbolize all women who transgress societal boundaries, while also stressing the fact that although she is often presented as Sita’s opposite, the two share far more in common as women; both Sita and Shurpanakha deserve our compassion and empathy.

In the traditional Sanskrit text, Valmiki describes Shurpanakha as “maddened with desire” when she first beholds Rama’s beauty. The poet then goes into a rather lengthy description of what she is not by comparing her “unsightly” presence with Rama’s exemplary beauty, thereby affirming the fact that she does not deserve to be visible because of the physicality of her body. Upon his enquiring, Shurpanakha tells Rama that she, who roams the forest alone and according to her own will, is the sister of Ravana (who later kidnaps Sita), and she makes it a point to add that she is more powerful than all her brothers. She then declares her undying love for Rama and asks him to be her husband, after which the two of them could seek adventure amid the forest together. Continue reading “Women First, Rivals Later by Vibha Shetiya”