Feminism And Nationalist Themes

Feminism And Nationalist ThemesThe twentieth century Indian literature has worn- out(a) a affectable heart of its themes especi every last(predicate)y feminism and nationalist themes from two major epicals The Mahabharata and The Ra mayana. Like pa agency in European finale these two major epics dominates the Indian culture strongly and powerfully because they discuss wholly the major problems that ar con front man by apiece(prenominal) kinds of people. They discuss the issues of social inequality, gender inequality and for the decentlys of the take d take caste people comparablewise. Especially in India, for most of the people, myth is a em ashesd reality, is a part of mavins lived reality, both day existence, and large communities of people live by myths. As Daniel Tehapda, the philosopher from Cameroon states in La Place du my the dans Lexistence du negro-Afri jackpot. A nonher tyro Ritwik Ghatak says the purpose of u pitg much(prenominal) ancient myths a nd traditional music is to ever more(prenominal) point to difference of opinionds well-nigh dormant inspiration that lies hidden in reality.Sita, the feminine protagonist of the Ramayana and Draupadi, the female protagonist of the Mahabharata implement way be cope signs or cultural icons as pativratas (ideal wives) and as earth born Goddess. In the epics and in the culture that influenced and is influenced by them, a muliebrityhood al unrivaled, a woman the powerful, a woman capable of bringing shame upon her family-that is to say, either woman is a woman in need of control. On a relatively stark level, she is expectationed as vulnerable creature in need of masculine protection. More insidiously, she is seen as essentially unable to control her own fatal force. But literary school school texts view as brought subtle readings of these two epic women- sita can wage a psychological war against her captor Ravana Draupadi can argue.The Mahabharata, attri preciselyed to Vya sa, is generally agreed to wargon been composed between 500BCEto 400CE. The Ramayana, attri aloneed to Valmiki, is samely between 200BCE to 200CE. In the el stock-stillth century, the Tamil poet Kamban wrote a recension in the south, and in the sixteenth century,Tulsidas translated the epic into Avadi(old hindu),which was later brought into Bengali by Krittivasa,and into modern Hindi. William Jones translated it to English.Both the epics recension of oral and written have got emerged in all major Indian languages, as well as in European languages, from palm leaf into paper, drama, film, poem, etc. When one enunciates of epic in India at large, with its literate and non literate audiences, no one written text is necessary to mind Mahabharata or Ramayana is more likely to be envisioned. Doordharshan televised variant of Ramayana, generally based on Tulsidas, that incorporating opposite major texts, faithfully watched by over80,000,000viewers, rough of whomBathed onwards watch ing, garlanded the set like a shrine, and considered viewing of Rama to be a religious experience. (Rich man 3)Most of the versions of epics focus upon the tradional heroes (Rama in the Ramayana, the Pandava associates in the Mahabharata) lone nigh(prenominal) very few versions focus the views of the heroine. India is casted as Bharathmata, a matriarchal figure who has been captured, insulted humiliated by evil men or rakshasas (demons) Draupadi at the books of Duryodhana, Sita at the haps of Ravana. Social activists or writers perceive the sliminess and power of sita and Draupadi to rescue from their avenging figure to liberate one of a nation, of a gender, of a class.This chapter concentrates on the major crisis Sitas reunion with Rama at Valmikis Ashram Draupadis humiliation at Hastinapura later on Yudhistra has lost her in a game of dice, the innocent lives of innocent people was written or reworked in literature.Mahaswetha Devi says,Im not a disciple of hi written re port and anyway I read, I wrote, then I tore outside the pages, I collected folklores, ballads, things like that. I was drawn to the broad importance of collecting the oral traditions. I was only 26 or 28. Because at the measure Thakur mansingh was operating. I had left my child parole at home with my husband. I went to all these places. Never have I faced any danger, except one small Encounter with a dacoit. That was the time when I realized that oral tradition, folk material, is very strategic of historical, material. So those moldiness be kept and preserved and printed if possible, because when these people die, the coterminous generation, their carriage style might change, they testament not see these. Indian people anywhere, tribal or non-tribal whatever happens they decl be it alive in folklores. Else, you leave alone be surprised to know how legion(predicate) songs or so Telegana peel have been collected and published.I have taken aft(prenominal) Kurukshetra st ory collection, Dopdi from Breast Stories and Ambais Atavi for the study. In all these stories, the women move on. They do not reckon for endings. They meet the demands of liveliness and chance resolutions in nature.The Mahabharata and the Ramayana has received a peachy deal of exegetical and explicatory attention over the years, yet the spokespersons of the oppressed in the great epic have remained a somewhat neglected product line of critical enquiry. Mahaswetha Devi and Ambais palpable intention is to underscore the distinguish between the Rajavritta and Lokavritta, in which one Honours and celebrates life. Kunti and Nishadin epitomize these two contrasting instauration vies respectively.The 15th chapter of the original version of the Mahabharata the ashram Vasik Parva describes the three years conciliate of the three long-familiar characters of the great epic Dhritarashtra, Gandhari, Kunti- in a timberland towards end of their lives. After fifteen years of reign, th ey opt for a life of vanaprastha which is the third of the quadruplet stages of life, prescribed tradition for a caste Hindu, the stage of devastateing adult malely affairs. often against his wishes, Yudhistra lets them go. One day, as Dhritarashtra finishes his ablutions and returns to their hermitage, he comes to know that the tone has caught assoil. The wind blows and the flames spread everywhere. The animals and the birds start deserting the forest. The blind Dhritarashtra, Gandhari with her blindfolded eyes and kunti, all a postponement close, ready to give themselves up to the flames. They have spent their times in penance, prayers and yogas till their death in the forest-fire.In her attempt to rewrite the story, Devi has made a match of brilliant interpolations-Kuntis confession, her guilt-stricken conscience at being single bewilder and her weakness in not acquiting Karna as her son in public. What shocks her more is the Nishadins reminder of a greater crime com mitted by her, of which she was whole unaw are, that is, the murder of six innocents belonging to the lower caste society. In her access to the politics of literary theory and representation, Pankaj.K.Singh states that,this is an interrogative rewriting of a surgical incision of the Mahabharata from the point of view of the Nishadin whose m opposite-in-law and her quintette sons were made to die in the fire of Lakshagriha to cover the escape of Kunti and her sons, and who holds up for interrogation the whole practice of Rajavritta.Commenting upon its cotemporary relevancy Singh states further thatcontemporary India has its own subalterns in the lower castes, the tribal, the land slight, the poor and their women, Devi gives articulation in her writing.Devi says, its my realization that the more we read through the lines and give voice to the countless infantryman used to protect the landed epical heroes, the dasis (mother of vidura, mother yuyutsu and countless others) and the vr atyas used as cannon fodder during rajavritta emergency, the more the unreal time come into focus and the eternal game of politics comes into view.The first gear thing which strikes us, as the story opens, is the pitiable, pathetic plight of Kunti, the mother of right on pandavas, queen of Pandu undergoes an existential despair, Mother of the Pandava, wife of Pandu, the role of a daughter-in-law, the role of a queen, the role of a mother, p reposeing these hundreds of roles where was the space, the time to be her ad retributory self? All that while, amazingly she neer felt that anything was hers, hers alone.She feels betrayed by life, now, she careen bear to keep it all locked inside her. But neer assay to learn the life style of Nishadins, even she did not care their presence, one day she sees some middle-aged Nishadins moving about the forest with their children and families Kunti neer tried to learns the language they speak. Kunti is not happy, she laments of her prese nt situation, whereas Nishadins are happy without any crumbling.This forest is full of tall, resinous trees. They gather this resin, honey, tubers and roots. They seem to be a tranquil, happy, hardworking lot, their faces always wreathed in breath smiles.After watching nishadins life Kunti feels that she has wasted her life by hobby the rituals of rajavritta. Watching Nishadins, it strikes her for the first time that she is wasting herself living like this, subsisting on rotting, withered leaves. Blindly play alonging predetermined predestined path to death.Then realizes that, she never knew that she carried within her such a burden of unspoken eyeshots.She feels guilty of being on unwed mother to Karna, one of the greatest heroes of Mahabharata and her economic aidlessness, in accepting him openly as her son because of the oppressive patriarchal social order gnaws aside at her conscience, Karna looked so much at peace as he lay there, exsanguinous. Gandharis piercing cry at t he sight of Karnas body struck me like a whip. Why did I not have the courage? To provenience Karnas severed head in my lap and say, this is my first born? Dhananjaya You have murdered your eldest brother The son I abandoned for business organisation of public shame Had I not disowned him, my name would have been sullied forever. Karna is the only one of my sons whose father I took of my own kick will. What ridicule What irony Not one of the quintet dollar bill pandavas as is sired by Pandu Yet they are Pandavas. And Karna? A carpenters son. O Ancient mother That day Kunti stayed silent. What greater sin can there be? Gandhari knew she was pure and innocent. This knowledge gave her courage to publicly speak the truth.Death is approaching slowly towards her and she feels the urge to unburden herself before she dies. She knows that the confession at this stage is urgent because Silence would be unpardonable. Then, her indorse confession, its about when she directly went to Karna asking him to leave Duryodhana and join to Yudhisthira I hesitated no more. I have not committed just, one sin, after all. I had not told my sons about the birth of Karna. Then, the day before the battle, I went to Karna and told him, abandon Duryodhana, side with yudhisthira.At this time she feels for being Rajavritta, living in the Rajavritta makes one cunning, treacherous. Because love did not dry Kunti to meet Karna only her self-interest did.Against the world of Rajavritta, the dark Virgilian world of deceit, duplicity and double honorable upriseard contains the world of Lokavritta, world of Nishadins that is guided by natures law, where diametrical standards of judgments do not have any place. Natures law. Nature abhors waste. We honour life. When a man and woman come together, they create a new life. But you wont understand. As the Nishadin proudly declaims Kuti, we do not deny the demands of life. If we are widowed we have the right to remarry. Those who wish to, can m arry again. We did so. We have husbands, children an eye for an eye, a tooth for a tooth that is the way of the Rajavritta. That is what Kurukshetra was all about. The Lokavrittas ways are different.The conversation between Kunti and Nishadin brings out the lancinating contrast between the worlds of Lokavritta and Rajavritta, the Rajavritta folk and the Lokavritta folk have different values, different ideas of right and wrong. If a young Nishadin girl makes love to the boy of her choice and gets pregnant, we celebrate it with a wedding.After the conversation Kunti understands clearly that Lokavrittas moral and spiritual ethics have been prohibited by the Rajavritta and which does not relinquish her to lead instinctive life and to confess her sin.It is in the forest Kunti realizes her professedly self, do not forgive me, o mother The brute wealth of the royal palace, the might of the son on the throne, I felt caged and divide to pieces.Kunti dreams of her past life. She recall s her life as Rajavritta, the life of Rajavritta was so different, and she had so many roles to play. Deep in the forest she notices the Nishadins but nothing registers on her mind, oh, yes, I not only understand it, I speak it too. Of course you never thought of us as human, did you? No more than mute rocks, or trees, or animals.The Nishadins are so self-composed, hardworking, innocent people. But Rajavritta knows only to face the Brahmins and worshipping the Gods. Kunti does not remember ever talking to a lower-class people, how could they? Her life had been the Rajavritta, the Gods, serving the Brahmins. Had she ever spoken to a dasi? Had she developed any sure-enough(prenominal) bond with hidimba? Life right(prenominal) the Rajavritta had not touched her at all.Kunti wishes to confess, to vagabond herself of the sins she had committed. After every confession Kunti finds herself at peace, cleansed light and on every occasion. The nishadins hear her maternal lamentations, but Kunti believes them to be as dumb as rocks. Nishadins do not know her language or Kunti their, still the fourth-year nishadins reprimands her no confessing of sins today? Youyou Ive heard you out day after day, waiting to see if you will confess your gravest sin. Your languagelikes mine? Oh yes, I not only understand it, I speak it too. Of course you never thought of us as human, did you? No more than the mute rocks or animals.The aged(a) Nishadin accuses her of committing the most heinous crime, the massacre of innocents for self-interest. As the Varanavata episode from the Mahabharata was a confederation to kill Pandavas. But the Pandavas came to know the plan of Kauravas and hatched a counter-plan for survival. When the vax palace was set to fire by the trusted soldiers of Duryodhana, the pandavas escaped through a secret tunnel. In order to make the Kauravas to believe that Kunti and Pandavas were burnt to death, an ripened Nishadin and her five sons were invited to a feast and oceans of wine were served with food. The innocent Nishadin and her five sons drank too much and slept well. The elderly Nishadin, in Mahaswetas story whom discusses with Kunti is none other than the daughter-in-law of the dead old Nishadin. Kunti is shocked by this revelation and fears for her life. The elderly Nishadin makes clear view of their (tribal) ethics to kunti. She says, no I wont kill you.The Nishadin informs Kunti that a forest fire, which is disastrous raw(a) phenomenon, has already broken out. She says, Yes, we can tell, from smelling the air, just as the other creatures of the forest can, that a fire has started. That is why they are fleeing like we are. Where to? Far out, beyond the reach of the forest fire. Where there are mountains, lakes and winding rivers.Kunti asks for forgiveness but the elderly Nishadin says, three blind, weak and flea-bitten people cannot make it there. One is blind from birth, another has chosen to be a blind, and you, you are the b lindest of the three. The thought of forest fire makes Kunti fearful but the Nishadin is not ready to forgive. She believes that it is easy for the Rajavritta to commit sin. to beg forgiveness is regular of the Rajavritta . The narrative ends with Kuntis acceptance of the destiny with the sense of finality. She got up. She has to go back to the Ashram. lodge for the forest fire. Dhritarashtra and Gandhari, after their impairment of a hundred sons, are waiting patiently for death, waiting for the final fire to consume them. Kunti also welcomes death. In the story the five women, the narrators are five war widows, their husbands, foot soldiers, died in Kurukshetra war to protect the chariot mounted heroes. these women are not of the rajavritta, women of royalty, nor are they servants or attendants. These women are from the families of the hundreds of foot-soldiers Podatics from various other little kingdom. The women of Rajavritta strictly follow the ordeal but the women of Jana vritta lives life in close association with the natural world. The Rajavritta is represented by Kunti, Draupadi, Subhadara and the pregnant Uttara where as the five women from the Kurujangal represent the Janavritta. I am Godhumi. This is Gomathi, holding my hand. That is Yamuna, with the red spot between her brows. That one stand there with a finger on her chin is Vitasta. And this is Vipasha, Vitastas sister.The five women consider the war as futile clash of egos, so many great kings joined in a war between brothers. Some take up one side, some cross over to the other. It was not just brother slaughtering brother. We know of quarrels jealousies rivalries too. But such a war for just a throne? This, a holy war? A righteous war? Just call it a war of greedThe five women are appointed to keep Uttara company and help her to overcome her grief. But to Uttara all the five women seems to be inseparable. the five women seem to think as one. They are so close that they seem to understa nd each other without words, speak to one another with their eyes alone. They look, they understand. The ships company of these five women is in contrast to the isolation of the women of the Rajavritta. Uttara feels as a stranger to them. Uttara, like the other women of Rajavritta believes that all the soldiers who died in the holy war are very secured in Divyalok the heaven, but the five young women reject this idea. Gothumi says, no chariots came down from Divyalok. They did not go to heaven. The foot soldiers, died fighting in the very same Dharmayudha. But no funeral rites were held for their souls.Further they reject the idea of Dharmayudha, this was not out Dharmayudha. Brother kills brother, uncle kills nephew, shishya kills guru. It may be your idea of dharma, it is not ours.The Janavritta women enjoy the public participation where as it is denied to rajavritta. Thus Uttara expresses surprise, imagine men and women singing together.The rajavritta women have no companionshi p or bond with their child, at best her child will stay with her a year. After that, the wet nurses will take over its upbringing. regal offspring are not raised by their mothers. Then will begin the prescribed rites and rituals, the self-denial, the penance.So, this story clearly shows that the rajavrittas were restricted by morose notions of high civilization. The natural human state is represented by the five Kurunjugal tribal women, whose life, ideas and quests are opposite to the destructive and sterile attitudes of the higher class of society. Uttara understands the difference and is not ready to leave them. But as widows of rajavritta, all the women (widows) concerns only for Uttara and not for the five young widow. Rajavritta women expect them to give a good company to Uttara because she may beget a son for the throne. how sickening her mother-in-law are Draupadi, Subhadara, all the others, are deeply worried. If Uttara bears a son, he will be a king. After becoming so cl ose with the five people Uttara used to question, did the rajavritta the royalty ever care to know about the Janavritta common humanity? through the story the five women Mahasweta Devi reveals to the reader the other side of Kurukshetra war and the ingenious of rajavritta women towards Lokavritta people.The third story, Souvali focuses on the irreconcibility of the rajavritta and the Janavritta. Souvali is a antecedent handmaid who served to Dhritarashtra and bore him a son named Souvalya known as yuyutsu. Souvali, a woman from Janavritta is forced to send her son to the Gurugrigha at the age of five. She is not able to bare the life of Janavritta so she gives up her dasi status and lives outside of the town, waiting for her son to return.On the margins of the town live the marginalized. Their settlement is a lively, noisy place. The alleys are narrow, the houses small. Ponds here and there, surrounded by trees, cattle sheds beside the huts. There, on the stoop of a large hut, s at Souvali.Souvalya is insulted and discriminated from the Kauravas, Dasiputra Slave child Its because of this Dasiputra that you got water from a sons hand Kunti Gandhari Gandhari never once, in all these years, acknowledged you as a Kaurava. But he only performs the last rites (tarpan) for Dhritarashtra after the forest fire.The conversation between mother and son reveals that Souvalya is happy to rise in a higher place the status of dasi-putra by the pandavas. But his mother is not happy to accept the recognition rather she calls it as a farce. She wants her son to be a Janavritta, her son is foolish. Following the norms and customs of royalty even though he is one of the common folk. She thinks to herself, if you must learn, learn from your mother. I was nothing but a dasi in the royal house-hold but here, amongst the common people, Im a free woman.This story shows the difference between centre and the margins of society. its true. Its in the janavritta,amongst the common peop le, that we are in touch with our natural emotions. Tenderness,caring,compassion romance,love anger,jealousy. But in the rajavritta,you know how they keep such natural emotions strictly in check.Thus, mahasweta devi shows the two types- the subaltern as gendered subject and the subaltern as class subject clearly. The charcters exemplify the collimate problems of class and gender.Mahasweta devis another story draupadi concentrates on the major crisis of drupadis humiliation at hastinapura after yudhistra has lost her in a game of dice.Briefly the Mahabharata chronicles the rail line and the escalating conflicts of two sets of the brothers, the pandavas and the kaurauvas,for ruler ship of the land. In most recensions, drupadi is born from the earth(although some have her emerging from the fire of her fathers ritual sacrifice). Not long thereafter (she emerges as a young woman of marriageable age), her father arranges a sw aymvara, a gathering of eligible men who compete for her hand in marriage. Arjuna, the third of the five pandavas,wins,as she had hoped he would. But when he returns with his brothers to tell their mother the joyful news, their mother thinking he has won some material goods, commands him to share his winnings with his brothers. As her word can never be taken back, arjuna must share her, to the consternation of all.Draupadi marries all five pandavas in turn, yudishtra, the eldest and wisest Bhima,noted for his physical strength and tenderheartedness Arjuna, the consummate warrior, booster rocket of Krishna, and Draupadis favourite and the twins nakula and sahadeva, celebrated for their good looks. They device an arrangement to carry away jealousy beginning with Yudhisthira, each brother ha sole right of conjugal acces to Draupadi for a year at atime, during which the other may not even accidently enter the marital bedroom. Draupadi bears a son to each husband.Eventually, collectible to pressure exerted upon them by the king Dhritarashtra, t he two sets of brothers reconcile, although mutual suspicion remains. In a move of anticipatory, Dhritarashtra divides up the kingdom between the two sides of the family fractional to the pandavas and the other half to the hundred kauravas, an arrangement most unsatisfactory to the kauravas. The preeminent kaurava , Aduryodhana, arranges for yudhisthiras horse sacrifice and coronation,followed in the kauravas grand forum hall by a ritual game of dice in which players are divinatory to ceremonially lose to the new king. But Duryodhana puts his maternal uncle Sakuni, a rule at dice, to play in his stead, and the loaded dice take away yudhistras land, wealth and slaves. Yudhistra then stakes each of his brothers in turn, again losing each time. He stakes himself, and again he loses.While the pandavas, stripped to their undergarments, stand aside helplessly as slaves, Duryodhana demands that Draupadi be brought out of the womens hall, and sends a courier to fetch her. Informed abou t what has just occurred, she asks whether Yudhishtra lost her before or after he lost himself, and argues that one who no longer owns himself cannot own another to give up. She sends back the messenger. Another messenger is sent, and again returns. Finally, in frustration, Duhshasana himself goes to the womens hall Drupadi tells him to leave her alone that she is having her period and unable to come to mens gathering. Ignoring her protestations, he drags her by the hair out to the assembly hall, where she pleads in vain with her husbands to help her, which they cannot do. Draupadis fury unmans all present. A debate ensues, interrupted by Duhshanans demanding that Draupadi be stripped, and Duryodhana laughingly patting his thigh to invite her to sit.This humiliation in the assembley hall is Draupadis primal crisis, and is related in varying ways. Most recensions show her caling for Krishna to protect her some show her merely as being jeeringly told to pray. In either case, a mirac le occurs as Duhshasana pulls at the cloth, Draupadi remains clothedsari after sari appears, and ultimately, after pulling off hundreds of saris, Duhshasana collapses,weary and confused. Dhritarashtra halts the proceedings and grands Draupadi twoo boons. She asks for the freedom of Yudhisthira and for that of the other pandavas. The king grands freedom to every one, and restores all of their posssssessions and land to the pandavas. A bet on dice game ensues, which Yudhisthira again losesthe terms of the loss are that the pandavas must go into exile for twelve years, remain in exile in disguissse for another year, after which their half of the kingdom would be restored.draupadi follows them into exile, and tjhrought their years away from the kingdomis most eager for revenge Bhima fulfill his promise to break Duryodhanas thigh and to drink Duhshasanas blood.A reworking of the mahabharatas assembly hall scene, draupadi brings forward the struggle of a santal woman(black like the epics draupadi, for whom she has been named by her mothers master). A cadre in the naxalbari rebellion, draupadi, in the text referred as dopdi is ultimately captured by senanayak, a Bengali army officer whose expertise in anthropology makes him perfect for the task of apprehending tribals. in order to destroy the enemy,become one . senanayak has become one just as in the Mahabharata , kauravas mean to wipe out draupadis husband,the five pandavas. Both the narratives clearly show the struggle of less powered people at the hands of powered ones and the less powered peoples wake of the powerful cheating. Similarly to the disempowering of the epic draupadis husbands,who,enslaved by the loss at the dice,cannot move,dopdis husband is murdered. on one such search, army witness Dukhiram Gharari saw a young Santhal man lying on his survive on a flat stone, dipping his face to drink water. The soldiers shot him as he lay. As the 303 threw him off spread- eagled nd brought a bloody scintillat e to his mouth, he roared Ma-ho and then went limp. They realize later that it was the redoubtable Dulna Majhi. She refuses to fall into the armys entrap by going to bend his body.The problem is thus solved. Then, leaving Dulnas body on the stone, the soldiers climb the trees in green camouflage. They embrace the leafy boughs like so many great God pass and wait as the large red ants bite their private parts. To see if anyone comes to take away the baby. This is the hunters way, not the soldiers. But senanayak knows that these brutes can not be dispatched by the canonical method. So he asks his men to draw the prey with a dust as bait. All will come clear, he says. I have almost deciphered Dopdis song. The soldiers get going at his command. But no one comes to claim Dulnas Corpse.Rather than lead her pursuers to capture other rebels, Dopdilets herself be caught, refuses to tell names.unlike the epic Draupadi,whose sari flow out in eonian profusion,she is stripped, Draupadi mejhe n was apprehended at 6.53 pm. It took an instant to get her to camp. Questioning took another mo exactly. No one touched her, and she was allowed to sit on a cruise camp stool. At 8.57 senanayaks dinner hour approached, and saying,Make her. Do the needful, he disappeared.The next day she is ordered to senanayaks tent and offered a pot water to slow down her by-now overpowering thirst. But her response upsets all expections, Draupadi stands up. She pours the water down on the ground. Tears her piece of cloth with her teeth. Seeing such strange behavior,the guard duty says,shes gone crazy, and runs for orders. He can lead the prisoner out but does not know what to do if the prisoner behaves incomprehenstably .so he goes to ask his superior.Mahasweta devis Deaupadi refuses to be clothed again. She forces the confrontation with her tormentors-letting them see exactly what they have done to her, refusing to futilely attempt to cover herself. No goddess will come to help her and no k ing will fight for her behalf. Senanayk is paralysed at what he sees, Draupadistands before him, naked. second joint and public hait matted with dry blood. Two breasts,two wounds.What is this? He is about to bark.Draupadi comes closert. Stands with her hand on her hip, laughs and says, The object of your search,Dopdi Mejhen. You asked them to make me up, dont you want to see how they made me?Where are her clothes?wont put them on,sir. Tearing them.Drauypadis black body comes even closer. Draupadi shakes wih an indomitable laughter that senanayak simply cannot understand. Her raveged lips bleed as she begins laughing. Draupadi wipes the blood on her palm and says in a voice that is as terrifying, sky spiliting and sharp as her ululation,whats the use of clothes? You can stripe me, but how can you clothe me again?are you a Man?She looks around and chooses thr front of senanayaks white bush shirt to spit a bloody doodly-squat at and says, There isnt a man here that I should be ashamed . I will not let you put my clothe on me. What more can you do? Come on, counter me- come on counter me-?Draupadi pushes senanayak with her two mangled breasts, and for the first time senanayak is afraid to stand before an unarmed target, terribly afraid.In the Mahabharata Draupadi is dragged from her menstrual cycle into the assembly hall in one garment, the stained garment is signifier that dushasana is expect to understand. She is not to be touched, and she certainly is not to be brought to the view of men. She reminds him,but he mocks at her and forces her to be in the hall.Dopdis signifiers of bllod, in contrast , mark a rape and torture completed rather than forestalled. The soldiers and senanayak are paralysed rather than driven like Duhshasana into further action. Like the epic Draupadiu, who decries the impotence of her husbands, dopdi can find no man present within the camp. Ferociously, she defiles senanayak with her blood-she spits on him with her bleeding mouth, and pu shes him with her weakened breasts into hiswhite shirt. Occypying his physical, forcing him to see her made up, she shoves his own fear into his face. Unarmed, but threatens what the actions of the next hour may be.In dopds case,the insults she hurls at senanayak and his men- which echo those that the master narrator Vyasa gave to the epic Draupadi in the assembly hall, and even her spitting and her pushing her wounded