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RETHINKING GENDER IN SELECT NOVELS OF CHITRA BANERJEE

DIVAKARUNI

INTRODUCTION

The ancient Indian epics hold a profound significance in shaping India's cultural and

spiritual landscape. These epics, which stem from oral traditions, recount the heroic exploits

of legendary figures embodying societal values. They differ from myths, which are ancient

stories explaining the history of a group or natural events involving supernatural beings. Both

epics and myths are repeatedly told to elucidate the reasons behind certain phenomena. These

intricate and expansive narratives are often employed to impart moral and ethical teachings.

The influence of Indian epics on the people of India, historically and in the present, has been

substantial. They have left an indelible mark on Indian culture and society, influencing

spiritual practices, moral compass, social norms, cultural principles, literature, and the arts.

These epics serve as spiritual and moral guidance, imparting wisdom on virtues such as truth,

justice, and compassion. They are regarded as reservoirs of profound wisdom and are studied

by many as a means to comprehend life's complexities and the universe.

Moreover, Indian epics have played a pivotal role in shaping social and cultural

values in India. They offer a framework for understanding familial roles, duties, and

community while defining the relationship between the individual and society. Additionally,

these epics have been a wellspring of inspiration for a broad spectrum of literature and art,

ranging from classical Sanskrit works to contemporary novels and films. They have

influenced the narrative and creative imagination, contributing to the aesthetic sensibilities of

Indian culture. Furthermore, they have significantly influenced political and historical

consciousness, serving as symbols of national identity and unity and fostering a shared sense

of history and destiny among the Indian population.

The Ramayana and Mahabharata stand as two of the most significant Indian epics,

composed in Sanskrit, and their influence on Indian culture and society is immeasurable.

These epics serve as invaluable sources of moral and ethical guidance, emphasizing virtues

such as compassion, duty, truthfulness, and righteousness. Their profound teachings have not

only shaped the ethical fabric of Indian society but have also provided a framework for

personal conduct and social interactions. Moreover, they have significantly impacted social

and cultural values, defining the roles of family, community, and tradition in Indian life,

while influencing perceptions of relationships, gender roles, and social hierarchies.

In addition to shaping moral and ethical standards, the Ramayana and Mahabharata

have played a pivotal role in shaping the spiritual and religious landscape of India. They have

underscored the significance of devotion, faith, and ritual in Indian religious practices and

have laid the foundation for the development of diverse religious traditions. Furthermore,

these epics have been a wellspring of inspiration, igniting a wealth of literature, art, and

performance in India and across the globe. Their impact extends to classical Sanskrit poetry,

drama, music, modern literature, and cinema, continuing to inspire artists and writers

worldwide.

Beyond their cultural and artistic influence, these epics have contributed to the

forging of a collective national identity and unity in India. They are revered as symbols of

cultural heritage and national pride, fostering a sense of shared history and destiny among

India's diverse populace. The Ramayana and Mahabharata are not only deeply renowned in

India but have also inspired writers from around the world. The Ramayana depicts the life of

Rama, while the Mahabharata narrates the complex tale of the war for the throne of

Hastinapura, with the Bhagavad Gita emerging as a renowned part of the latter. Valmiki is

believed to be the author of the Ramayana, with the earliest parts of the text estimated to have

been written between the 7th and 4th centuries BCE, and later additions added around the 3rd
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century CE. This epic is celebrated for its depiction of the duties of relationships, featuring

characters representing the ideal father, servant, king, and more.

Furthermore, the Ramayana has transcended its original Indian version, with

numerous adaptations found in various countries. According to legend, Valmiki, revered as

the "first poet" in India, is credited as the author of the Ramayana. Valmiki's literary prowess

and philosophical skepticism earned him a notable status, and he is also depicted as a

significant character in the epic. In some versions, he interacts with Rama during his exile

and provides shelter to Sita while imparting the teachings of the Ramayana to Rama's twin

sons.

The Mahabharata and the Ramayana are two of India's most significant ancient epics.

The Mahabharata, attributed to Sage Ved Vyasa, recounts the struggle for dominance in

Greater India between the Kauravas and the Pandavas. It is the longest known epic poem,

divided into eighteen sections and containing over 110,000 couplets, with the Bhagavad Gita

as a part of it. Meanwhile, the Ramayana, originally penned by the sage Valmiki, narrates the

story of Rama and his quest to rescue his wife Sita from the clutches of Ravana. Both epics

are not just stories but also convey the teachings of ancient Hindu sages through narrative

allegory, with spiritual and intellectual elements intertwined. The characters of these epics,

such as Rama, Sita, Krishna, Arjuna, and Ravana, hold significant cultural importance in

several countries, including India, Nepal, Thailand, and Indonesia.

Prominent figures in the genre of mythological retellings, including Amish Tripathi,

Kavita Kane, Devdutt Patnaik, Shashi Tharoor, Anand Neelakantan, and Ashwin Sanghi, have

skilfully crafted fresh and intriguing perspectives from ancient epics. Their narratives bring to

light the often-unheard stories of marginalized characters, breathing new life into age-old

tales. Setting herself apart from her peers, Chitra Banerjee Divakaruni's mythological

retellings, such as "The Palace of Illusions" and "The Forest of Enchantments," offer
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captivating and enthralling reinterpretations of the Ramayana and the Mahabharata. These

narratives uniquely focus on the voices of the female characters, breaking stereotypes by

portraying the heroines as the central figures. Divakaruni's retellings provide a fresh

viewpoint by centering the narratives around the often-overlooked women, giving them a

voice and significance within the epics.

Chitra Banerjee Divakaruni is a celebrated author and poet who has won several

awards for her outstanding literary work. Her writing is known for exploring themes such as

the Indian experience, contemporary America, women, immigration, history, myth, and the

joys and challenges of living in a multicultural world. With her work being published in over

50 magazines, including the prestigious Atlantic Monthly and The New Yorker, and her

writing included in over 50 anthologies, she has become a well-known name in the literary

world. Her works have been translated into 29 languages, including Dutch, Hebrew, Hindi,

and Japanese, making her a truly global author.

Divakaruni's novels One Amazing Thing, Oleander Girl, Sister of My Heart, and

Palace of Illusions are currently in the process of being made into movies, which is a

testament to the popularity of her writing. Her newest novel, Before We Visit the Goddess,

explores the lives of three generations of women and their quest to understand what it means

to be a successful woman. Published by Simon & Schuster, it has received critical acclaim

and has been widely appreciated by her readers.

Born in India, Divakaruni spent her early years in Calcutta before moving to the

United States in 1976. She continued her education in English, earning a master’s degree

from Wright State University in Dayton, Ohio, and a Ph.D. from the University of California,

Berkeley. To support her education, she held various odd jobs, including babysitting, selling

merchandise in an Indian boutique, slicing bread in a bakery, and washing instruments in a

science lab. She lived in the International House at Berkeley and worked in the dining hall.
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Although she briefly lived in Illinois and Ohio, she has spent most of her life in Northern

California, which she often writes about. She now resides in Texas, which has found its way

into her upcoming book, Before We Visit the Goddess.

Divakaruni currently teaches in the nationally ranked Creative Writing program at the

University of Houston and serves on the advisory board of two organizations: Maitri in the

San Francisco Bay Area and Daya in Houston, both of which help South Asian or South

Asian American women who find themselves in abusive or domestic violence situations. She

is also closely involved with Pratham, which helps educate underprivileged children in India,

particularly those living in urban slums.

Divakaruni's literary prowess has been recognized by several prestigious awards, such

as the National Book Award and the PEN Faulkner Award. Two of her books, The Mistress of

Spices and Sister of My Heart, have been made into movies by filmmakers Gurinder Chadha

and Paul Berges, and Suhasini Mani Ratnam, respectively. Her novels One Amazing Thing

and Palace of Illusions have currently been optioned for movies. Her book Arranged

Marriage has been made into a play, which has been performed in the U.S. and is set to be

performed in Canada in May. River of Light, an opera for which she wrote the libretto, has

been performed in Texas and California. Divakaruni lives in Houston with her husband

Murthy and has two sons, Anand and Abhay, whose names she has used in her children’s

novels.

The Palace Of Illusions by Chitra Banerjee Divakaruni is an enthralling novel that

vividly captures the essence of the epic Mahabharat. What sets this novel apart is that it is

narrated from the perspective of Draupadi, a character who plays a pivotal role in shaping the

events of the epic. Though she is an unsung heroine, her unwavering spirit and fierce

determination to fight injustice have made her a role model for gender equality. Draupadi's

story is a testimony to the fact that feminism is not a 20th-century phenomenon but has
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always existed in some form or the other. As a woman who dared to question patriarchal

norms and fought against societal injustice, she can be regarded as the pioneer of feminism.

What makes this novel even more fascinating is the fact that it offers a fresh perspective on

the Mahabharata, which is often written from the perspective of male heroes. By giving voice

to the female protagonists, Divakaruni's rendition adds new and truly revelatory

psychological and social dimensions to the great epic's indelible story of sacrifice and

spiritual awakening. It is no surprise that Divakaruni considers The Palace of Illusions as the

most challenging project of her writing life. Through her masterful storytelling, she brings to

life an epic tale that has stood the test of time and continues to captivate readers with its

timeless wisdom and universal themes. She was advised by friends and family not to create

her own version of the epic as it is a sacred text, but she was determined. “It wove myth,

history, religion, science, philosophy, superstition, and statecraft into innumerable stories-

within-stories to create a rich and teeming world filled with psychological complexities”. The

author was dissatisfied with the portrayal of women in the epic who affected the events in

major ways such as Kunti, Gandhari, and most importantly Draupadi. She promised herself

that she would create a version of Mahabharat in which she would place a woman at the

forefront of the action.

All the women in the epic remain shadowy figures, and their emotions are described

only when they affect the lives of the male heroes. In Divakaruni’s palace of illusions, the

entire story is narrated by Draupadi colouring it with her joys and doubts, her struggles and

triumphs, her heartbreaks and achievements, her strengths and her faults, and the unique

timeless way in which she understands her world and her place in it.

The Forest of Enchantments, published in 2019, is a captivating reimagining of the

famous Indian epic Ramayana through the eyes of Sita. The novel skilfully brings Sita to the

center of the narrative, offering a fresh perspective on this much-told story. Chitra Banerjee
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Divakaruni's rendition not only focuses on Sita’s voice but also sheds light on misunderstood

women of the past such as Kaikeyi, Surpanakha, and Mandodari. The story begins with Sita's

childhood, where she is found as a child on Mother Earth, symbolizing her deep connection

to the land. As a princess raised in the Kingdom of Mithila, she marries Ram, the Prince of

Ayodhya, who later gets banished for fourteen years along with Sita and his dearest brother

Lakshman. Sita’s unwavering faith is tested when she is abducted by the demon Ravana, the

king of Lanka. Throughout her captivity and numerous challenges, she maintains her dignity

and resilience, emerging as an epitome of courage and self-respect. The novel explores Sita's

complex relationship with her husband Ram, highlighting deep love, devotion, and the strains

placed upon her by societal expectations and cruel circumstances. Divakaruni weaves the

epic into the greatest love story, emphasizing the challenges and sacrifices made by Sita. The

narration vividly brings to life the personalities and quandaries of the characters in the

Ramayana, resonating with women today as it explores the duties of women as a wife,

mothers, and sisters. In addition to being a morality tale, Ramayana is a profound love story,

and The Forest of Enchantments beautifully captures the essence of this timeless epic through

the eyes of a multifaceted and empowered woman who challenges societal norms and defies

expectations.

Chapter 1:

The Palace of Illusions is a retelling of Mahabharata from Draupadi’s perspective.

Noting on the narration that is made through a female perspective the project focuses on a

feminist reading of the text. Divakaruni’s character retelling the modern version of the

Mahabharata is noteworthy as she has been able to bring a compelling protagonist in her

creation. The retelling of the original is appropriate in the modern day as it has been able to

give justice to the female character the novelist has come forth with. Written in the first

person narrative the writer has given spaces for her female characters to come forward and
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narrate their personal experiences in their stories. Abundant spaces given for the females in

the novel make the readers feel that the presentation of the already-known story written with

the feminist approach is more appealing while giving the readers a space to think it through

the lenses of feminism. Despite presenting Draupadi as a major cause for the destruction of

the Third Age of Man (Dwapara Yug) and referring to her as a Kritya — one who brings

doom to her clan Divakaruni with her wide and magnificent lenses puts forth her central

female character with a diverse perspective. Her character is bold, confident and is

determined to achieve the desired goal in her life. She can create a history that one

remembers even years later. Divakaruni has given a stronger role to the women in her story.

The females presented in her story aren’t submissive or meek. Neither are they subservient.

They are bold and are change makers. They are determined and are achievers. They are

presented as an equal to the males in the society. This approach of the author gives one an

opportunity to safely argue that The Palace of Illusions is a feminist reading of the

Mahabharata.

The writer has presented Draupadi as a strong character in her novel. She is bold and

is able to present herself in a strong role despite being dominated in a patriarchal society.

Despite facing the problems and hindrances in her life and being subjugated Draupadi is able

to stay bold in her decisions and her acts. Presenting a similar view about the character in the

novel Renuka Narayanan in the Hindustan Times writes: “Told in the first person,

Divakaruni’s tale takes us through the epic in Draupadi’s voice. From being born of the

sacrificial fire (thus her beautiful name ‘Yajnaseni’, though the author doesn’t use it,

preferring ‘Panchali’), to her strange, lonely childhood, her tricky marriage to five men with a

persecution problem and a control freak mother, her own, lovely home at last, and then the

unbelievable traumas that follow that nobody should have to go through (but millions of

refugees do)”.
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Dr S G Puri writes, “Divakaruni in her novel The Palace of Illusions talks of the social

conditioning of a woman who descends her positioning in the cultural paradigm. She also

talks of the significance of cultural scripts, which provoke a woman to negotiate her 11 with

space created through undergoing agency. The agency helps the society to have the desired

result”.

The story begins with her introduction to the world in King Drupad’s home and

moves among flashbacks and present time, uncovering accounts of the past and working out

characters. At the very beginning of the story, she finds her father’s palace is suffocating to

her, and she says, “Through the long, lonely years of my childhood when my father’s palace

seemed to tighten its grip around me until I couldn’t breathe” (Divakaruni 1). The nurse

expresses Draupadi in her words as, “the Girl Who Wasn’t Invited”. The opening chapters of

the novel present Draupadi's obsession with her origins and introduce a rebellious character

as well as her struggle for an identity of her own making. Indeed, listening to the story of her

birth from Dhai Ma, a typical grandmother figure, seems to signify the only meaningful

activity for her, which actually would bring her to the forefront and make her feel special.

Draupadi makes it clear that King Drupad, as a father, acted according to the dictates of

Manu by protecting and taking care of her. This protective care, Draupadi finds suffocating.

She considers her name 'Draupadi', which means daughter of Drupad, to affirm patriarchal

dependency and to be unsuitably at odds with the divine prophecy made at her birth. From

the start, the narrative highlights the important relationship between names, gender, and

identity. Draupadi is seen critically analysing the names that were given to her brother and to

herself. Her resentment towards her father for not choosing her name suitable to her

extraordinary birth, her lifelong role, and her power shows her feminist consciousness and

female subjectivity from an early age. She rejects this name and calls herself Panchali, which

means ‘from the kingdom of Panchal’. This is considered as her first step to refuse the men to
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decide her life and destiny. Thus, the novel upholds the question of gender and identity. This

interest in her life later matures into a desire to be the controller of her destiny. She wants to

be an agent of action because she wishes to redefine the role of women in the context of her

life. She says: “And who decided that a woman’s highest purpose was to support men? …A

man I would wager myself, I plan on doing other things with my life” (Divakaruni 26). Being

the agent of action, she not only decides the course of action but also forces others to face the

consequences of her actions. In the novel, Draupadi presents herself as one who happily takes

over the reins of her life.

The novel starts with the birth of Panchali from the sacred pyre of the sacrifice and

develops through her life journey, and it concludes with her ultimate departure to attain

salvation. Her birth story and other incidences that happened in the palace were narrated to

her by her granny. She was not well accepted by her father when she came out of the fire. The

prophecy was told to King Drupad that she would bring change in the course of history.

“Behold, we give you this girl, a gift beyond what you asked for. Take good care of her, for

she will change the course of history” (Divakaruni 5). Draupadi is a posterity of Drupad’s fire

for retaliation against Drona; his childhood friend turned into an enemy. She is brought into

the world out of the conciliatory fire, which he lights looking for retribution against Drona.

He appeals to God for a male descendant who might accomplish this end and is honoured

with a male child named Dhrishtidyumna. Draupadi, who comes following her sibling, is not

normal by either the priests who performed King Draupad’s ceremony.

Draupadi’s childhood was far from ordinary, as it diverged from the typical path of a

young girl. Raised by her loving Dhai Ma, she developed a unique perspective on the world.

Draupadi staunchly opposed the societal norms that restricted women from entering the

Royal courtroom, pursuing education beyond a certain point, and having a say in choosing

their partners. Her resistance to patriarchal rules, customs, and cultural norms set her apart.
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She fearlessly challenged traditional and biased rituals, seeking to upend them—a feat that no

other woman of her time dared to attempt. Unlike the other women in the palace, Draupadi

was granted the opportunity to receive an education alongside her brother. Drupad enlisted

learned Brahmins to educate his daughter, and Draupadi's thirst for knowledge led her to

become an expert in Political Science. This education was a rare privilege for a woman in her

era, and it empowered her to engage in intellectual discourse and understand the nuances of

governance and society. Draupadi's determination to defy societal constraints and her pursuit

of education in a male-dominated field exemplifies her remarkable strength and resilience.

Her father gave the least importance to her education. It proves that no one often thought

about the training of ladies, and ladies were needed to do what men needed them to do. The

training was not given to ladies concerning men since they must deal with their spouses and

supplicate that they bite the dust with brilliance in the combat zone. The condition of women

in Indian society was limited to household activities, and a wide range of experiences like

war, expedition, hunting, and limitless opportunities and freedom were implied distinctly for

men. This unbending social design of patriarchal power made her in trouble. Draupadi’s

strength and courage were the result of her education. Unlike other women in the palace, she

was interested in composing and solving riddles, responding to witty remarks, reading lots of

books, and writing poetry. She was taught the feminine arts and skills like drawing, painting,

sewing, and decorating. She was given lessons on dancing, singing, and playing music. But

her heart was not in such frivolities. As she says, “With each lesson, I felt the world of

women tightening its noose around me. I had a destiny to fulfill that was no less momentous

than Dhri’s. Why was none concerned about preparing me for it” (Divakaruni 29)? Draupadi's

emotions are a complex mix of yearning and fear in response to the prophecy. She longs to

assert herself as a subject rather than an object of desire, yet she fears the judgment of history

as she lives a secluded life in the palace. Her deepest desire is to avoid being remembered
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solely as a victim of circumstance. While many interpretations of Draupadi depict her as a

victim of patriarchal dominance, in Divakaruni's version, she strives to become the author of

her own history. She aims to challenge the traditional myths about her existence and longs for

a genuine and truthful account of her life to be preserved in history. She has a special

friendship with Krishna whose complexion is dark like hers. Draupadi adores him and is very

intimate with him and her close relationship with Krishna is seen throughout the novel. Even

though she is not happy with her dark complexion initially, she accepts it since Krishna’s

complexion is also the same. “. . . I, too, might have despaired if it hadn’t been Krishna”

(Divakaruni 8) she says. She also adds, “It was clear that Krishna, whose complexion was

even darker than mine, didn’t consider his colour a drawback” (Divakaruni 8).

In the context of patriarchal structures, women are often relegated to the roles of servants or

mere complements to men, expected to fulfill their demands like a king or master. This

perpetuates a long history of women being overlooked, undervalued, submissive, passive, and

subordinate. This environment gave rise to the feminist movement as women became more

aware of their situation. Draupadi embodies the challenges faced by women. Despite being

insulted and enduring mental and emotional turmoil, she remained silent, even in the

presence of wise and honourable men, as well as her five husbands, to uphold her sense of

duty. However, in Divakaruni's portrayal, Draupadi refuses to remain silent when necessary.

She challenges the notion that a husband is a god to his wife and that she should

unquestioningly obey him. She is fully conscious of her identity as a woman, posing

numerous questions and expressing doubts about the role of women on Earth, leaving

scholars speechless and unable to provide answers. She says, "I resented the tutor’s

declaration that women were the root of all the world’s troubles. Perhaps that was why when

he gathered up his palm leaf manuscripts and rose to leave…” (Divakaruni 24). Challenging

all troubles and facing any obstacles against her education, Draupadi keeps on studying that
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finally enables her to win her arguments with apt quotations and illustrations from the

manuscripts of law and righteousness. She critically thinks about any of the events that

happen in her life.

When her father decides to arrange the Swayamvar for her, she says, "Why even call

it a swayamvar, then? Why make a spectacle of me before all those kings? It's my father, not

I, who gets to decide whom I marry?" (Divakaruni 56). The domineering male-centric force is

shown in the time of Draupadi’s Swayamvar. Though she has acquired the advantage of

choosing her life partner in Swayamvar, it turned into a turning point in her life. Arjun, the

third Pandava, wins the arrow-based archery challenge directed by Drupad to offer his

delightful daughter. His consideration in keeping this challenge is to allure Arjun to attend the

swayamwara because he knows that Arjun is the greatest archer of the time. Thus, he fulfilled

his desire. But Kunti, their mother, said, “All five of you must marry this woman” (108).

Among Kshatriya men, Polygamy was practised, but Polyandry was against the norm.

Women must be chaste, dedicated, and loyal to a single man in their lifetime. But Panchali

was forced to practice polyandry due to her mother-in-law. Without considering her will, it

has been decided to share her among the five Pandavas. Despite all odds, Draupadi was loyal

to her husband and respected her mother-in-law. Despite being a holy birth, she has to subdue

everything and is treated as gender-biased. Draupadi's father, brother, and the Pandavas come

to discuss her marriage to the five brothers and the possible consequences if King Drupad

doesn't agree to this proposal. The consequence they were guessing was Draupadi's self-

immolation. But her response to this was: "I didn't fear the fate they imagined for me. I had

no intention of committing honourable self-immolation; I had other plans for my life" (118).

She doesn't consider Kunti's every order to her sons needs to be kept however the situation is.

She says, "I didn't believe her claim that everything she said had to come true, or her honour

would be lost" (119). Draupadi’s polyandrous position keeps her an alien among the
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womenfolk as polygamy was in vogue but not polyandry. She has to bear the curious staring

of people and has to turn a deaf ear to their comments. Draupadi maintains equanimity when

her husbands marry other women. She says, “In truth, I wasn’t nearly as upset as I made out

to be. I was a practical woman. I knew I couldn’t expect my husbands to remain celibate

while they waited for their turn as my spouse” (Illusions 151). But she can’t bear the pain

when Arjun marries Subhadra, as she herself admits, “Only once I was truly shaken when

Arjun chose Subhadra . . .” (Divakaruni 152). Draupadi swallows her pain when her husbands

marry other women and even welcomes them with cordiality. She never loses her dignity

even though a rare predicament is imposed on her.

Divakaruni has given some space to Shikhandi, daughter of Drupad in her novel. Shikhandi,

who is Amba in her previous birth is now reborn in order to avenge Bhishma. Amba who is in

love with Shalwa is abducted by Bhishma for his brother Vichitravirya in a swayamvar. When

Bhishma comes to know of Amba’s love, sends her to Shalwa, but unfortunately Shalwa

denies to accept her as she has been won by someone else and Vichitravirya too rejects her as

she has someone else in her heart. Helpless Amba requests Bhishma to marry her but he

could not oblige because of his vow. As nobody helps her avenge Bhishma, Amba herself

resorts to austerity and penance and switches sex in order to fulfil a mission of revenge. Her

urge for revenge is so intense that she gives up her womanhood to kill her enemy Bhishma.

Divakaruni describes “Shikhandi, who was born a woman, was now a man! He wished there

be no misunderstanding about this: he was clothed only in a white cotton dhoti, his wiry

upper body bare, his nipples flat and burnished as copper coins. He carried a bow, which he

leaned against the wall before approaching me.” (Divakaruni 45-46). This episode of

Shikhandi is introduced to reiterate the fact that not only Draupadi, but many women face

injustice and they too have the desire for revenge. Many a woman, who experiences trauma

and subjugation try to rise up and avenge their perpetrator, as most of the time women are not
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protected, and their plea for justice is ignored. Shikhandi’s words to Draupadi reveal the fact

that a woman should never wait for a man to protect her honour and a woman herself has to

defend her. Shikhandi tells Draupadi, “Remember that, little sister: wait for a man to avenge

your honour, and you’ll wait forever” (Divakaruni 49). These words prove to be true as

Draupadi has to wait for several years to avenge the people who humiliated her in the court

and she has to often provoke her husbands to avenge the Kauravas.

As Draupadi is treated as an alien in her father’s palace, she longs for a palace of her own.

She believes that her own palace will give her a sense of belongingness and identity. She

dreams of her palace and Maya materialises her dream. Draupadi is elated by the splendor of

the palace and informs Maya, “This creation of yours that’s going to be the envy of every

king in Bharat – we’ll call it the Palace of Illusions” (Illusions 146). Draupadi is greatly

attached to the palace and starts identifying herself with the palace. She delightfully says, “I

loved my palace, and in return, I felt its warmth embracing me as though it were alive. Some

of its serenity seeped into me, some wisdom so that I learned to be happy with my lot in the

world” (Illusions 148). Draupadi gets extremely attached to her palace to the extent of

attributing all her merits to her palace. When Krishna compliments, “Now you are truly a

queen!” (Illusions 149), Draupadi replies, “If I am, I owe it to my palace” (Illusions 149) and

she also believes that the “Palace of Illusions” is her domain. Krishna warns her not to

identify herself with the palace as too much attachment towards anything may end up in

sorrow. He reflects “Don’t be so attached to what is, after all, no more than stone and metal

and asura sleight of hand. All things in this world change and pass away – some after many

years, some overnight. Appreciate the Palace of Illusions, by all means. But if you identify so

deeply with it, you set yourself up for sorrow.” (Divakaruni 149).

Yudhisthir celebrates the great Rajasuya yajna and the Kauravas are invited. When

Duryodhan walks into the Great Wall, steps onto an illusory bridge and gets drenched. It is
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said in Kamala Subramaniam’s Mahabharata thus: “Bheema, Arjuna and the twins and their

queen Draupadi laughed at his discomfiture” (Divakaruni 174). Though Divakaruni’s

Draupadi does not laugh, does the offence of not stopping her attendants who are laughing.

She says, “My attendants burst into peals of laughter. I should have stopped them, but I

couldn’t help smiling myself . . .” (Divakaruni 172). Encouraged by her smile one of the

attendants cries, “It seems the blind king’s son is also blind!” (Divakaruni 172). This incident

paves the way for all the forthcoming untoward incidents and Draupadi’s woes. Yudhisthir is

called for a dice game and he loses the game which leads to the humiliation of Draupadi in

the court and the Pandavas’ exile into the forest. Draupadi is dragged to the assembly hall and

Dussasan tries to pull her sari. When none of her husbands and the elders of the court attempt

to stop this heinous act, the heartbroken Draupadi thinks of Krishna and his advice, “No one

can shame you, . . . if you don’t allow it” (Divakaruni 193). Divakaruni’s Draupadi believes

that dragging a woman in single cloth at the time of her menstrual period and trying to

disrobe is an action, which brings humiliation to doer of the humiliating action and the victim

need not be ashamed at all. She utters in distress, “Let them stare at my nakedness, I thought.

Why should I care? They and not I should be ashamed for shattering the bounds of decency”

(Divakaruni 193). When she questions the elders about the propriety of wagering her, even

Bhishma cannot give the right verdict. At the end of the Sabha, Draupadi realizes that her

husbands avenge her honour through the oath publicly she took, “I lifted my long hair for all

to see. My voice was calm now because I knew that everything I said would come to pass. I

will not comb it, until the day I bathe it in Kaurava blood” (Divakaruni 194). Here she uses

her gender identity to create a new code of honour. She is determined to revenge on herself

than her husbands. She is well aware that “their notions of honour, of loyalty toward each

other, of reputation, were more important to them than my suffering” (Divakaruni 195). She

boldly uses her feminine identity as a tool to guarantee vengeance. At the end of the novel,
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she decides to accompany her husbands on the spiritual journey. She says that “no woman

had ever attempted” (Divakaruni 343). She has become the woman who is recognized by the

bards: “She was the only consort that dared accompany the raised her hand in brave farewell”

(Divakaruni 344). The restricted social gender inequalities disappear at the end of the story.

In this way, the novel reexamines the condition and life of women. It also reviews the

contemporary issues like marginalization, exploitation, discrimination, and identity crisis of

women in the male-dominated society. It shows us how Duaupadi bravely determined to

create her destiny and change history. Thus, it deconstructed the patriarchal binaries to

establish the woman as a bold and determined character. The history of human civilization is

male dominated. Despite being subjugated and dominated, Draupadi has come up with all the

odds and proved herself. Thus, the novel is the prominent text of gender identification also

The novel concludes with a spiritual note that gender discrimination and patriarchy are

temporary and confined to only this physical material world. We are strictly bound to our

bodies and social environments that restrict the behaviour of males and females. But in the

afterworld, these restrictions and boundaries are meaningless. Hence, the text implies finally

that the social hierarchy and gender identities are connected to this material world only.

Divakaruni has portrayed Draupadi as a woman who rises to the occasion and acts according

to the demands of the situation. Draupadi is seen to have set up a separate court for women

and Divakaruni has contemporised the epic with the inclusion of such arrangements. Now

Mahila court and All Women Police Stations are there exclusively for women and women

police personnel are appointed to deal with the petitions. Draupadi has also decided to set up

such courts as she “resolved to form a special court, a place where women could speak their

sorrows to other women” (Divakaruni 323). Draupadi emerges as an entrepreneur to put an

end to the suffering of women. Divakaruni stresses on the fact that women always long for

love and care more than any other luxury. This must be the reason why she imagines that
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Draupadi falls in love with Karna. Though such forbidden love is not mentioned in the epic,

there is every possibility for a woman to fall in love with a man, when she is deprived of love

from her polyandrous marriage. On several occasions, Draupadi feels that if Karna had been

with her he would have never let her suffer. Divakaruni’s Draupadi makes a bold confession

that she has been unfaithful to her husbands, though with regret. She even tries to rationalize

that the suffering may be the outcome of her infidelity to her husbands. She says, “. . .

Despair swirled in me like ink, drowning my heart. In my confusion I wondered if all this

suffering had descended upon me as punishment because in my heart of hearts I had been

unfaithful to my husbands” (Divakaruni 355).