Unveiling Hidden Narratives: Exploring Gender Fluidity and Forgotten Myths in Devdutt Pattanaik’s Shikhandi & Other Tales They Don’t Tell You
https://doi.org /10.5281/zen od o.14974065
Author(s): Preeti Kaur & Dr. O.P. Tiwari
DOI: https://doi.org/10.5281/zenodo.14974065
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Volume 16 | Issue 1 | Feb 2025
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The Criterion: An International Journal in English Vol. 16, Issue-I, February 2025 ISSN: 0976-8165
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Unveiling Hidden Narratives: Exploring Gender Fluidity and Forgotten
Myths in Devdutt Pattanaik’s Shikhandi & Other Tales They Don’t Tell You
Preeti Kaur
Research Scholar (English),
Maharaja Ganga Singh University,
Bikaner (Raj).
&
Dr. O.P. Tiwari
Professor & Head,
Dept. of English,
Dr. B. R Ambedkar Govt. College,
Sri Ganganagar (Raj).
Article History: Submitted‐31/01/2025, Revised‐05/02/2025, Accepted‐22/02/2025, Published‐28/02/2025.
Abstract:
This research paper explores the complex world of gender fluidity and lost myths as it is
described in Devdutt Pattanaik’s narrative entitled Shikhandi & Other Tales They Don’t Tell You.
Pattanaik challenges gender conventions and highlights the diverse range of stories that are
frequently disregarded in popular discourse by reinterpreting old Indian mythology. This study
looks at how author’s recounting of these stories provides a novel viewpoint on gender identity,
fluidity, and the complexity of the human experience through a critical analysis of these stories. It
also exposes the cultural and societal ramifications of these stories, highlighting how relevant they
are to the current debates about gender and identity. In addition to enhancing our knowledge of
mythology, Pattanaik’s revelation of these obscure tales encourages a more inclusive and
sophisticated appreciation of the various ways that gender is expressed in ancient writings.
268
https://doi.org/10.5281/zenodo.14974065
Unveiling Hidden Narratives: Exploring Gender Fluidity and Forgotten Myths in Devdutt Pattanaik’s Shikhandi &
Other Tales They Don’t Tell You
www.the-criterion.com
https://doi.org/10.5281/zenodo.10448030
Furthermore, this study emphasizes how crucial it is to go back and reexamine classic myths in
order to understand the wider range of human identities and experiences.
Keywords: Gender Fluidity, Myths, Devdutt Pattanaik, Ramifications, Ancient.
Literature has played a crucial role in reflecting the emancipation of women, with authors
like Amish Tripathi and Devdutt Pattanaik capturing the essence of Indian womanhood through
their narratives. Tripathi’s characters, such as Sita and Sati, are portrayed as courageous and
resilient, serving as torchbearers for women’s rights. They embody a spirited moral consciousness
and nationalistic fervor, taking feminist initiatives to transform their ideals into reality.
Devdutt Pattanaik, a renowned author, artist, lecturer, and expert in Hindu mythology,
explores feminist interpretations of mythological narratives. However, his views on feminism have
faced criticism, with some arguing they are misinterpreted or even sexist. He differentiates
between the forest (aranya) and the settlement (grama), associating the forest with a more flexible,
diverse, and egalitarian space where women possess greater agency and autonomy. Pattanaik
examines the complexity of female characters in Hindu mythology, highlighting women who
demonstrate bravery, wisdom, love, loyalty, rebellion, or retaliation in various contexts. He also
discusses Buddhism’s role in rendering women invisible in mythological narratives, citing
examples such as the Jagannath Temple in Odisha. He contends that women played a significant
role in mythological stories, often aiding the gods in achieving their goals and destinies.
Devdutt Pattanaik, a renowned mythologist and writer from Mumbai, India, explores the
depths of mythology, uncovering cultural truths embedded in stories, symbols, and rituals. A
sought-after lecturer, he emphasizes the relevance of both Indian and Western myths in
contemporary society. His work spans the intersections of religion, mythology, and management,
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https://doi.org/10.5281/zenodo.10448030
showcasing his diverse expertise. Throughout his career, he has authored and illustrated over 50
books, contributing significantly to the global understanding of mythological narratives.
Patriarchy asserts male superiority over women, feminism advocates for gender equality,
and queerness challenges traditional definitions of male and female. Renowned Indian mythologist
Devdutt Pattanaik is one of the few voices addressing queerness and religion with both candor and
sensitivity. He argues that queerness is not merely a modern, Western concept tied to sexuality but
has long been present in Hinduism’s rich written and oral traditions. Through his exploration,
Pattanaik uncovers numerous overlooked stories where queerness plays a central role, some dating
back over two thousand years. These include tales of Shikhandi, who transformed into a man to
fulfill his wife’s desires; Mahadeva, who assumed a female form to aid a devotee in childbirth;
Chudala, who disguised herself as a man to enlighten her husband; and Samavan, who became the
companion of his male friend—alongside many other such narratives.
In Shikhandi and Other Tales They Don’t Tell You, Devdutt Pattanaik recounts various
mythological stories, exploring their significance in shaping the modern Indian mindset. Playful,
touching, and occasionally unsettling, these narratives—when compared to their Mesopotamian,
Greek, Chinese, and Biblical counterparts—highlight India’s distinct approach to interpreting
queerness.
Elizabeth Spelman critiques the assumptions made by philosophers like Aristotle and Plato,
as well as much of feminist literature, which often treats women’s experiences, roles, and self-
conceptions as uniform, primarily reflecting those of white, middle-class women. Feminist theory
argues that women are treated as a homogeneous group, while feminism itself aims to dismantle
barriers to gender equality. Equality feminists like Betty Friedan and Simone de Beauvoir contend
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Unveiling Hidden Narratives: Exploring Gender Fluidity and Forgotten Myths in Devdutt Pattanaik’s Shikhandi &
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that differentiating between men and women stems from sexist ideology. Another perspective
emphasizes defining womanhood based on its distinctiveness rather than sameness with men.
Spelman suggests that certain traits of women cannot be universally applied if they are inseparable
from specific social contexts. In her view, essentialism not only posits a universal concept of
“woman” but also assumes a shared identity among all women, overlooking critical differences.
MacKinnon’s concept of gender is limited in addressing diversity, as it promotes a
monolithic view of women. In contrast, Elizabeth Spelman argues that the term “woman” carries
multiple meanings to account for diversity. While she acknowledges similarities among women,
she does not determine whether these similarities classify them as a single type. Her “ways-of-life”
understanding of gender makes her argument compelling, yet it remains unsatisfactory due to its
lack of clear criteria for categorizing women. Those who identify as “women” often connect based
on shared political goals, experiences, and physical characteristics. However, Spelman’s
perspective raises concerns about the sex-gender divide, as it strongly supports the idea that gender
is a social construct shaped by different social contexts.
The concept of “woman” is closely tied to both gender and sex, functioning as a cluster
concept where individuals need only fulfill some defining features to fit the category. Feminism
rests on two key premises: (1) that gender differences underpin structural inequalities between men
and women, leading to systematic social injustice against women, and (2) that these inequalities
are not biologically determined but rather culturally constructed. The notion of “woman”
constitutes a type due to the structural similarities among its members. Sentences attributing a
woman’s nature to the world hold validity because women form a type based on shared biological
and social traits. Resemblance nominalism allows for diversity within this classification,
recognizing that while members of the category may vary, they still share essential characteristics.
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The concept of “woman” consists of four general components: (1) femininity is influenced
by sexual orientation, (2) women are typically associated with various phenomenological
characteristics, including physical sensations, social roles, responsibilities, and self- and externally
attributed identities that arise from physical traits, (3) the phenomenology, function, and social
assignment of “womanness” are linked to female sex characteristics, and (4) self- and externally
attributed identities also emerge from physical traits. These components help define the paradigms
necessary to establish a class of similarity among women.
H. H. Price explains similarity nominalism and outlines a method for creating a
resemblance class. Based on this framework, a “woman” can be defined as an individual who meets
at least three of the cluster’s components. A person is considered a woman if they meet these
criteria, such as an African American with XX chromosomes and female sex characteristics, an
Asian American trans woman with female secondary sex traits, a white European intersex
individual raised as a girl, or a Papua New Guinean with XX chromosomes and female sex
characteristics.
Pattanaik defies traditional gender norms, offering a nuanced portrayal of femininity in
mythology. His collection presents diverse female personas, granting them autonomy and
complexity often absent in conventional retellings. By challenging societal norms, he creates a
platform to redefine women’s roles in historical narratives.
Additionally, the text incorporates queer theory, which originated in 20th-century studies
on homosexuality and lesbian relationships. Expanding beyond transsexual identities, queer theory
provides a flexible and inclusive framework that embraces diverse sexualities while rejecting rigid
gender rhetoric. Unlike gay and lesbian studies, it explores and debates sexual identities considered
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queer—unusual, unconventional, or nonconforming. Moreover, queer theory detaches sexuality
and identity instability from societal norms, emphasizing that no identity is inherently aberrant,
deficient, full, or incomplete. This perspective enriches the interpretation of gender and sexuality
in Pattanaik’s retellings, fostering a broader and more inclusive understanding of these themes in
mythology.
… I have a man’s body. I reject this body. I desire no one. I have a woman’s body. I reject
this body. I desire no one. I have a man’s body. I dress like a woman. I desire men. I have
a woman’s body. I dress like a man. I desire women. I don’t know if my body is a woman’s
or a man’s. I feel I am a woman. I don’t know if my body is a man’s or a woman’s. I feel
I am a man. I am neither male nor female. I am both male and female… To appreciate this
fluidity of nature And the shifting rigidities of culture Is to appreciate queerness. (Pattanaik
10).
Although Shikhandini was born as Drupada’s daughter, she was raised as a soldier and
even acquired a wife. However, on their wedding night, Shikhandini’s wife discovered that her
spouse was a woman. Shocked by the revelation, she returned to live with her parents. In response,
Stuna, a yaksha, intervened, granting Shikhandini manhood for a single night so she could fulfill
her marital duties. When Shikhandini later sought to return the temporary manhood, Kubera,
moved by her moral integrity, allowed her to retain it permanently. Thus, Shikhandini became
Shikhandi.
Shikhandi’s entrance in The Mahabharata marks a pivotal moment in the Kurukshetra war,
signaling its turning point. For nine days, the Pandavas and Kauravas fought without resolution
due to Bhishma, the formidable Kaurava leader who possessed the boon to choose the moment of
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his death. As Wendy Doniger notes, “Shikhandin retained her female gender when she lost her
female sexuality. Indeed, it is imperative for Bhishma that Shikhandin is in essence (in this case,
in gender) a woman, despite her outer male form” (Doniger 355). Understanding that Bhishma
would never fight a woman, Krishna brought Shikhandi—who had undergone a unique
transformation—into battle. Recognizing Shikhandi’s true gender, Bhishma laid down his arms,
allowing the Pandavas to gain the upper hand.
Despite Shikhandi’s crucial role in The Mahabharata, retellings often alter his identity,
depicting him as a eunuch, a castrated male, a transgender man, a hermaphrodite, or a man who
was formerly a woman (Amba). His ambiguous sexual identity places him among marginalized
characters, reflecting persistent patriarchal attitudes, even within LGBTQ+ narratives.
Interestingly, ancient Hindu literature—including The Mahabharata, The Ramayana, and The
Puranas—was, in many ways, more progressive than 21st-century society in its treatment of
gender fluidity.
Arjuna is another figure in the epic who exhibits queerness. His temporary emasculation
resulted from his refusal to succumb to desire. Once, Urvashi, a celestial nymph from Indra’s realm,
descended to Earth in search of pleasure. On the banks of the Amravati River, she encountered
Arjuna, whose striking appearance captivated her. Approaching him with romantic intent, Urvashi
was shocked when Arjuna declined, explaining that as Indra’s son, he regarded her as a mother
figure. Urvashi argued that, as an apsara, she belonged to no one and was not bound by mortal
laws, but Arjuna still refused. Enraged, she cursed him: “Only a eunuch refuses a willing woman.
So be one” (Pattanaik 110).
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Desperate, Arjuna pleaded with Indra to lift the curse. While Indra could not undo it, he
modified it, allowing Arjuna to choose when it would take effect. Arjuna later used the curse during
his year-long exile, disguising himself as Brihannala, a eunuch dance instructor in the royal
women’s quarters of King Virata’s palace. There, he taught dance to Princess Uttara. Some
Mahabharata retellings and TV adaptations portray Arjuna merely as a man in disguise, but
according to the epic, he fully lost his manhood for the duration of that year.
In the broader context of Indian mythology, Pattanaik’s work enriches ongoing discussions
on representation and diversity. The collection emphasizes the agency of female characters in
shaping their destinies and challenging societal norms. Characters like Amba, who transforms into
Shikhandi, exemplify resilience and strength in navigating complex circumstances. By
reinterpreting these stories, the author creates space for conversations on gender, sexuality, and
identity. The narrative choices in Shikhandi & Other Tales They Don’t Tell You challenge
traditional norms, fostering a more inclusive approach to mythological storytelling.
No society can exist without myth. Humans cannot function without myths because myth
creates notions of right and wrong, good and bad, heaven and hell, rights and duties.
Marriages, monogamy, peace, salvation non-violence, are all concepts based on myth; they
don’t exist in nature. All religions, all nations, all tribes, all ideologies, all ways of life, are
based on myth. Human right is based on the myth of equality. Only a world without humans
is a world without myths. (Pattanaik 132).
Pattanaik’s retellings present strong, subversive female characters that reinforce a feminist
perspective. This political stance encourages marginalized individuals to take an active role in
resisting their oppression. Even in Vedic times, women faced injustice; however, Pattanaik’s
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writings offer insights into addressing these issues. His retellings bridge modernity and tradition,
reflecting both contemporary realities and the moral principles of their cultural origins. By
centering women’s experiences, these narratives blur the boundary between mythology and
history.
ender stereotypes are among the oldest and most pervasive societal divisions, affecting
cultures regardless of their social, political, or economic structures. Women do not need to imitate
men to prove their competence. In Amish society, women possess a strong sense of self-worth,
having earned their status through perseverance rather than receiving it as a privilege. Their
existence does not make them inherently vulnerable to manipulation. As Raut and Upadhyay state,
“Change in women is not advocated; rather, the attitude of men in general needs to be changed”
(21).
Since literature mirrors society, it increasingly reflects the emancipation of women in
contemporary times. Pattanaik captures the essence of strong and virtuous Indian women,
portraying female characters who are courageous advocates of women’s rights. They break free
from societal constraints, serving as guiding lights in the darkness. Adversity becomes an
opportunity for them to rise above challenges and emerge triumphant. The term “manipulate” in
this context refers not to conforming to traditional male roles but to demonstrating that women are
strong, independent individuals who define their own identities.
In conclusion, Devdutt Pattanaik’s Shikhandi & Other Tales They Don’t Tell You offers a
profound exploration of gender fluidity and overlooked myths in Indian mythology. Through
meticulous retellings and insightful commentary, Pattanaik highlights narratives in which
characters like Shikhandi challenge conventional gender norms, providing fresh perspectives on
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identity and empowerment. By uncovering these hidden stories, he not only deepens our
understanding of ancient texts but also encourages contemporary reflections on inclusivity and
diversity. This work underscores the enduring relevance of mythological narratives in shaping
cultural attitudes toward gender and identity, urging readers to reconsider traditional
interpretations and embrace the complexities of human experience across time.
Works Cited:
Bala, Saroj and Rajiv Ranjan Dwivedi. “The Women Characters of Amish Tripathi: A Postfeminist
Perspective.”
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