Interpretation of the Character of Shikhandi as a Trans-Man https://doi.org/10.5281/zenodo.11103623

Interpretation of the Character of Shikhandi as a Trans-Man

https://doi.org/10.5281/zenodo.11103623

Author(s): Sakshi Arora & Jaya Kapoor

DOI: https://doi.org/10.5281/zenodo.11103623

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Volume 15 | Issue 2 | April 2024

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The Criterion: An International Journal in English Vol. 15, Issue-II, April 2024 ISSN: 0976-8165
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https://doi.org/10.5281/zenodo.10448030
Retelling the Indian Myths: A Postcolonial Peep into Chitra Divakaruni’s
The Palace of Illusions
Dr. Garima Jain
Associate Professor of English,
M.S.J. Govt. P.G. College, Bharatpur (Rajasthan).
Article History: Submitted-31/03/2024, Revised-15/04/2024, Accepted-18/04/2024, Published-30/04/2024.
Abstract:
This research article presents an analysis of Chitra Divakaruni’s The Palace of
Illusions through postcolonial lens, elucidating the novel’s contribution to understanding
Indian mythology from different perspectives. The novel offers a complex reimagining of the
Mahabharata, focusing on Draupadi’s perspective and challenging traditional narratives.
Through characters like Draupadi, marginalized voices are amplified, reflecting postcolonial
theories of subaltern agency. Divakaruni engages in cultural resistance, reclaiming agency
over mythological stories and decentering colonial hegemony. Identity and hybridity are
explored through Draupadi’s multifaceted character, aligning with postcolonial theories of
cultural complexity. The novel acts as a form of decolonization by disrupting traditional
power structures within the literary canon. Additionally, it reflects themes of postcolonial
feminism through Draupadi’s assertion of agency and critique of patriarchal norms. This
article highlights cultural hybridity and syncretism, emphasizing the resilience of Indian
cultural traditions in the face of colonialism.
Keywords: myths, identity, hybridity, postcolonial, resistance, patriarchy, etc.
The Palace of Illusions by Chitra Banerjee Divakaruni is a captivating retelling of the
ancient Indian epic, the Mahabharata, from the perspective of its central female protagonist,
Draupadi. The novel begins with Draupadi’s birth from a sacrificial fire, as prophesied by the
sage Vyasa, to play a significant role in shaping the destiny of kings and kingdoms. As
Draupadi grows up in the court of King Drupada of Panchala, she forms a close bond with
her brother Dhri and dreams of a simple life filled with love and companionship. However,
her life takes a dramatic turn when a swayamvara (a ceremony where a princess chooses her
husband) is organized, and Draupadi’s hand is won in marriage by Arjuna, one of the five
Pandava brothers. Thus, she becomes the wife of all five Pandavas due to a
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misunderstanding. Throughout the novel, Draupadi navigates the complexities of her
relationships with the Pandava brothers, each of whom she shares a unique bond with. She
also confronts the challenges posed by the political intrigues and power struggles of the time,
including the infamous game of dice where her husband Yudhishthira gambles away
everything, including Draupadi herself. Amidst the turmoil of the Kurukshetra War, Draupadi
emerges as a symbol of strength and resilience, providing unwavering support to her
husbands and playing a crucial role in motivating them for battle. Despite facing numerous
hardships and injustices, she remains steadfast in her pursuit of justice and righteousness.
Divakaruni’s The Palace of Illusions concludes with Draupadi’s transcendence, as she
ascends to the heavens, leaving behind the mortal world and the illusions that had bound her.
Through her journey, Draupadi emerges as a timeless icon of courage, resilience, and
sacrifice, challenging traditional gender roles and narratives within Indian mythology. In this
outstanding work of Chitra Divakaruni, several postcolonial concepts can be discerned,
reflecting the author’s engagement with the legacy of colonialism and its impact on Indian
mythology and society.
Firstly, we see that in the novel, the subaltern voice is profoundly showcased through
the character of Draupadi. Draupadi, often marginalized in traditional retellings of the
Mahabharata, emerges as the central protagonist whose perspective challenges dominant
narratives and power structures. Draupadi’s narrative agency allows her to speak for herself
and assert her experiences, desires, and struggles. Divakaruni voices Draupadi’s inner
thoughts and emotions, allowing readers to empathize with her perspective and understand
her as a fully developed character rather than merely a passive figure in the epic. Draupadi’s
status as a woman in a patriarchal society positions her as a subaltern figure, marginalized
and silenced by the dominant male voices surrounding her. Throughout the novel, Draupadi
confronts the limitations placed upon her by societal expectations and gender norms, yet she
continually asserts her agency and refuses to be confined by traditional roles. Her experiences
of trauma and injustice, particularly during the game of dice where she is publicly humiliated
and disrobed, highlight the vulnerabilities faced by marginalized individuals within society.
Her outcry against the injustice inflicted upon her is a powerful expression of resistance
against oppression. We also see her interacting in the novel with other subaltern characters,
such as her friendship with the untouchable maid, Dasi, which shows her solidarity with those
on the margins of society. Through these relationships, Draupadi demonstrates empathy and
compassion towards others who share her experiences of marginalization and oppression. She
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emerges as a powerful symbol of subaltern resistance and resilience in adversity. Like
Divakaruni, Mahashweta Devi (1997, 2005) compares women in the Mahabharata to
marginalized tribal women oppressed by middlemen exploiting them in the name of helping
the deprived. In “Daupadiin,” she shows how tribal women, marginalized by society, can
challenge patriarchy when they reject its notions of shame and dignity. Spivak praises the
story’s heroine, Dopdi, as embodying what Draupadi from the patriarchal sacred texts could
not be.
The novel also engages in an act of cultural resistance by reinterpreting the ancient
Indian epic, the Mahabharata, from a perspective that challenges colonial representations and
biases. In voicing the subaltern and a complex and multifaceted protagonist, it challenges
colonial representations of Indian culture, which often prioritize male-centered narratives and
overlook the experiences of women. The novel also reclaims agency over mythological
stories by offering alternative interpretations and perspectives on familiar characters and
events. Divakaruni’s retelling highlights the humanity and vulnerabilities of mythological
figures, portraying them as multidimensional individuals with their fears, desires, and
struggles. This approach subverts the notion of mythical heroes as flawless and infallible,
presenting them instead as relatable and flawed beings, thereby challenging idealized colonial
representations of Indian culture. Moreover, the novel interrogates the moral complexities
and ambiguities inherent in the Mahabharata, encouraging readers to critically examine
traditional notions of righteousness and justice. Divakaruni confronts colonial interpretations
of Indian culture that essentialize and romanticize its religious and ethical principles.
Throughout the narrative, Draupadi provides counsel and guidance to the Pandavas, often
challenging their decisions and holding them accountable for their actions. Her wisdom and
intelligence surpass those of her husbands, undermining patriarchal assumptions of female
inferiority and subservience.
Another aspect of the novel is cultural hybridity through its depiction of Draupadi’s
interactions with diverse characters and cultures. Draupadi’s marriage to the Pandavas, who
hail from different regions and kingdoms, symbolizes the merging of diverse cultural
backgrounds. Additionally, Draupadi’s friendship with characters like Krishna, who embodies
both human and divine qualities, illustrates the fluidity of cultural boundaries and the
potential for syncretism. We also find the complexities of hybrid identities within the context
of social hierarchies and power dynamics. Draupadi’s status as a princess and the wife of the
Pandavas affords her privilege and influence, yet she also experiences marginalization and
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discrimination due to her gender and lineage. Her hybrid identity as a royal woman married
into a powerful family complicates her position within societal structures. She is shown
navigating through multiple social, cultural, and gender identities. Divakaruni’s portrayal of
identity as fluid and multifaceted reflects postcolonial theories of hybridity, which emphasize
the complex interplay of diverse cultural influences in colonized societies. Characters like
Krishna posit religious syncretism, drawing from multiple religious and philosophical
traditions to offer guidance and wisdom. Draupadi’s encounters with divine beings and
supernatural phenomena further blur the boundaries between mythology and reality,
proclaiming the syncretic nature of Indian religious beliefs. Divakaruni challenges the
dominance of male-centred narratives in Indian mythology. This act of decolonizing the
canon aligns with postcolonial efforts to decenter Eurocentric perspectives and amplify
marginalized voices in literature. Dasi, Draupadi’s maid, is a significant character whose
voice is foregrounded throughout the novel. Their friendship provides insight into the
struggles of lower-caste individuals within society. Dasi’s experiences and interactions with
Draupadi offer a perspective on social hierarchies and inequalities, emphasizing the
importance of amplifying marginalized voices.
The Palace of Illusions is a seminal work of postcolonial feminism. Chitra Banerjee
Divakaruni uses bildungsroman and likes to write stories about women that are similar to her
own experiences. She notices that in her stories, there are often conflicts between men and
women. Divakaruni herself moved to the West from India, and she understands the struggles
of immigrant women who face problems like domestic violence and trafficking. Divakaruni
believes that strong women can make society better if they are treated with respect. However,
she also worries about significant changes happening too quickly. She wants to keep the good
parts of Indian culture while embracing some things from Western culture. In her writing,
Divakaruni uses a technique called “adjectifying,” which means adding lots of details to make
stories more vivid and alive (Goncalves). In The Palace of Illusions, Draupadi, the main
character, does this to the events she witnesses, making them more colourful and meaningful.
The Mahabharata has been studied since the ancient times as a source for inspiration
in every field of life: political, religious, social and cultural reformation. As Prof. Deshpande
remarks, myths are an integral part of Indian culture and society: “If there is one single work
which has proved to be of the greatest significance in the making of the life and thought of
the Indian people and whose tradition continues to live even to this day and influence, in one
way or another, the various aspects of Indian life, it is the Mahabharata” (199). The Palace of
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Illusions is a great achievement of its writer in retelling Indian mythology. Myths, whether
factual or fictional, are narratives from the past that shape a society’s understanding of reality.
They serve as a means for people to interpret reality through the lens of their cultural,
spiritual, and religious beliefs, passed down through generations regardless of their cultural,
social, or political affiliations. Myths reflect the values and priorities of a culture at a
particular time, providing a framework for understanding what was considered significant.
They are structured information used for education, imparting moral values, and reinforcing
cultural norms. Additionally, myths contribute to the perpetuation of societal standards and
may sometimes lead to the formation of stereotypes. In his book The Power of Myth,
Campbell writes that myth serves four functions. The first is the mystical function realizing
what a wonder the universe is, and what a wonder we are, and experiencing awe before this
mystery. The second is a cosmological dimension, the dimension with which science is
concerned showing us what shape the universe is, but showing it in such a way that the
mystery again comes through. The third function is the sociological one, supporting and
validating a specific social order. It is the sociological function of myth that has taken over in
our world and it is out of date. However, there is a fourth function of myth, and this is the one
that everyone must try today to relate to and that is the pedagogical function, of how to live a
human lifetime under any circumstances. Divakaruni adeptly delves into Campbell’s
delineation of the third and fourth functions of myth in The Palace of Illusions. Rather than
condemning societal structures or transforming into a didactic piece, the narrative remains
within an alternative discourse. It offers a fresh perspective by narrating episodes from
Draupadi’s point of view. Divakaruni strategically selects Draupadi to present an alternative
discourse that challenges the prevailing patriarchal narrative. The influence of patriarchal
discourse from an early age is evident in Dhir’s education, where his teacher encourages him
to generalize women as “the root of all the world’s troubles” (24). By juxtaposing Draupadi’s
perspective with Dhristadyumna’s at the outset of the text, as they recount their father’s
journey to the throne (16), Divakaruni effectively establishes a framework that primes her
readers for a succession of alternative narratives. From the moment Draupadi receives her
name, she senses that it elevates her father Drupad while diminishing her identity. Being
merely an appendage to her brother, born from a yagna, intensifies this feeling of
insignificance for Draupadi. Her name is seen as self-centred, and she yearns for a heroic
identity of her own (5), marking the start of her challenge against patriarchal societal norms.
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Draupadi is objectified by her husbands, father, and Kunti, as they prioritize their
honour over her well-being, treating her as a pawn. Only when she resides in her own palace
does she assert her independence. Dhir believes family honour outweighs all else (85),
driving the characters’ actions. While it is considered virtuous for the Pandavas to obey their
mother, Arjun’s failure to defend Draupadi is seen as a severe betrayal. The traditional
concept of marriage is shattered, with the brothers’ inability to challenge Kunti’s decision
deemed unethical. Divakaruni highlights the unilateral decision to grant Draupadi the boon of
virginity, seemingly to satisfy male ego (120). Draupadi, given a choice, would have asked to
be devoted to one husband at a time (120). Dhai Ma warns Draupadi about well-meaning yet
dangerous men who believe in the righteousness of their actions (135). Draupadi concludes
that men are primarily driven by honour, which they take more seriously than women.
Draupadi can understand men better only after the attempt of her disrobing in Kauravas’ court
as she states:
All this time I’d believed in my power over my husbands. I’d believed that because
they loved me, they would do anything for me. But now I saw that though they did
love me—as much as any man can love—there were other things they loved more.
Their notions of honour, of loyalty toward each other, of reputation were more
important to them than my suffering. They would avenge me later, yes, but only when
they felt the circumstances would bring them heroic fame. A woman doesn’t think that
way. I would have thrown myself forward to save them if it had been in my power
that day. I wouldn’t have cared what anyone thought. … For men, the softer emotions
are always intertwined with power and pride. (195)
Daschaudhari reveals that Divakaruni’s Draupadi is a more light-hearted character,
and appears less burdened by her dharma as daughter and wife. It is Vyasa (appearing in the
role of a fortune-teller in this novel) who makes her aware of her impending fate. We read
from the novel, “You will marry the five greatest heroes of your time. You will be queen of
queens, envied even by goddesses…You will be remembered for causing the greatest war of
your time…Yes, indeed, you will leave a mark on history” (39). Daschaudhari also opines
that Divakaruni’s heroine is a girl who may be born in the times of yore but her expectations
from life, her desires, her outlook of the world is that of a twentieth century girl (182).
The novel highlights Draupadi’s quest for identity through her narrative in the first
person, making her the voice of women. She prioritizes intellectual pursuits over traditional
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feminine activities, seeking knowledge in philosophy, political science, and law. Despite her
excitement at the prospect of choosing her husband at the Swayamvar, Krishna warns her
about the complexities of truth and destiny – “. . .but it may not be what you are imagining.
Truth, like a diamond has many facets” (55). The test at the Swayamvar proves challenging,
with warriors having to hit a target they can only see indirectly. Krishna assures Draupadi of
her destined union with Bharat’s greatest hero. Despite falling in love with Karna upon seeing
his portrait, she learns more about his background and feels increasingly drawn to him- “I
longed to look into Karna’s face, to see if those eyes were indeed as said as the artist had
portrayed, but even I knew how improper that would be. I focused on his hands, the wrists
disdainfully bare of ornaments, the powerful, battered knuckles.” (93) However, her duty to
her family leads her to reject Karna’s proposal, though her love for him endures throughout
the story. Marwood Larson-Harris writes that Divakaruni’s most striking innovation is
Draupadi harbouring an illicit desire for Karna. He also writes that ‘dharma’ which is the vital
theme in original Mahabharata figures occasionally in Divakaruni’s version. Draupadi’s
retelling of the story shifts the focus to the challenging emotions that complicate duty, such as
anger, resentment, and suppressed desire, which dominate her life. While the original
Draupadi also touches on these themes, The Palace of Illusions, by Chitra Banerjee
Divakaruni, notably omits the inevitable Brahmana dharma lectures. Divakaruni’s portrayal
of Draupadi also delves into her concerns regarding the status of women in Hindu society and
the plight of the underprivileged, exemplified by characters like Ekalavya. These concerns,
although not novel, are articulated in a manner that resonates with contemporary sensibilities
through the voice of the protagonist. Additionally, Krishna is depicted as a more relatable
figure, a carefree wanderer who playfully teases Draupadi about her cooking skills and
imparts Gita-like lessons on detachment.
To conclude, it is not extreme to say that The Palace of Illusions is an inevitably
brilliant work of re-narrativizing the Indian epic Mahabharata with a unique sense of
perception and style. In the book review of The Palace of Illusions, James Purdon writes, “A
little jejune at times, Divakaruni’s elegant and languid prose remains seductive as it
reimagines the woman at the heart of the story and weaves myth into a modern idiom.” As
Divakaruni mentions in the “author’s note”, she was left unsatisfied with the part the women
play in the epic, “somehow they (the women) remained shadowy figures, their thoughts and
motives mysterious, their emotions portrayed only when they affected the lives of the male
heroes, their roles ultimately subservient to those of their fathers or husbands, brothers or
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sons” (xiv). Re-writing of the epic was for Divakaruni, a way to give voice to the women, to
“place the women in the forefront of the action…to uncover the story that lay invisible
between the lines of the men’s exploits.” (xv). And thus, it is that Divakaruni portrays the
heroine of the Mahabharata, a reflection of a modern-day girl and woman, retelling her story,
“with all her joys and doubts, her struggles and her triumphs, her heartbreaks, her
achievements, the unique female way in which she sees her world and her place in it. It is her
life, her voice, her questions, and her vision that I invite you into in The Palace of Illusions”
(xv).

Works Cited:
Campbell, Joseph, et al. The Power of Myth. Doubleday, 1988.
Daschaudhuri, Mohar. “Re-Writing the Myth of Draupadi in Pratibha Ray’s Yajnaseni and
Chitra Banerjee Divakaruni’s The Palace of Illusions.” Athens Journal of Philology – Volume
7, Issue 3, September 2020 – Pages 171-188, https://doi.org/10.30958/ajp.7-3-2.
Devi, Mahashweta. Breast Stories. Translated by GC Spivak. Kolkata: Seagull Books, 1997.
Devi, Mahashweta. After Kurukshetra. Translated by A Katyal. Kolkata: Seagull Books,
2005.
Divakaruni, Chitra. The Palace of Illusions. New York: Doubleday, 2012.
Deshpande, S. A Toppling World View: Writing from the Margin and Other Essays. India:
Penguin Books, 2003.
Goncalves, Oscar F. et al. Nurturing Nature: Cognitive Narrative Strategies. The Handbook
of Narrative and Psychotherapy, edited by Lynne E. Angus and John McLeod, Sage
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Larson-Harris, Marwood. “International Journal of Hindu Studies.” Vol. 12, no. 3, 2008, pp.
332–34, JSTOR, http://www.jstor.org/stable/40343823. Accessed 13 Mar. 2024.
Purdon, James. “Review The Palace of Illusions by Chitra Banerjee Divakaruni.” The
Observer, 27 Sep 2009, https://www.theguardian.com/books/2009/sep/27/palace-illusions-
chitra-banerjee-divakaruni.
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