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NAME : MITALI BIRNALE
TYBA – DIVISION : E
ROLL NO. 2112057
COMPULSORY ENGLISH CE 1 ASSIGNMENT
From Vyasa’s Canon to Chitra Banerjee’s Canvas: Painting Draupadi’s
Feminist Strokes.
Chitra Banerjee has portrayed the feminine sensibility in her works. As a writer she puts stress on
the fact that her character, whether they are exclusively Indian or Western, are on the whole
human beings. Chitra Banerjee Divakaruni is gifted with rare cultural consciousness. The time of
Mahabharata represents one of the most crucial crises in entire civilisation. All the significant
men of that time fought on the battlefield of Kurukshetra. The novel, The Palace of Illusions by
Chitra Banerjee is written beyond the battlefield and she examines this crisis in mythology from
a feminist perspective.
The Palace of Illusions takes us back to the world of the Indian epic TheMahabharata – a time
that is half history, half myth and wholly magical. Chitra Banerjee through her narrator Panchali,
the wife of the legendary five Pandava brrothers, gives us a rare feminist interpretation of an epic
story. The novel is written in first person narrative with Panchali as the narrator. The novel
follows Panchali’s life and begins with her magical birth in fire as the daughter off King Drupad.
Born of her fire, she was prophesied to change the course of her history before her birth. Her
partriarchy- affirmed name Draupadi, which means Drupad’s daughter is just the beginning of
the gender- based limitations imposed on Draupadi in her father’s palace. Panchali who emerges
as a fiery character also metaphorically gives a view of the male dominated world. The life of
Draupadi, a celebrated woman character of ancient India, almost reflects the modern independent
woman who becomes the voice of her own. From the great seer Vyasa’s version to Chitra
Banerjee’s, one can see remarkable differences. It is the determination and willpower in
Draupadi, the spirit to fight injustice that makes her the most mysterious and majestic woman for
all ages.
Feminism as a theory of literary appreciation was in full swing by the late 1960s. It was an
attempt to explain the experiences of women presented in various kinds of literature. It
questioned the subjugation domination, patriarchal attitudes and men interpretations in literature.
It further challenged the traditional and stereotypical masculine notions of women and their roles
in society. Feminism has traveled a long distance. This novel gives a deep understanding of
feminism, giving new insights to understand and interpret the events of Mahabharata. By making
Panchali the protagonist Divakaruni gives Panchali’s own thoughts on her own life through her
own words. Draupadi hears the story of her birth often by Dhai ma as it made her feel special and
unique. She was told by Dhai ma that she was the uninvited girl.
Panchali story asserts the will of women. The opening chapters show Draupadi’s obsession with
her origins, showcasing her rebellious nature and her struggle for a female identity. In an
instance, feminism can be felt when the tutor was teaching and Draupadi had interrupted, and the
tutor had said about the” women who are the path to ruin”. Draupadi says “I resented the tutor’s
declaration that women were the root of all the world's trouble.” In her own house, Draupadi’s
voice of protest, her willingness to learn Nyayashastra, her participation in armour activities, and
even her right to choose a lover were fiercely opposed. Panchali’s life continues, unlike any other
girl she has known. She falls in love not with her future husband but with Karna, who is not
allowed to attend her Svayamvara. After getting married to the five pandava brothers, Panchali
had to deal with the unusual struggles of life. Her life revolves round the prophecies. In an
attempt to subvert the patriarchal system, Divakaruni opens up several issues and tries to
interpret them through the eyes of a woman.
The novel reflects Draupadi's perspective, her desire to find true love throughout her life, her
disgust for her paternal home where she was sacrificed in the name of Swayamvara, which in
reality was nothing but a political contract. Her helplessness when forced to marry all her
Pandava brothers, no one doubted what she really wanted, her jealousy at her husband’s taking
other wives, her resentment towards Kunti and her earnest yearnings of unexpressed love
towards Karna. She questions the shame she experienced in Hastinapur after Yudhistir lost
everything, including Panchali in a game of dice. Panchali, disgusted that none of her husbands
defend her, calls on Krishna to protect her honour.
The Palace of Illusions has a new vigour added to the epic Mahabharata through which
Divakaruni has given voice to Panchali. The novel is definitely a feminist writing in which myths
ate revisioned, rewrote and retold from a female point of view. The focus of this novel is on the
inner life of women. Traditionally Draupadi has not been given the importance she is due. Many
believe that it was her headstrong actions that brought about the destruction of the Third Age of
Man, and she is known to be Kritya one who brings doom to her clan. But Divakaruni moves
away from such interpretations to provide a new outlook on Panchali. The narrative technique of
Chitra Banerjee is quite different from the original epic. She weaves that myth into the structure
of the novel. This strategy is told as a story within a story. Divakaruni has not attempted anything
new which was not there in Vyasa’s Mahabharata, but the epic was reworked to appeal to modern
readers. No new characters are introduced to make this epic effective. Draupadi is not just about
the external equality of women. She objects to the idea that it is a woman’s duty to pray when her
father, husband, brother, or son goes to war. Although she longed for him, under the spell of
Krishna’s words, she cursed Karna at the king’s assembly, but later regretted her actions. She put
the garland into Arjuna’s neck and started the journey with him and with this her problems
increased by a great number, but she fights it all with great courage.Palace of Illusions offers a
feminist interpretation, as the entire novel is narrated by Draupadi as a prominent figure in the
Mahabharata. It gives herinsight into the many incidents that appear to be a person of interest.
Chitra Banerjee Divakaruni raises new questions about the ancient text of Mahabharata. She
made us understand the key events of the epic from a female perspective. Her novel is therefore
not only different, but also an important feminist text that gives a new perspective on Panchali’s
identity.

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