Hindu Mythology is a genre not largely explored when it comes to mythology. Hindu Mythology is a genre not largely explored, as Roman or Greek mythology is far more popularized and mainstream. Similar to these two, Hindu mythology is also brimmed with underlying symbolism and sparks debate as to what is right and what is wrong. Such a topic that will be discussed is the treatment, or rather mistreatment, of women in Hindu mythology. Authors of Hindu epics constantly enforced the idea of patriarchy, hence belittling the position of women in Hindu epics.
Growing up, I heard various adaptations of Ramayana, however, the details I will be presenting to you will be based on Vyasa’s version, who created Mahabharatha. I was never one to go against stories, especially those that included divine figures, as it was considered more a less a part of "history" rather than a mythological story. I mean, who am I to argue against a story that's been passed down for centuries?
And that's exactly where everything went wrong. No one spoke up against this; this caused the idea and the normalization of the inferiority of women in South Asian relationships, and society's requirement for women to be endlessly loyal, making multitudes of sacrifices for their husbands. Upon the rise of feminism among South Asians in the 1980s, the misconceptions started to be pointed out, and many started to shift away from tradition to adapt to a life where a man and woman in a relationship will be on an equal pedestal. This is especially important to point out to the next generation of youth growing up listening to such Hindu Epics. Below, I will provide a synopsis of the Ramayana epic and why certain scenes are controversial.
Sita - Ramayana
Ramayana was a tale that taught lessons such as staying true to your word, differentiating right from wrong, and protecting the weak. Sita — daughter of King Janaka and princess of the kingdom Mithila — was the female protagonist in the epic Ramayana. She was depicted as an "ideal wife" where she would eternally serve loyally for her husband, reinforcing the patriarchal system set in place.
After facing success in Sita's swayamvara, which in ancient India, was "a practice in which a girl of marriageable age chose a husband from a group of suitors," Rama is exiled to the forest for 14 years upon the order of Kaikeyi — one of King Dasaratha's 3 consorts. This is because Kaikeyi was noted as Dasaratha's favorite wife, and the next successor after Dasaratha would be Kauslya's son Rama. To get her son to the throne, Kaikeyi unreasonably sends Rama to exile, alongside Sita, who follows Rama due to her loyalty to him. This scene is just one of the many that show how a woman's life is made to revolve around a man.
After Sita was abducted by Ravana, the king of Lanka, engages in a war against Rama, Lakshmanan and the Monkey Commander Hanuman Similar to the Achilles' heel, Ravana's weak spots differ across the different adaptations of the story. Wherever the weak spot may be, Rama is said to have found it and slain him to death.
Soon arrives this scene, where the English translation states:
"But, lady, 'twas not love for thee That led mine army o'er the sea. 'Twas not for thee our blood was shed, Or Lanká filled with giant dead. No fond affection for my wife Inspired me in the hour of strife. I battled to avenge the cause Of honour and insulted laws." ( Ralph T. H. Griffith, English Translation of Valmiki's Ramayan, 495)
This was a quote Rama said to Sita after saving her, stating that his valiant actions were not a result of his love for her, but to keep his honor among his citizens upon returning to Ayodhya. Her undying love and loyalty towards Rama was not the least bit returned by him, showing how belittled a woman's position in a marriage is in a patriarchal system.
Upon saving her, Rama comes to an unjustified assumption about Sita, claiming that he doubts Sita's fidelity after being held hostage against her will by King Ravana. In South Asian culture, oftentimes extreme punishments are taken up to prove the innocence of an individual. Similarly, Sita decided to undergo a severe punishment to prove her virtue and purity by walking through fire, and if she comes out unharmed, her statement shall be accepted.
“Sumitrá's son [Lakshmana], a pile prepare, My refuge in my dark despair. I will not live to bear this weight Of shame, forlorn and desolate...The universal witness cried: 'From every blot and blemish free Thy faithful queen returns to thee. In word or deed, in look or mind Her heart from thee has ne'er declined.'” ( Ralph T. H. Griffith, English Translation of Valmiki's Ramayan, 496-497)
The Lord of Fire stands by Sita in this scene to attest to her purity as she walks out of the flames, unharmed. This scene is especially one that is controversial because it shows the extent Sita has to go to prove her innocence in the situation. Despite all this, Sita did not lash out in anger, which shows that women were raised with the tendency to remain calm even in times of being unjustly accused. This scene addresses the double standards by which women and men are judged. When it comes to morality, it is never the man's purity at stake but the woman's. In Hindu mythology, it was common for men to have multiple wives. Take Rama's father, King Dasaratha, for example. He had 3 wives. However, it was considered immoral for women if they were to do the same thing. Sita, although portrayed as a submissive loyal wife to her husband Rama, despite being doubted, she shows no violent reaction and instead chooses to courageously walk through the fire, as she knew there was no wrong on her side. Although the story of Ramayana was written to tell Rama's dharma, Rama's morals/virtues, it is safe to say that Sita played a bigger role in portraying this concept.
நன்றி,
Shakthika :)
Sources:
Written by Shakthika T. from Newark, New Jersey
Comments