By Nishtha Aggarwal

Abstract

Indian mythology is a reservoir of ancient narratives that have shaped the cultural and spiritual fabric of the nation. While traditional interpretations have long been the norm, delving into these mythological tales from unconventional perspectives offers fresh insights and a deeper understanding of the rich tapestry of Indian culture. This article examines the significance of exploring Indian mythology through alternative lenses such as feminism, politics, and caste. It highlights the transformative power of retellings that challenge established narratives, bring  marginalized characters to the forefront, and uncover hidden meanings. 

In the rich tapestry of Indian culture, mythological tales hold a prominent place, weaving together threads of history, spirituality, and moral teachings. These ancient narratives passed down through generations, are often steeped in tradition and interpreted through conventional lenses. However, delving into Indian mythology from unconventional perspectives opens up a treasure trove of untold stories, hidden meanings, and alternative viewpoints that add depth and richness to our understanding of the culture and beliefs that have shaped India for millennia.

Traditionally, Indian mythological tales have been interpreted through established narratives, highlighting the heroism of deities, the triumph of good over evil, and the moral lessons embedded within. These interpretations, while valuable and widely embraced, often present a narrow view of the complex world of Indian mythology. By exploring these tales from unconventional angles, we gain new insights into the multifaceted nature of these ancient narratives. Unconventional perspectives challenge the status quo, offering fresh interpretations that subvert gender roles, amplify the voices of marginalized characters, and engage with philosophical and psychological dimensions. By reimagining the well-known figures and events of Indian mythology, we invite a broader spectrum of representation and embrace the diversity of human experiences within these tales. This article will provide an exploratory analysis of such brave retellings of Indian mythological tales through the unconventional perspectives of characters that have been side-lined, stories that have been outcasts, and lessons that are yet to be learnt. 

Myths, or Mythology, comprising a collection of stories compiled as an epic, or Purana, have captivated and inspired writers and readers worldwide. Over generations, Indian mythology’s diverse tales have been transmitted orally or meticulously recorded, holding great sway in conveying profound messages and shaping the personalities of the readers. Indian mythological stories aim to convey subtle truths, principles, and guidelines for daily life, often presenting multiple versions of the same fact, occasion, or festival, each possessing its own validity. These stories have naturally evolved and been passed down through generations. Despite geographical variations, myths derived from the Vedas, Puranas, and Itihasas retain their original purpose while incorporating local elements such as language and imagery.

The Indian literary market has responded remarkably to these tales, engendering a community of passionate readers and safeguarding them as cultural heritage through countless retellings. Mythology has also found popularity as a genre in English literature and Indian television serials, which present these tales in a highly dramatic and fictional manner. While the original sources and narratives remain intact, the style and approach have evolved to reflect the characteristics unique to our time. Consumers and producers in recent times have been much more rational in terms of the perspectives they hold towards this genre, often questioning the fundamental plots, storylines, and deities associated with mythology. They are consistently in search of scientific and logical explanations underlying these tales.

Under this purview of the mythology scene in India, a couple of authors have attempted  to present fresh, controversial, and insightful takes on classic Indian mythological epics. Firstly, we look at a feminist retelling of the Mahabharata by Chitra Banerjee Divakaruni, The Palace of Illusions. The story portrays Panchali, the wife of the five Pandavas, as the protagonist. It follows Panchali’s life from the day she was born magically in the fire as the Drupad king’s daughter. She was predicted to alter the path of history even before she was born because she was born from the fire. The gender-based restrictions Draupadi experiences in the palace of her father, begin with her being called by the patriarchal name Draupadi, which means Drupad’s daughter. The fiery character Panchali also serves as a metaphor for the world that is governed by men. The life of Draupadi, a well-known female heroine from ancient India, is nearly a mirror image of the modern independent woman who finds her own voice. There are notable discrepancies between Chitra Banerjee’s rendition and the one created by the great seer Vyasa. Draupadi is the most enigmatic and majestic woman of all ages because of her tenacity and willpower, her spirit of resistance to injustice, and her diversity. 

The Palace of Illusions lends itself to a feminist interpretation because the entire book is recounted by Draupadi, a significant character in the Mahabharata. The novel does not just present her perspective on her personal life, but also on other occasions in which she emerges as a strong character. Chitra Banerjee Divakaruni has posed fresh inquiries regarding the ancient Mahabharata text. She has provided us with an understanding of the epic’s major events from the perspective of a woman, making the book not only unique but also a significant feminist text that sheds new light on Panchali’s identity. 

Another great mythological retelling comes in the form of the Shiva trilogy by Amish Tripathi. The Immortals of Meluha, The Secret of Nagas, and The Oath of the Vayuputras are the three works that make up the Shiva Trilogy. It is about Lord Shiva, a well-known Indian deity who is revered for destroying evil. Mahadev has been reimagined by Tripathi as a flesh-and-blood human.  The author has portrayed Lord  Shiva as a worshipped individual who gains immortality not through his name but through his deeds. According to Tripathi, Shiva can become Mahadev, the All-Powerful, only through his acts. 

Shiva is regarded as a God of paradoxes in Indian mythology. He consumes marijuana, practices asceticism, dresses in tiger skin, covers his body in ash, and dances in the graveyard, but he is hailed as the God of Gods. He is revered as both, the strong warrior Rudra and the epitome of innocence, Bholenath. The mythical hero with all his celestial contrasts is the subject of the Shiva Trilogy. Shiva has not been portrayed as a superhuman hero but rather as a mortal being. The hero of Tripathi doesn’t have any supernatural abilities like the fabled Shiva, but he elevates himself through charity, wisdom, and tenacity and is recognised as a true hero. What Tripathi does eloquently through his trilogy is provide fresh perspectives on the gallant tale of Shiva. By posing Shiva as a mortal human being like its readers, Tripathi provides autonomy to the reader. He provides evidence that a man can do great things if he has the willpower to do them. The book also offers an insight into a pivotal character in Indian mythology as well as Shiva’s life, Sati and celebrates her candor and unconditional support to Shiva in his journey.

Along similar veins comes the epic retelling of the Ramayana through the lens of its villain, Ravana. In  Asura: Tale of the Vanquished, Anand Neelkantan offers an alternative viewpoint to the Ramayana that challenges the conventional narrative of the victory of good over evil, Ram versus Ravana, by exploring themes of power, oppression, and the complexity of morality. The book Asura is an attempt to relive the past in every way, as well as an epic that gives voice to the voiceless, making it appealing to all readers. The author has made an effort to question the prevailing ideology of the period and has started a new tradition of investigating stories from “the other” side. The characters who were previously silenced now have voices. The work allows the reader to experience the perspectives of various characters, particularly the Ramayana character who was silenced. Until a valiant endeavor by Neeelkantan’s work gives Ravana a strong voice, he has been portrayed as an unstoppable villain. In order to advance as a society, one must go beyond the problems of religion and caste, and only this can secure a true “Ramrajya,” according to a creative attempt to revive an ever-hated, terrible character like Ravana. These cutting-edge books force us to reevaluate some of the hotly debated issues surrounding postcolonial India while also providing a hopeful reconstruction through their gloomy, persistently “silent” characters.

In conclusion, exploring Indian mythological tales from unconventional perspectives breathes new life into ancient narratives, allowing us to uncover untold stories, hidden meanings, and alternative viewpoints. By challenging traditional interpretations, these retellings bring marginalized characters to the forefront, question established norms, and delve into philosophical, psychological, and historical dimensions. These retellings not only enrich our understanding of Indian culture but also inspire critical thinking, empathy, and a deeper appreciation for the complexities and diversity within Indian mythology. Ultimately, by embracing unconventional perspectives, we open doors to a more inclusive and nuanced exploration of Indian mythological tales.

Author’s Bio

Nishtha Aggarwal is a third-year Economics and Psychology student at Ashoka University.