In Ahalya's Awakening, Kavita Kané questions the penalty for infidelity, and its significance in Indian mythology

History was about to repeat itself. The newly appointed Indra, king of the heavens, desired his queen Indrani. Nahusha, king of the Aila dynasty, coveted Sachi, wife of the former Indra Shakra. He was compelled to renounce his throne after a horrifying curse, leading to his downfall. It rendered him powerless, turned his body into a thousand vulvas, and his throne remained forever insecure. "She is the wife of another, you cannot have her," Rishi Brihaspati reasoned with the new king, but Indra was adamant. "I can and I shall," he stated when a soft voice said, "Don’t."

Menaka, the ethereal apsara, had glided into the courtroom to warn Nahusha of the toll his intransigence would invite, not only from the king, but also from Indralok, as it had happened once before. To him, she narrated the story of Ahalya.

Thus begins Kavita Kané's mythological tale of the first of the five virgins or panchkanya — archetypes of female chastity in Indian mythology — revered for her purity, yet condemned on account of her infidelity. Ahalya's Awakening, as the author notes, traces the paradox of its eponymous protagonist, who is "deemed promiscuous", and yet, is seen as a symbol of chastity.

Cover of Kavita Kané's latest work of mythological fiction, Ahalya's Awakening.

In the book, Ahalya's story takes off from her infancy, right up to the point where she blossoms into her extraordinary beauty and intelligence, after a childhood spent under the wings of sages Vashisht and Bharadwaj. This is followed by her subsequent departure to Rishi Gautam’s ashram. Yearning for an identity independent of her physicality, here, she vows to become a learned rishika, and immerses herself in the study of scriptures and Vedas.

Kané's sixth book, not unlike her previous works, sketches the lives of mythological characters that play their part on the fringes of a greater, more significant story, but whose silent struggles epitomise extraordinary strength and resilience. The former journalist’s sublime portrayals of these lesser-known women of the epics flavour the cannon of mythological literature with the spice of an alternative perspective: one that offers a study of womanhood and of women whose lives underwent dramatic upheavals as a direct consequence of the actions of more prominent heroes and heroines.

In the same vein, "there is very little on Ahalya," Kané suggests, and "more on the impact and implication of this episode mentioned in the Ramayana."

Ahalya’s Awakening then, is also distinctive, for it launches into a story that is twice removed. Contrary to the author's earlier works, such as The Fisher Queen’s Dynasty (2017) — which recounts the belligerence and ambition of Satyavati that would culminate in the Mahabharata — the protagonist of her 2019 work is not related to the principle characters of the epics and appears only briefly in Ram’s journey to the kingdom of Mithila.

Of Ahalya, the author says: "She is an enigma, almost a silent woman, known essentially for her seduction by Indra, her curse by her husband Rishi Gautam for infidelity, and her liberation from that curse by Ram."

Ahalya, wife of Rishi Gautam, the first among the panchakanya or the five virgins in Indian mythology as depicted by Raja Ravi Varma. Image via Wikimedia Commons

Kané adds that ironically, despite being a rather revered figure, Ahalya is also among the most doubted characters in mythology. In spite of being a complex woman, she is rarely ever perceived as one. "Rather she seems a mute, voiceless spectator of her own trials and tribulations," the author says.

But her novel puts these qualms to rest. "I have shown her as a human with her human flaws, mistakes and courage to carry out her decisions," she states.

According to the Brahma Purana, Ahalya, the one without ugliness, was brought to life by the creator of the universe, Brahma himself. The most beautiful woman in the entire world, she was married to the much older sage, Gautam. Later, seduced by Indra in the guise of her husband, she succumbed to his advances and was cursed into living as a stone. She was to remain completely invisible, until one day Ram’s feet brushed against her form, and her ascetic brilliance, attained through years of penance, became perceptible to the world.

However, the thread that intrigued the author is to be found in Jinasena's Harivamsha Purana, which suggests that Ahalaya — the one whose name also means an infertile land — was in fact a Puru princess, and not a divine creation of Brahma. Accordingly, she attributes to Ahalya two doting parents — King Mudgal and his queen, Nalayani, the daughter of Nala and Damayanti, and a twin brother, prince Divodas.

Ahalya’s episode in the Ramayana centres on the motif of punishment for infidelity and seduction, that foretells Sita's banishment from Ayodhya, brought about by a washerman's comment on her character. Ahalya's story also appears much before the story of her grandparents, particularly Nala (with a weakness for gambling), who first finds reference in the Mahabharata.

In Kané's rendition, the king of Indralok is consumed with desire for Ahalya. When the strain of marriage affects his duties, and causes sage Gautam and Ahalya to drift apart, Indra further discovers a want and loneliness in Ahalya that ultimately provokes him into disguising himself as Gautam. Ahalya falls into his arms knowingly, giving in to the charms of the man who has been in hot pursuit of her ever since their eyes met for the first time long ago in a palace courtyard.

Enraged at this infidelity, Rishi Gautam curses them both.

Indra descending from the heavens to meet Ahalya as depicted in Raja Ravi Varma's Indravalokan. Image via Wikimedia Commons

Kané's Ahalya submits herself to her stone-like existence. A perfidious woman, abandoned by her husband and children, and subjected to the jibes of society, she falls into deep meditation, turning her thoughts inwards.

One day, years after Ram liberates her from the curse, Ahalya finds a worried Sita in her ashram, looking for her young boys. Subtly wound into the fabric of the story is a dialogue imagined between the two "most visible victims of patriarchy, both condemned by society." In that instance, Sita, forsaken by her husband-king, and Ahalya, infamous for her sin, find comfort in each other and their common sufferings.

"That’s the reason these ancient stories still appeal to us," Kané points out, "– of the contemporary man, contemporary woman in contemporary times. Of Man with his follies and flaws — they are telling us stories of ourselves. The status and subordination has come through down the ages, through social times, through changed perspectives."

Kané imbues resolute strength in Urmila — Laxman's sultry enchantress — in Sita's Sister, and in the timorous Urvi from Karna's Wife; on her Ahalya and Satyavati, she bestows the qualities of courage and power. She also endows Ahalya with the temerity to commit a transgression, and then accept its consequences. She empowers her with the ability to comprehend human desire, coupled with spiritual awakening.

Ahalya's Awakening brings a short episode of Hindu mythology into the spotlight, highlighting its relevance in a modern society caught in similar tussles of adultery, loyalty, divorce and patriarchy.

(Source: FirstPost)

What these 4 women characters from Indian mythology tell us about rape culture

Time we relook at patriarchy because it's directly linked to sexual crimes against women.

You need look no further than mythology to know what the fabric of society, its structure and norms would be like. It's interesting to look at what Indian mythology holds as signs of strength and morality in women. These are women who always listen to what they're told, never protest and they're only recourse to expressing anger is renunciation of everything, even asceticism.

In fact, the only character I know of who was known for her intellect, poetry and story-telling, Avaiyyar, asked Ganesha to make her an old woman when she was quite young so that she could avoid men. And here are some more who did not really use their intellect, but are hailed as the most powerful women in mythology.

1. Madhavi
She is blessed with the ability to bear only male children who are guaranteed to become conquerors. What's more, she can restore her virginity after each delivery! Her story begins when Galava offers to pay his guru, Vishwamitra, a gurudakshina, and the latter asks for 800 white horses with black ears. When Galava approaches Yayati (a king) for the 800 horses, he hands over his daughter Madhavi instead. Since he doesn't have the horses himself, he asks Galava to marry off Madhavi to a king who can offer him 800 white horses. But no king has 800 white horses with black ears so Galava exchanges Madhavi for 200 horses with three different kings and then hands her over to Vishwamitra along with 600 horses. She is to be kept in lieu of the other 200 horses.

Everything with this story sounds unfair. Madhavi, like many other characters, was treated as property to be traded and her sole purpose was to bear children and that too only male. She is surprisingly hailed as a strong character because she renounces everything in the end and becomes a sanyasini. How is that strength? It would have been strength if she had refused to listen to her father in the first place. Madhavi does not show that she has a mind of her own and keeps bearing atrocity after atrocity. The concept of consent doesn't feature here and her womb is literally peddled.

2. Sita

Sita’s agni pariksha. (Credit: Wikimedia Commons)

Sita is hailed as another pure and righteous woman. She follows her husband, Rama, when he is exiled to the forest, but is abducted by Ravana when she is tricked into crossing the Lakshman rekha. This leads to the battle of Ramayan in which Rama defeats Ravana. When a pregnant Sita returns to Ayodhya with her husband after 14 years, the people of Ayodhya question the lineage of the unborn children. Sita takes a test to prove her purity, but later chooses to quit everything and return to her mother, the earth, rather than being the queen of Ayodhya.

What's outrageous here is not just her abduction but the fact that she chose to go through with proving her chastity although it wasn't her fault. Above all, the whole concept of a lakshman rekha drawn by someone younger to her shows where she stands in the hierarchy of things despite being a Goddess. And should she cross it, there shall be questions on her very character.

3. Draupadi 

There is nothing strong about this character who was shared by five men (as if she is an object) none of whom could protect her from the Kauravas. (Credit: Wikimedia Commons)

Draupadi, as is well-known, is played and lost in a game of dice much like an object. She is publically disrobed by the Kauravas who were angered when she laughed at them and called Duryodhana "the blind son of a blind man". She's probably the only character in mythology to have shown her anger and successfully wrecked vengeance, but in the end, Draupadi loses everything and ends up sad and lost. She is also the first to fall and go to hell when the Pandavas climb the Himalayas. Again there is nothing strong about this character who was shared by five men (as if she is an object) none of whom could protect her from the Kauravas.

4. Ahalya
The wife of sage Gautam, Ahalya was one of the "most beautiful" women. So much so that Indra had his eyes on her. He takes the form of Gautam and seduces her. On knowing what transpired, the sage curses Ahalya to live for the rest of her life as a stone until Vishnu himself graces her by placing his feet on her. Ahalya's penance is considered exemplary. But come to think of it, she hardly had a voice. She was raped and punished for the rape. Indra was punished too for his crime. He is cursed with a thousand vulvae on his body and loses his testicles. But after performing penance, these are converted to a thousand eyes. While Indra renews himself, Ahalya simply rejoins her husband after penance.

Each of these stories show how patriarchy reduces the character of a woman to the number of sexual partners she has, and her purpose to child-bearing. The obsession with knowing the lineage of offspring, virginity and the narrow definition of character led to the imposition of restrictions on women and artificially stunted their status. And much of this continues today.

Even now, the way to seek revenge for many is to rape someone's sister or wife because somehow they are "property" and their sexual chastity is synonymous with the honour of the family. Either that or women are punished for crossing imaginary lines imposed by the society — it could be something as small as being out with a friend as in the case of Nirbhaya.

It's high time we relook at patriarchy because it's directly linked to sexual crimes against women.

(Source: DailyO)