The Rape of Our Epics: Part 4

shurpaRead the previous parts: 1, 2, and 3.

So where were we? Popular discussion? Niyoga? No…well, yes, we were at the three princesses: Amba, Ambika and Ambalika. Pardon my confusion. I mean, confusion happens when Nilanjana Roy mixes up timelines.

Imagine my plight: she begins with Sita, then moves to Draupadi. Correct: from Treta Yuga to Dwapara Yuga. Then she spends some time in Dwapara Yuga. Suddenly she reverts to Treta Yuga, she reverts to Shurpanakha. But does she stop there? No. Without warning, she drags in Hidimbi. 

That leaves Surpanakha, the woman in the forest; like the rakshasi Hidimbi, she sees herself as a free agent.

Let’s focus on “like the rakshasi Hidimbi” in that sentence. What Nilanjana is saying: “Surpanakha is like the rakshasi Hidimbi.” We’ll get to the “free agent” bit in more detail later. Now, here again, Nilanjana gets the chronology mixed up. Dwapara Yuga occurs after the Treta Yuga. So, the correct comparison would be “Hidimbi was like the rakshasi Surpanakha,” not the other way round. Also, it’s pretty interesting that Nilanjana Roy doesn’t mention Hidimbi’s real name: Saalakatankati. “Hidimbi” is the feminine gender (sister of) the rakshasa, Hidimba. I mean, Saalakatankati had a feminist identity of her own. “Why should her name be derived from the name of her brother?” asks a committed feminist. Also, please forgive the nitpicking.

But let’s get to the crux of Nilanjana’s characterization of Surpanakha. Line by line. Line 1:

Different versions of the Ramayana are uneasy about her looks — in some, she is an ugly rakshasi; in some, she takes on a deceptive, beautiful form; in some, she is beautiful to begin with.

We can’t help but simply marvel at Nilanjana’s disclaimer about the “different versions of the Ramayana.” The “different versions of the Ramayana” is the Classic Manual of Intellectual Dishonesty laid down by A.K. Ramanujam. We wonder why only Homer is considered to be the author of the Iliad and the Odyssey but when it concerns the Ramayana, multiple versions and authors are held to be more authoritative than the original author, Valmiki. We also wonder why a crucial fact is concealed—the crucial fact that the author of every single “version” of the Ramayana pays reverential tributes to Valmiki. We are of course, talking about the “versions” of the Ramayana written in regional languages in an age where a thing called feminism hadn’t been introduced yet. These “versions” do contain the input upon which the likes of Nilanjana Roy base their creative interpretations. And I repeat, all of these versions invariably have at least one invocatory verse that addresses Valmiki in nothing less than a reverential tone. From Kamban to Tulsidas to Kuvempu to the tens of Ramayana works in Telugu and Kannada, every single poet has worshipped Valmiki; every single poet has explicitly expressed his/her debt to the Adi Kavi.

And so, how does the Adi Kavi, Valmiki describe Surpankaha at the very outset?

sumukham durmukhii raamam vR^itta madhyam mahodarii ||
vishaalaakSam viruupaakSii sukesham taamra muurdhajaa |
priyaruupam viruupaa saa susvaram bhairava svanaa ||
taruNam daaruNaa vR^iddhaa dakSiNam vaama bhaaSiNii |
nyaaya vR^ittam sudurvR^ittaa priyam apriya darshanaa ||
shariiraja samaaviSTaa raakSasii raamam abraviit |

She that demoness, endowed with an unpleasant face, (she with the) pot-belly, (she with the) wry-eyes, (she with the) coppery-hairs, (she with the) ugly features, (she with the) brassy voice, the crooked-talker, the ill-mannered, the uncouth, the abominable, and she whose body had aged prematurely saw [Rama], the pleasant faced, the slim-waisted, the broad-eyed, the neatly-tressed , the charming, the [one endowed with a] gentle voice, the pleasant-talker, spoke besieged by lust.
(Aranya Kanda Sarga 17, Sloka 11)

In other words, Valmiki had no doubt in his mind about how he conceived the character of Surpanakha. Her complete story therefore needs to be told. Ravana himself kills her husband and in a bid to pacify her, makes her the governess of a province in his kingdom. He lets her have her way in pretty much everything including her unquenchable appetite for carnal pleasure with every other man. This relentless abuse of her body is what leads to the premature aging of her body (mentioned in the verse above). And it is this unquenchable appetite that makes her put out an indecent proposal to the much-married Rama and an equally married Lakshmana.

In many ways, it is Surpanakha who caused the destruction of both Ravana and Lanka. After getting her nose cut off, she approaches Ravana, seeking revenge. When Ravana inquiries about the cause of her mutilated nose, she lies. She says that she went to the forest to gift the beautiful Sita to Ravana but found that both Rama and Lakshmana were coveting her amorously, and that because she proved an obstacle in their quest, they cut her nose off. And then she begins an elaborate description of Sita’s beauty, which is enough motivation for Ravana to not only avenge his sister but to kidnap a married woman.

Perhaps the best estimate of Surpanakha comes from the women of Lanka during wartime:

dR^iShTvaa shrutvaa cha sambhraantaa hatasheShaa nishaacharaaH |
raakShasyashcha samaagamya dInaashchintaapariplutaaH ||
vidhavaa hataputraashcha kroshantyo hatabaandhavaaH |
raakShasyaH saha saMgamya duHkhaartaaH paryadevayan ||

Seeing and hearing about the slain demons, the surviving demons, horribly scared, looked sad and were overwhelmed with anxiety. They wailed when they met their wives. All the demonesses who had lost their husbands, sons and kinsfolk met at one place, stricken with sorrow, and wailed as follows.

katham shUrpaNakhaa vR^iddhaa karaalaa nirNatodarI |
aasasaada vane raaman kandarpamiva rUpiNam ||

How did the old and ugly Surpanakha, of sunken belly, approach, in the forest, Rama who is charming like the god of love?

sukumaaraM mahaasattvan sarvabhUtahite ratam |
tan dR^iShTvaa lokavadhyaa saa hInarUpaa prakaamitaa || 

How strange it is that on seeing that Rama of tender youth, endowed with extraordinary strength and devoted to the welfare of all created beings, that ugly woman (Surpanakha) who deserved to be condemned by the people, was stung with excessive lust?

(Yuddha Kanda, Sarga 94, Sloka 4-6)

tannimittamidan vairaM raavaNena kR^itaM mahat |
vadhaaya nItaa saa sItaa dashagrIveNa rakShasaa||

For the sake of that Surpanakha, Ravana built this huge enmity. For his own destruction, Ravana the demon brought that Seetha.

(Yuddha Kanda, Sarga 94, Sloka 11)

Here we have a lust-crazed liar who eventually causes the destruction of her own brother and is directly responsible for the deaths of thousands of innocent citizens of Lanka. She has nary a redeeming quality. But we need to address Nilanjana’s point about Lakshmana cutting her nose off.

It bears repetition that Surpanakha lusts after one married man first, and then the other. What that tells us about Surpanakha: any man will do for the moment. The relevant portion in Aranya Kanda has tens of verses devoted to how Rama and Lakshmana try to dissuade her: first by polite talk, and then sarcasm. But the final straw is when she charges ahead to eat Sita. Which is when Lakshmana cuts her ears and nose off as per Rama’s orders as we shall see.

But how does this metamorphose in Nilanjana’s  world?

But what we know about her is that she is Ravana’s sister and, by extension, probably as learned as her brother; that she is free enough to express her desire for the brothers Rama and Lakshmana; and that she is indeed free to roam the forests without protection. The story of Surpanakha is filled with tangles and diversions — how much deception does she practise; does she merely terrify Sita or actually attempt to attack her; do Rama and Lakshmana toy with her, or are they more polite, or are they consistently hostile, before they cut off her nose, her ears, and, in some terrible versions, her nipples?

Sure she is Ravana’s sister but does it make her as learned as him? Nilanjana answers “probably,” which means she’s building her case based on something that can potentially be false. Even admitting Nilanjana’s thesis that Surpanakha is learned, does her learning justify her inherently immoral desire? Does her learning justify the barefaced lie she tells her brother about Rama, Lakshmana and Sita? Does her learning justify her kindling of Ravana’s lust for Sita?

But let’s look at the exchange that leads to the mutilation of Surpanakha’s nose:

shruuyataam raama vakSyaami tattvaartham vacanam mama |
aham shuurpaNakhaa naama raakSasii kaamaruupiNii ||
araNyam vicaraami idam ekaa sarva bhaya.mkaraa |

I will tell you the truth, Rama, nothing but the truth, I am a guise-changing demoness named Surpanakha, and I am freely moving in this forest in a solitary manner and unnerving all.

(Aranya Kanda, Sarga 17, Verse 20)

aham prabhaava sa.mpannaa svacCha.nda bala gaaminii |
ciraaya bhava bhartaa me siitayaa kim kariSyasi ||

"I am endowed with such preponderances and I can operate with my independent might, and as such, you become my everlasting husband; by the way, what will you do with (someone like) Sita?

(Aranya Kanda, Sarga 17, Verse 25)

vikR^itaa ca viruupaa ca na saa iyam sadR^ishii tava |
aham eva anuruupaa te bhaaryaa ruupeNa pashya maam ||

Unlovely and unshapely is this one, such as she is, this Seetha is unworthy to be your wife, and I am the lone one, worthy to be your wife; treat me therefore, as your wife.

(Aranya Kanda, Sarga 17, Verse 26)

imaam viruupaam asatiim karaalaam nirNata udariim |
anena saha te bhraatraa bhakSayiSyaami maanuSiim ||

Shall I eat up this disfigured, dishonest, diabolical human female with a hallow stomach along with him, that brother of yours and set you free?

(Aranya Kanda, Sarga 17, Verse 27)

kR^ita daaro asmi bhavati bhaaryaa iyam dayitaa mama |
tvat vidhaanaam tu naariiNaam suduHkhaa sasapatnataa ||

[Rama spoke] Oh, honourable one, I am married and this is my dear wife, thus it will be distressing for your sort of females to live with a co-wife.

(Aranya Kanda, Sarga 18, Verse 2)

adya imaam bhakSayiSyaami pashyataH tava maanuSiim |
tvayaa saha cariSyaami niHsapatnaa yathaa sukham ||
iti uk{}tvaa mR^igashaavaakSiim alaata sadR^isha iikSaNaa |
abhyadhaavat susa.mkruddhaa mahaa ulkaa rohiNiim iva

“Now I wish to eat up this human female right before your very eyes, and then I can blithely make merry along with you, without the botheration of a co-wife," said Surpanakha to Rama. Speaking thus, she, the torch-eyed Surpanakha rushed towards the deer-eyed Seetha in high exasperation as a great meteor would dash towards Rohini, the brightest star in the sky.

(Aranya Kanda, Sarga 18, Verse 16-17)

iti ukto lakshmaNaH tasyaaH kruddho raamasya pashyataH |
uddhR^itya khaDgam cicCheda karNa naasam mahaabalaH ||

Thus said [by Rama] to the mighty Lakshmana,  Lakshmana furiously drew his sword and chopped off her ears and nose before the very eyes of Rama.

(Aranya Kanda, Sarga 18, Verse 21)

I suppose this clearly answers all of Nilanjana’s questions and probabilities around Surpanakha: was she pretty? was she ugly? did she practice deception? did she terrify Sita? did Lakshmana cut off just her ears and nose or nipples? As for the last question, Nilanjana falls back on that readymade insurance of “multiple versions” of Ramayana.

However, what she glosses over—while accusing traditionalists etc of glossing over—is the heart of the Surpanakha issue: the immorality of her “free expression of desire” and the violent length she goes to in order to satisfy it—including attempting to murder Sita. But no, in Nilanjana’s world, “free expression of desire” is all that counts. “Critiques” like hers aren’t willing to even admit two crucial questions: is the man married? is the man interested in you? What compels such “critiques” to ignore the cause but wholly focus on only the consequence? Nilanjana’s defence of Surpanakha reminds of a Kannada proverb: you cannot sow a neem seed and expect a mango tree to grow.

And it doesn’t stop at that. Surpanakha’s disfiguration becomes an atrocity. And anybody who calls out this selective reading and the dishonesty necessary to paint Surpanakha as a victim is branded as someone who’s uncomfortable with the feminist critique etc.

In the end, what Nilanjana says about Surpanakha is nothing new. If I recall correctly, the whole Surpanakha as the wronged woman theme was widely publicized in a horrid dance-drama choreographed by Mallika Sarabhai. Ever since, it’s been a free for all. It’s therefore not a coincidence that Nilanjana Roy picks up the same theme.

Rajeev Srinivasan says it best:

Surpanakha’s Daughters…That was the name of a dance-drama choreographed by Mallika Sarabhai: the title, and the performance, were meant to tell modern Indian women to no longer look to the traditional Hindu role-models, such as the pancha-kanyas: Ahalya, Draupadi, Kunti, Tara and Mandodari….No, these are passé, retrogressive figures, and today’s with-it Indian woman should rather emulate a lust-crazed Titan/Asura woman who relentlessly pursued a married man who showed no interest whatsoever in her! A very fine exemplar indeed!…Indeed, the Asuras are winning: Surpanakha would be proud of her daughters. All that remains is to make it a criminal offence for a man to rebuff the unwanted romantic advances of any woman.

To be concluded in Part 5

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