Naga Mandali In Naga-Mandala

In Summary, with these three examples it is shown that the play and the movie contrast quite a bit. Most of the story line and the dialogue were very similar to the original story in the movie but some things were changed, possibly to shorten the story to be able to make

Mahasweta Devi’s short story, “Giribala,” is about the life of Giribala, a girl of Talsana village located in India. Born into a caste in a time when it was still customary to pay a bride-price, Giri is sold to Aulchand by her father. From this point on, we see a series of unfortunate, tragic events that take place in Giri’s life as a result of the circumstances surrounding Giri’s life. There are many issues in Giri’s life in India that Devi highlights to readers. First, the economic instability of the village leads to an extremely poor quality of life for the lower, working classes. Next, the cruel role of women determined by men in society is to either satisfy the sexual desires of men or to reproduce offspring who can work or be sold off to marriages. There are also other social norms and beliefs which discriminate against women that will be discussed.

In this play, the rise of Rani to the exalted status of a goddess instantiates a special kind of transformation which at one level is the actual fulfilment in social terms of her name and at another level, it represents an explicit subversion of the standards of a conservative society embedded in patriarchy. The play's feminist vision, the irony of Rani's snake trial which met with success mocks at the classic Hindu mythic chastity test. It is remniscent of Sita's ordeal of fire in Ramayana to prove her fidelity and chastity. In Karnad's play the woman undergoes another test, the ordeal of handling a venomous snake which proves "it is her very infidelity that comes to her aid in proving that she is a faithful wife." (Dharwadker:

Indian literature written in English language has its base n the myth that has been passed on from generations. Like many Indian English writers writing in English Girish Karnad is of no exception. In his writings the mythological aspects echo throughout. His plays like ‘Hayavadana’, ‘The Fire and The Rplay hain’ and ‘Nagmandala’ are based on the myths but Karnad gives an approach to myth in a different way. His plays originate from the myths of Indian legends but in the course of the play hee insert some of the acts which make us rethink about depending on God, especially through the man-God encounter acts.

The Ballads consists of number of Indian mythical stories which originally in Sanskrit are very faithfully being translated into English by this young girl. This work reflects another great quality of Toru as a storyteller. Her narrative and descriptive techniques are very well presented in Ancient Ballads. If we keenly go through the poem Savitri which is the opening poem of the Ancient Ballads her understanding of the Hindu mythology and tales can be best noted here. This poem being very long is the message for entire women living on earth, it describes how the character of a women should be, the portrayal of Savitri is the portrayal of every women. Toru represents Savitri as an example for all the women, her qualities and virtues need to be followed by all the women. In the following lines Toru very beautifully describes the firmness of Savitri who remain adhered to her choice even though she knew the fate of her choice( her groom)

This paper attempts to examine the fictional projections of Indian girls, to see how they emerge in ideological terms. Their journeys from self-alienation to self-adjustment, their childhood struggles against the hypocrisies and monstrosities of the grown-up world, eventually demolishing the unjust male constructed citadels of power that hinder their progress- are the highlighted issues. The point of comparison between the two novels focused on here is the journey of Rahel in The God of Small Things and Sai in The Inheritance from a lonely childhood to a tragic adulthood passing through a struggle with the complex forces of patriarchal society. Both the novels portray the imaginativeness, inventiveness, independence, rebelliousness, wide-eyed wonder and innocence associated with these young girls.

In Rudyard Kipling’s story, “Rikki-Tikki Tavi” , there is an evil snake. Her name is Nagaina. Nagaina is Nag’s wife. Nagaina and Nag are both very wicked and are trying to take over the garden. There are many exciting and interesting components to the story. For example, Nagaina shows that she is protective, smart, and angry.

There are some character differences between the two works. In the play, Katharina is physically and verbally abusive to get her way. While in the movie, she is only verbally abusive. This is changed

Sakuntala and the Ring of Recollection and The Red Lotus of Chastity are two Indian stories that depict the different gender roles in the culture at that time. Sakuntala follows the story of a young girl who marries the King that has declared his love for her. When he leaves her with promises to return, she is cursed that her love will no longer remember her. In Red Lotus, the story centers on Devasmita and her fight to keep her marriage vows and her husband safe. These are two similar stories of love with drastically different women protagonist that bring to light the gender roles expected of men and women.

Urvashi and Pururavas is a quasi myth that depicts a story of love and passion, containing elements displaying societal perceptions of women. Quasi myths are stories with elements of a myth within them, and within the 10th Book of the Rig Veda the myth of Urvashi and Pururavas has greatly intrigued me (Sen, Aditi). The first half of this paper will present my analysis for deciding to use the story of Urvashi and Pururavas, while the second half of this paper will outline my rational for my story book interpretation of the story. Most myths, especially those of religious standing, in my perception, present an outlook into the lives and society of those creating a myth. Myths can be a representation of social hierarchies and an explanation for societal rules and biases.

One by one the woman lures authority figures, saying to each one of them, “‘If it must be, you must come to my home and sleep through the afternoon and evening there,” and just like this she arranges for five suitors to meet her at her home (Arabian Nights). The protagonist capitalizes on her seductiveness and beauty and tricks the five suitors into fulfilling favors that will help release her lover, and she does this without them noticing that they are being tricked. Her love for her beloved, compels her to take desperate measures, while being cautious and tenacious. Such actions demonstrates that the woman is willing to do anything just to be with the person she loves. Furthermore, Bahiyya, an elderly lady is described in the short story “Bahiyya’s Eyes,” who will soon lose her sight because of the tears she has cried for being born a girl. After recalling her tragic childhood of humiliation and loneliness, Bahiyya writes to her daughter, “It’s all a question of fate and destiny and it’s that that made me write to you and ask you to come right away so I could take a good long look at you before my sight goes away.” (Rifaat, 7). Though she can barely see, Bahiyya endures her pain to wait for her daughter to come.

g. This comedic piece shows that not only can a shrew change but also realizes there actions were not right. Comedic devices helped build and grab the reader’s attention throughout the story especially when it comes to Katharina. Shakespeare structured this story by using clever languages, drama and the most important plot twists. At the end you see that Katherina changes from a mean and evil shrew to a “honey tongued trophy wife.”

Kahu asked. ‘ Yeah I suppose he must’, Nanny Flowers said , … Kahu said simply ‘I’ll get it.-Page 89. The young girl due to her innocence and purity is unable to recognise the spite and disinterest that Koro Apriana expresses towards her. Instead Kahu spends her days stubbornly in search of her grandfather's acknowledgement and love which leads Nanny Flowers and others to suggest that she is deluded and compares her behaviour to that of Mihi Kotukutuku, a female chief who was famous for defying attempts by other tribal leaders to undercut her own leadership due to her gender. The continuous disdain from Koro Apriana has a minimal effect on Kahu as she counteracts the disdain with patience and determination which emphasises the goodness of her character. Kahu’s manifestation of unconditional love develops a deep emotive response from the reader; one of compassion and sympathy for the child who has been put through such emotional strain and is growing up in an environment with such an underlying negative atmosphere from an influential member of her

The two boys also believe that she does not deserve her religious ceremony. The statement “It was hard to think that the grave and the crosses and the cemetery had anything to do with their mother” (330, Ginzburg) is important, since it points out that the boys retain their moral standards regarding their religion; however, according to their standards of the morality, she is not qualified. The following is the reason of their disapproval for her morality; in the recollection of the two boys, their mother is purely a woman “who had been cheated by the butcher and dashed off on her bicycle, and smoked, and took wrong turnings, and sobbed at night” (p.330, Ginzburg). Their mother to them is plainly a silly, lousy, incomprehensible, and lonely

Folklore superstitions and even the supernatural are some of the favourite themes of Khushwant Singh. He himself has said that his “roots are in the dunghill of a tiny Indian village”. Khushwant Singh achieves dual purpose by the use of these elements. First, the elements make the stories interesting and secondly, they fulfil the satirical purpose of the author. In additions, the elements make stories both romantic and realistic. The folklore and the supernatural belong to the fairy land. They are the elements of fantasy. But they are followed by the people in villages even at the cost of death. This is reality in Indian