Most of us know Rabindranath Tagore as the author of ‘Jana Gana Mana’, India’s national anthem, and as the poet who won the Nobel Prize for Literature in 1913, making him the first Asian to receive the honour. Tagore began writing poetry as a child and spent the next seven decades producing a massive body of work of over two thousand songs, hundreds of poems, novels, short stories, essays, and plays.   

Alongside all of this, Tagore was a devoted reader of India’s ancient epics, especially the Mahabharata. One of the longest poems and stories ever, it is said to be longer than the Iliad and the Odyssey together. The epic is mainly concerned with dharma, war, and destiny. In its vastness, the epic often left aside the inner lives of characters, whether it be the grief of a mother, the fractured identity of a warrior or the desperation of a woman who is watching her son walk toward his own destruction. Tagore noticed these gaps. Beginning with his collection ‘Kahini’, he wrote a series of poems and plays that returned to the Mahabharata and reimagined the characters, taking up the questions that were set aside.   

The Abandoned Son 

One of Tagore’s most touching retellings is his poem ‘Karna-Kunti Sambad’, meaning ‘Dialogue Between Karna and Kunti’. Kunti was the mother of the Pandavas, and of Karna, whom she kept a secret. Karna grew up with charioteers, not knowing his true identity. By the time the great war of Kurukshetra approached, Karna had become the greatest ally of the Kaurava side, the very enemy of his own brothers. 

In the Mahabharata, Kunti finally faces Karna knowing he is already aware of his origins. He offers Kunti a practical answer based on Dharma — that she will always have five sons as he will either kill Arjuna or be killed by him. 

But Tagore looked beyond the debate on dharma and duty. He set this scene in the soft glow of the Ganga’s banks. In Tagore’s poem, Karna does not know who Kunti is until she tells him herself. He is just a son hearing for the first time, from a stranger’s lips, that he was abandoned at birth. Here, Karna is not a practical warrior, he is a child who misses his mother and does not know how to say so. And yet, in the end, he still refuses to switch sides. Tagore chooses to show the sadness and devastation both feel in this moment, elaborating on the heaviness of dharma that the Mahabharata already speaks about.  

The Warrior Princess 

One of the lesser-known characters in the Mahabharata is Chitrangada, the warrior princess of Manipur. In Ved Vyasa’s telling, she is just one of Arjuna’s many wives, appearing only briefly. Chitrangada is raised as a prince because the king of Manipur had been blessed by Shiva to have only sons, and when she was born, he chose to raise her as a boy.  

In Tagore’s play, Chitrangada falls in love with Arjuna, who rejects her because he has taken a vow of celibacy. Hurt, yet determined to win Arjuna over, she asks the god of love, Madana, also called Kamadeva, to grant her extraordinary beauty for a year. Arjuna falls in love with her, but Chitrangada slowly begins to feel suffocated in the false beauty she asked for. In the end, she sheds this illusion and embraces her true self, leaving it to Arjuna to decide if he likes this version of her. Here, Tagore explores not just their love story, but also Chitrangada’s journey to accepting herself and being proud of it. 

A Mother’s Impossible Plea 

In Gandharir Abedan (Gandhari’s Plea), Tagore turns to Gandhari, the queen of the Kauravas, mother of a hundred sons and wife of the blind king Dhritarashtra. The play opens after Duryodhana has won the dice match against the Pandavas and is gloating to his father. Then, Gandhari enters with her plea, urging her son to step back from the path he is on. She sees exactly where his pride is taking him and cannot stop it. She is a mother who has watched her child’s choices lead toward catastrophe, able to name what is happening but is powerless to change it. 

In the Mahabharata, Gandhari is limited to the blindfold she takes in solidarity with her husband. She is a figure of devotion and grief but rarely given a scene of her own. In his play, Tagore gives those emotions a voice. 

Long before mythology retellings became popular, Tagore took up the questions lurking just below the surface of the great epic. He did not rewrite the stories to contradict tradition, but expanded them, giving voice to characters always present but never previously heard. 

As we celebrate Rabindranath Tagore on his 165th birth anniversary, let us also remember him as the writer who had the patience to sit with the questions the original had moved past. 

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In the vast, tumultuous tapestry of the Mahabharata, the sound of clashing steel and the speeches of heroes often take centre stage. But if we look past the dust of the battlefield, we see that the epic’s foundation was laid not only by the warriors, but also by three powerful women. Kunti, Gandhari, and Draupadi were the true architects of the era, transforming their personal trials into political and moral masterstrokes that defined the very destiny of Bharatavarsha. 

On Women’s Day, we explore the specific textual moments where these three women made choices that shifted the course of the Mahabharata. 

Kunti: The Strategist of Solidarity 

After the death of Pandu, Kunti was left with a formidable challenge: raising five princes, single-handedly, in the hazardous political landscape of Hastinapura. She didn’t rely on luck; she relied on strategy. 

Her defining art of architectural strategy comes in the Adi Parva (Book 1 of the Mahabharat), moments after Bhima and Arjuna return with Draupadi. Not seeing what they have brought, Kunti speaks from within her hut: “Whatever you have brought, share it among yourselves”.

This command, though it initially seems like a mistake, was a political masterstroke. Kunti understood the precarious position of her sons. She knew that if they married five different princesses from five different kingdoms, their internal loyalties would eventually shatter. Divided, they would fall. By binding them to one woman, Draupadi, Kunti ensured the Pandavas remained an unbreakable phalanx. Her legacy was the unshakeable unity that was her sons’ greatest weapon against the hundred Kauravas. 

Gandhari: The Moral Sentinel 

Gandhari is famous for choosing the blindfold, but her true power lay not in denying herself sight, but in possessing unwavering moral vision. 

Her legacy is cemented in the Udyoga Parva (Book 5 of the Mahabharat). In the days leading up to the war, Duryodhana, her beloved and ambitious son, approaches her multiple times, begging her for the blessing of “Vijayi Bhava” (be victorious). But Gandhari, the moral sentinel, refuses to prioritise kinship over truth. Her steadfast blessing to him is always: 

“Yato Dharmastato Jayah” (Where there is Dharma, there is victory) 

By withholding her blessing of victory, Gandhari executed a moral veto. She established that righteousness (Dharma) is higher than the ambition of a son or the pride of a clan. In doing so, she became the ethical compass of the entire epic, proving that sometimes, the greatest strength is simply refusing to bless the wrong path. 

Draupadi: The Jurist of the Dice Hall 

Draupadi is often cited as the cause of the war, but a closer look at the text reveals she was the intellectual catalyst that gave the war its moral purpose. 

In the Sabha Parva (Book 2 of the Mahabharat), she is dragged into the court, a victim of her husbands’ gambling. Yet, in that moment of absolute degradation, her intellect shines. Instead of pleading for mercy, she poses a complex technical legal question to the Kuru elders (Bhishma, Drona, and Vidura) and to Yudhishthira: 

“Whom did you lose first, O Yudhishthira, yourself or me?” 

With this one question, Draupadi transformed herself from a helpless property to a powerful jurist. She challenged the entire definition of ownership, marital rights, and the very concept of justice.

She forced the elders to confront their hypocrisy, shattering the silence that had allowed the game to proceed. Draupadi’s legacy was ensuring that the great war was not just about a throne, but about the fundamental dignity of the feminine soul. 

The Legacy of the Stree Parva 

The war ended, as wars do, leaving behind only the women of both sides. In the Stree Parva (Book 11 of the Mahabharat), we see Kunti and Gandhari—once leaders of opposite camps—embracing and sharing a collective grief. They, who were once separated by politics and blood, were now united by the shared experience of loss and resilience. 

These queens were not perfect, but they were powerful. They navigated a world built by men and carved their own destiny upon its surface. Today, they remain eternal inspirations as resilient architects who teach us that true strength lies in enforcing solidarity, speaking truth to power, and daring to demand justice when the world seems most blind.

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Ratnavali is a Sanskrit drama about Princess Ratnavali of Simhala.  The play has been credited as the work of a master playwright, the 7th-century poet-king Harshavardhana of Kanauj. It is the story of a young named princess Ratnavali, who gets shipwrecked on the way to her wedding and how she finds love in the end. 

Synopsis 

Princess Ratnavali was the daughter of Vikramabahu, the king of Simhala. Vikramabahu’s niece, Vasavadatta, was married to King Udayana of Kaushambi. When the king heard that his niece had died in a fire, he proposed a marriage between Ratnavali and Udayana, to keep the relationship between the two families alive. But unknown to him, Vasavadatta had not died. Rumours of her death had been spread by Udayana’s minister, Yaugandharayana, as he wanted Ratnavali and Udayana to get married. What happens to Ratnavali, Udayana and Vasavadatta, forms the crux of the story. 

Themes involved 

Royal alliances 

Royal marriages were among the most sought-after alliances between kingdoms in ancient times all over the world. In this story, King Vikramabahu’s niece, Vasavadatta, was married to King Udayana of Kaushambi. Through this marriage, Vikramabahu formed an alliance and friendship with Udayana. When Vikramabahu heard that his niece had died in a fire, he mourned for her. At the same time, he did not want to lose his relationship with Udayana. If Udayana decided to marry a princess from another kingdom, her father would be an ally of Udayana’s instead of Vikramabahu. Hence, he proposes a wedding between his daughter Ratnavali and Udayana, to keep the relationship between the two kingdoms alive. 

Consequences of acting without approval 

A loyal minister always thinks about the well-being of his king and kingdom. Hence, when a prophecy predicted that the union of Ratnavali and Udayana will bring prosperity to Udayana, Yaugandharayana, the king’s minister, worked hard on arranging the match. He told Vikramabahu that Vasavadatta had died and accepted the marriage proposal from Ratnavali without informing Udayana. Yaugandharayana’s intentions may have been good, but his one action caused mishaps and confusion, which may have permanently strained the relationship between the two kingdoms. In the end, due to his complete trust in his minister, Udayana called him and gave him a chance to explain. This highlights their relationship and indicates that the king understood Yaugandharayana’s good intentions. With the character of Yaugandharayana, the playwright shows the terrible consequences of acting on someone’s behalf without his knowledge or approval. 

The insecurities of a queen 

It is shown that Vasavadatta and Udayana loved and cared for each other. Yet, when Ratnavali was introduced to Vasavadatta as her new companion, the queen feared that Udayana may take a liking to her. Hence, she promised herself that she would never allow them to meet. This shows that queens, even though they ranked high, next only to the king in the court, constantly feared a change in their husband’s affections. When Vasavadatta sees Ratnavali and Udayana together, she becomes heartbroken and orders that Ratnavali should immediately be locked in her inner chambers, until further notice. Later, Vasavadatta learns that Ratnavali is her cousin and sympathizes with her for all the troubles she had to undergo. When it is revealed that Ratnavali would bring prosperity to her king and kingdom as per the royal prophecy, the queen lets go of her insecurities and requests Udayana to accept Ratnavali as his wife. Through Vasavadatta, the writer shows how a good queen sacrifices her happiness and insecurities for the greater good of her kingdom. 

Adaptation 

Ratnavali has been adapted thrice into Indian cinema. Movies with the same title were released in  1922, 1924, and 1945. 

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Did you know Bankim Chandra Chatterjee was only twenty-eight years old when he wrote his second Bengali novel, Kapala Kundala? It is considered one of his finest works. Since its publication, Kapala Kundala has been translated into various languages including English, Hindi, Tamil, Sanskrit, and German. 

Synopsis 

Kapala Kundala is set during the reign of the Mughal Emperor Akbar. A boat, returning from a pilgrimage, loses its way and seeks refuge at a strange island. When the fog clears, the boat sets sail again, abandoning a passenger named Navakumar on the island. There, he meets a kapalik, a devotee of Goddess Kali, and a young maiden, Kapala Kundala. How these meetings change the lives of Navakumar, Kapala Kundala and the kapalik forms the rest of the story. 

Themes involved 

Human Sacrifice 

Navakumar first meets the kapalik while looking for shelter on the island. The kapalik offers his cottage as shelter, and food to Navakumar that night. The next day, when Navakumar asks the kapalik to help him to return home, the kapalik asks Navakumar to follow him. On their way through the forest, a beautiful young woman named Kapala Kundala emerges from between the trees and warns Navakumar that the kapalik plans to sacrifice him to Goddess Kali. When Navakumar refuses to go with the kapalik, he is forcefully dragged to the place of sacrifice. Chatterjee sheds light on the kapalika tradition, where a kapalik performs human sacrifice to please Goddess Kali. When Kapala Kundala, the foster daughter of the kapalik, saves Navakumar, the kapalik becomes enraged at his daughter for interfering with his sacrifice and vows revenge. 

Religion and Revenge 

Navakumar was married to a girl named Padmavati when they were both still children. When Padmavati’s father converted to Islam, Navakumar’s father spurned Padmavati and refused to acknowledge her marriage to his son.  Padmavati later changes her name to Mati Bibi and meets Navakumar, after the events of the island have taken place. When she tells him about their childhood marriage, Navakumar refuses to accept her as his wife since he is now married to Kapala Kundala. Mati Bibi then disguises herself as a man and decides to get revenge on Kapala Kundala. Through Mati Bibi, the writer shows how misplaced anger can make people take drastic decisions that ruin their lives. Since childhood, Mati Bibi had seen Navakumar as her husband. Thus, when unfortunate circumstances separated them, she was unable to move on from her feelings and directed her anger towards Navakumar’s wife, who had played no part in her suffering.  

Marriage and Trust 

In ancient times, a women’s name was changed by her in-laws after marriage. This practice is still prevalent in some parts of the nation. In this story, the writer highlights this practice as Kapala Kundala’s name is changed to Mrinmayee after her marriage to Navakumar. The writer also shows the importance of trust in a marriage. Navakumar sees Kapala Kundala with Mati Bibi, who is disguised as a man, at midnight in the forest. He grows enraged and his distrust is further fuelled by the kapalik, who convinces Navakumar to sacrifice Kapala Kundala to Kali for her unfaithfulness. Blinded by his anger, Navakumar is quick to agree. It is only when he confronts Kapala Kundala that he remembers this is the girl who saved his life and that it was foolish to trust the kapalik over his  wife. This realisation rebuilds Navakumar’s trust, which not only saves his marriage but also Kapala Kundala’s life. 

Adaptations 

Kapala Kundala was adapted into four Bengali films of the same name in 1929, 1933, 1952, and 1981. It was also adapted into a Hindi movie in 1939 and a television series that aired on DD National. The novel was also adapted by Amar Chitra Katha as a comic, written by Debrani Mitra. 

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Manonmaniam, an immortal epic play in verse, was written by P. Sundaram Pillai (1855-1897), in 1892. Sundaram Pillai was a noted Tamil scholar, professor of philosophy and served as a high-ranking official in the old Travancore maharaja-ruled state. Considered as the pioneering play in Tamil literature, Manonmaniam is about a princess who finds love in the middle of a web of political intrigue and betrayals. 

Synopsis 

Manonmani was the only daughter of Jeevakan, the Pandya king. Jeevakan relied on the guidance of his teacher, Sage Sundara, to rule his kingdom. Sundara’s influence over Jeevakan caused jealousy in the king’s chief minister, Kudilan. As Jeevakan had no son to succeed him, Kudilan also wanted his son, Baladevan to marry the princess. One day, Sage Sundara decided to go on a pilgrimage. This was the moment Kudilan had been waiting for. In the sage’s absence, Kudilan began to gain influence over the king. Whether he succeeds in his plans or not, forms the rest of the story. 

Themes involved 

The courtier’s deception 

In a monarchy, only the king made the final decision regarding his kingdom and people. Hence, a courtier always wanted to gain some influence over the king, so that he could indirectly influence his important decisions. In this story, we come across Kudilan, as a cunning courtier, who wants to reach the king’s ears for the same reason, but his attempts are thwarted by the king’s teacher and advisor, Sage Sundara. Hence Kudilan makes his best attempts in the story to turn the king against Sage Sundara. To strengthen his position in the court, Kudilan also plans to marry his son to the king’s only daughter, Manonmani.  Kudilan also tries to betray his king to the enemy to save himself. The character Kudilan was created to show how dangerous was to have a cunning advisor in the court.     

The position of a princess 

The second theme the story deals with is the position of a princess in the court. Manonmani, as the only child of the king, with no brother to succeed after her father, becomes a valuable pawn in a court full of wilful courtiers. She also has to make some unhappy decisions for the well-being of her father and kingdom. For instance, Manonmani was not eager to leave her birthplace Madurai to move to a new city, Tirunelveli. She even tries to counsel her father against it. When Jeevakan refuses to listen, she agrees for the sake of her father. Later, after Jeevakan loses his kingdom, he wishes that Manonmani should marry Baladevan. Though the princess never wanted to marry Baladevan, she finds herself unable to refuse her father’s request. With Manonmani, the writer tries to show how a princess was expected to put the happiness of her father and her kingdom before her own. 

Loyal friendships 

Manonmaniam highlights the importance of having loyal friends, especially for a king. The readers can witness the concern Sage Sundara has for Jeevakan and how often he guides him to the right path. We also see the loyalty shown by an elephant as it carries the wounded Jeevakan from the battlefield and takes him to the sage’s hermitage. The courage shown by Jeevakan on the battlefield earns admiration from the rival Chera king, Purushothaman. It is Purushothaman who reveals the deception of Kudilan to Jeevakan and offers his friendship to the Pandya king. With these characters, Sundaram Pillai shows how a king should always surround himself with loyal friends and advisors. 

Adaptation 

The play was adapted into a Tamil movie titled ‘Manonmani’ in 1942. The movie received positive reviews and ran for more than 25 weeks. It was also adapted as a comic by Amar Chitra Katha, titled ‘Manonmani’. 

Read the entire story of the epic in Amar Chitra Katha’s title, Manonmani, available on the ACK Comics app!

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Today’s quote from the Bhagavad Gita reminds us that change is the only constant. 

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