Direction: Read the given passages and answer the questions that follow.
Like many Indian children, I grew up on the vast, varied, and fascinating tales of the Mahabharat.
At the core of the epic lies the fierce rivalry between two branches of the Kuru dynasty, the Pandavas and the Kauravas. The lifelong struggle between the cousins for the throne of Hastinapur culminates in the bloody battle of Kurukshetra, in which most kings of that period participated and perished. But numerous other characters people the world of the Mahabharat and contribute to its magnetism and continuing relevance. These larger-than-life heroes, epitomizing inspiring virtues and deadly vices, etched many cautionary morals into my child-consciousness. Some of my favorites, who play prominent roles in The Palace of Illusions, are: Vyasa the sage; Krishna, an incarnation of Vishnu and mentor to the Pandavas; Bheeshma, the patriarch ; Drona, the brahmin-warrior; Drupad, the king of Panchaal; and Karna, the great warrior.
But always, listening to the stories of the Mahabharat as a young girl in the lantern-lit evenings at my grandfather's village home, or later, poring over the thousand-page leatherbound volume in my parents' home in Kolkata, I was left unsatisfied by the portrayals of the women. It wasn't as though the epic didn't have powerful, complex women characters that affected the action in major ways. For instance, there was the widowed Kunti, mother of the Pandavas, who dedicates her life to making sure her sons became kings. There was Gandhari, wife of the sightless Kaurava king, who chooses to blindfold herself at marriage, thus relinquishing her power as queen and mother. And most of all, there was Panchaali (also known as Draupadi), King Drupad's beautiful daughter, who has the unique distinction of being married to five men at the same time-the five Pandava brothers, the greatest heroes of their time.
Panchaali who, some might argue, by her headstrong actions helps to bring about the destruction of the Third Age of Man.
But in some way, they remained shadowy figures, their thoughts and motives mysterious, their emotions portrayed only when they affected the lives of the male heroes, their roles ultimately subservient to those of their fathers or husbands, brothers or sons.
If I ever wrote a book, I remember thinking, I would place the women in the forefront of the action. I would uncover the story that lay invisible between the lines of the men's exploits.
Better still, I would have one of them tell it herself, with all her joys and doubts, her struggles and her triumphs, her
heartbreaks, her achievements, the unique female way in which she sees her world and her place in it. And who could be better suited for this than Panchaali? It is her life, her voice, her questions, and her vision that I invite you into in The Palace of Illusions.
[Extracted, with edits and revisions, from Author's Note of her novel "The Palace of Illusion", by Chitra Lekha Banerjee Divakumari, 2008]
In the novel "The Palace of Illusions", some of the male characters of Mahabarat: