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‘The reality of being Female’: Representation of women in Saraswati Nagpal’s

Sita: Daughter of the earth

Conference Paper · December 2020

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 MADURAI KAMARAJ UNIVERSITY
(University with Potential for Excellence)
Madurai 625021, Tamilnadu, India

Prof. Dr. S. Chelliah, M.A, Ph.D., D.Lit.,

Editor& Convener

Two Day International Virtual Conference on

Individual, Social and Gender Conflicts as

highlighted in Modern Literature

Organized By
Department of English &
Comparative Literature
on

22nd& 23rd December

2020

Greetings from the Vice-Chancellor: Prof. Dr. M. Krishnan, M.Sc., Ph.D.

Greetings from the Registrar i/c: Prof. Dr.V.S.Vasantha,
Editor's Note: Prof. Dr. S. Chelliah, M.A., Ph.D., D.Lit.
 Two Days International Virtual Conference
Titlc of the Book on
lndividual, Social and Gender Contlicts as highlighted in

Modern Literature

Prof. Dr. S. Chelliah

Editor

2021
First Edition

433
Pages

ISBN 978-93-90203-17-8

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D.Buvaneswari

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Voice of Voiceless in Chitra Banerjee Divakaruni's 7The Forest of
Enchantments: An Analysis 114
K.Birathana
22. The reality of being Female': Representation of women in Saraswati
Nagpal's Sita: Daughter of the earth
119
JS Cynthiya Rose
Dr. Bhuvaneswari R
23. Water Pollution and Women's Health
Dr.R.Vasanthi' 125
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Sufferings of Black Women in Maya Angelou's I Know the Caged Bird
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 ‘The reality of being Female’: Representation of women in Saraswati Nagpal’s Sita:
Daughter of the Earth

J S Cynthiya Rose1 and Dr. Bhuvaneswari R2

1
Research Scholar, SSL, English Division, Vellore Institute of Technology, Vandalur –
Kelambakkam Road, Chennai-600127, Tamilnadu, India.
Mail: [email protected]
2
Assistant Professor (Sr.), SSL, English Division, Vellore Institute of Technology, Chennai-
600127, Vandalur – Kelambakkam Road, Chennai-600127, Tamilnadu, India.
Mail: [email protected]

Abstract

In modern times, ‘feminism’ has become a positive word laden with negative connotations.
Unlike feminist thoughts and concept of wave feminism, this paper deals with feminism merely
as ‘reality of being female’ in society. Ramayana is a well-known Indian epic, which has many
forms and retellings, both literary and oral. The Graphic Novel, Sita: Daughter of the Earth by
Saraswati Nagpal is one such retelling for children which presents the epic in Sita’s perspective.
A close reading of this retelling takes a feminist stand and shows that it is not just an epic story
but the depiction of Indian women in real; their emotions and how they are subdued in the
society. Sita’s portrait as an ideal woman has blurred the boundaries between religion and
mythology. Bringing the plight of Sita for children does not dilute the struggle of the women
but creates a strong emphasis on women’s role which in turn serves as moral instruction. This
study takes a feminist view and uncovers the women’s struggle for survival and identity. The
research paper also throws light on the need for children’s understanding of gender stereotypes.

Keywords: Feminism, Graphic Novel, Gender Equality, Ramayana, Gender Stereotype

Introduction
“Everything we read...constructs us, makes us who we are, by presenting our image
of ourselves as girls and women, as boys and men” (Mem Fox, 1993).
Valmiki’s Ramayana, one of the ancient world epics, adapted and retold in different forms and
styles. When it comes to child readers, graphic adaptations are more popular than the traditional
narratives. Graphic narratives are a sequential art of storytelling through the combination of
visual art and words. Graphic novels are different from comics, it is a stand-alone story with a
complex plot. It provides independent reading for children of their desired stories without
leaning on adults. Simple language helps the child to read effortlessly and images give the
understanding of the settings and emotions; thus, a child understands the whole story with
creative imagination. In India, the art of storytelling with pictures can be seen in cave arts of
ancient works Jataka Tales and comic strips come to exist in the modern era. Some of the
contemporary comics in India are Chandamama (initially Ambulimama) (1947), Dabbuji
(1956), Pran Kumar’s Daabu (1960), Indrajal comics (1964), Batul the great (1965), Amar
Chitra Katha (1967) and Chacha Chaudhary (1967). Comics are developed into graphic
narratives to express the social issues of the country such as Amruta Patil’s Kari, Srividya’s
Bhimayana, Malik Sajad’s Munnu: A boy from Kashmir, Naseer’s Kashmir Pending. When it
comes to retellings, the mythological background was used in stories from different
perspectives like Samhita’s Sita’s Ramayana, Amruta Patil’s Adi Parva and Sauptik: Blood
and Flowers, Varun Gupta’s Chhotu: A tale of Partition and love. In present days, many
criticisms fall on graphic narratives especially on retellings or adaptations; A modern retelling
of great epic Ramayana poses a fascinating new angle called feminism. Feminism is not about
gender differences but it is an attempt to establish opportunity and equality against
discrimination. Unlike Valmiki’s Ramayana where Rama was a hero, adaptations were
addressing other major and minor woman characters such as Sita in Samhita’s Sita’s
Ramayana, Kavita Kane’s Lanka’s Princess (Surpanakha) and Sita’s Sister (Urmila), Amish
Tripathi’s Ram Chandra series. Especially the traditional notion of victim character, Sita was
interpreted as strong and venturous from different perspectives in Chitra Banerjee Divakaruni’s
The Forest of Enchantments (2019), Volga’s The Liberation of Sita (2016), Vayu Naidu’s
Sita’s Ascent (2012), Samhita Arni’s graphic novel Sita’s Ramayana (2012). These retellings
remove the stereotypical image of female presented in epics, Saraswati Nagpal’s Sita:
Daughter of the earth is one among them. Books that are intended for children play a significant
role in transmitting socio-culture, especially gender roles. In some children’s books, men are
portrayed to be more important than women; but contemporary female protagonist novels
portray women as active and assertive. It influences the beliefs and expectations of children
about gender-appropriate attitude in society (Bettelheim 1976; Hunt 1991; Geoff 1995; Zipes
1997). Similar to the novel, Sita: Daughter of the earth which pictures women’s real-life
emotions, how they are subdued in the society, and what is the need for feminism in children’s
works; this paper also attempts to showcase the traditional depiction of Indian women.
Furthermore, this paper illustrates the importance of graphic novels on the education of
children about gender stereotypes rather than gender equality.
‘The reality of being Female’ representation in Sita: Daughter of the earth
Saraswati Nagpal’s Sita: Daughter of the earth shifts the perspective from the great epic
Rama’s Ramayana into Sita’s Ramayana. Narrated by destined princess Sita, it is a powerful
narration centred on women in the patriarchal culture. The title itself
represents the Indian married woman identity of having red colour
tilak on the forehead and the image of closed eye Sita displays her self-
autonomy and the power behind her silence. The narration begins as,
“It was a time when wonderful miracles or terrible misfortune
could change a man’s life in the blink of an eye. In that age, the
land of Bhaarat was a cluster of many kingdoms, each ruled by
a strong warrior king. One such kingdom was Videha, to which
I belonged… I was destined to be a princess, and this is my
story…” (1)
The title page of the graphic novel and the opening narration substantiate the text as a female-
centric text. Pinsent, P. (1997) emphasises Adler’s (in Claire, 1983) description of a feminist
book as ‘A woman/girl-centred book… truthful about the reality of being female’. Similarly,
this paper analyses women’s equality, responsibility, emotional consideration and choices, as
detailed in Saraswati Nagpal’s Sita: Daughter of the earth.
The traditional gender role was paralleled by contemporary strong women portrayals,
which convey gender equality. As per UNICEF, gender equality means “...women and men,
and girls and boys, enjoy the same rights, resources, opportunities and protections. It does not
require that girls and boys, or women and men, be the same, or that they be treated exactly
alike” (LeMoyne, R. 2011). In the novel, “After I moved the great bow, many warriors tried to
lift it… despite their efforts, the great bow lay absolutely still.” (10) her mother shouts “Sita!
how did you?” (10) that reflects the notion of women as frail, at the same time as equal to man.
In another circumstance, when yogyas (sages) were in danger by rakshasas, Sita got angry and
said, “Teach me to wield a sword, Father! I will fight them.” but her father refused “Sita, you
are as delicate as a flower. They will crush you in moments!” (14), it made her feel helpless, “I
am a coward, unable to save innocent people from evil” (14) it shows the gender stereotypical
belief of men being adventurous and valour not associated with women. But the novel also
portrays gender equality through the representations of Uma who was reborn to win Shiva’s
heart as he was insulted by his father; Savitri who fought against Yama (god of death) to back
her husband’s life; Anasuya who has been tested for her purity transformed gods into infants
and fed them like a mother; Gargi, who was a philosopher, challenged the court’s great thinkers
with her bright intellect. Such representations teach children that if they are determined and
focused, both women and men will be successful.
Contrasting to contemporary writings, traditional narratives delineate woman’s action
as a dependent. What is independence in a woman’s life? Achieving their goals with her own
identity and choices without being influenced by external forces. It is the ability to express and
stand on their own to do what they really wish to. Traditional writings might have illustrated
Sita as submissive, however, the contemporary writings depict different characters of Sita
expressing the female perspectives and her emotion towards the society. In this novel, Sita
makes independent choices like selecting her husband in Swayamwara with a condition that
one who lifts the bow will be her husband; to follow her husband to the forest when he was
exiled; finally, her strong choice of rejecting her family which usually woman would never
prefer or do, “Deep inside my soul, I knew that my life as a mortal queen was over. I was glad
to have accomplished all I could for Rama. I finally followed my heart and made the choice I
did.” (90) These confident decisions of Sita would especially influence young girls to make
strong decisions and choices with will power.
Gender roles are culturally influenced stereotypes that construct the structural outline
for women and men. Gender role education shapes a child’s self-concept (Beal, C. 1994).
Graphic novel’s effort in breaking an ancient stereotype of traditional female role can be seen
in this story, before the birth of Sita, Sunaina, Queen of Videha longed for a child. Her longing
to bear a child is reflected when she says, “these robes are for your children” (6). Then she
shares her pain with her husband, “My heart aches for a child to love and care for. We have
been married for years now. Will I ever be a mother?” (7) On the other hand, Janaka
understands and wants her to be happy. Caption insists that before birth “My parents’ lives
were perfect, except one thing” (7), after the birth of Sita “Happiness filled the palace and my
parents’ lives were finally complete” (8) shows the importance of being a mother and creating
the next generation. This novel illustrates the birth of a girl child is the joy of the kingdom
which removes the ancient Indian idea of preference for a son, who has the higher economic
utility but girl child as a shame for the family (Sekher, T. V., & Hatti, N. (Eds.). 2010).
The existence of gender discrimination is the reason for gender inequality. It is an
unequal treatment of others based on sexuality, height, weight, colour and race (Lenhart, S. A.
2004). In the novel, the narration stresses on society’s structural specification of a woman, “As
per royal tradition, the four of us learned all the arts essential for princesses.” (10); “I spent all
my time fulfilling the responsibilities of a queen” (77). Even when it comes to gender role
equity, an individual’s obligations are the cornerstone that cannot be ignored. Owing to the
misconception that society believes that men are superior, women are always imposed with
more house-hold duties which most men completely neglect. Sita’s mother insisted on her
responsibility,
“Sita, you will be Rama’s strength when he is weak. You will be his joy when he
is sad. Walk beside him and share his happiness and sorrow as a firm friend. and
always remember that in Ayodhya, its king, its people, and its laws are your
priorities. Your duty toward them is more important than your own life”. (77)
This novel asserts the women’s emotional struggle between responsibility and self-
satisfaction. In this case, they are forced to sacrifice their self-comfort for society. Sita being a
queen is forced to act between kingdom and family, finally, she decides to sacrifice her
happiness,
“for hours, I sobbed in solitude, bemoaning my fate”, “A queen’s first duty is to
her citizens. My relationship with Rama comes second. Therefore, I must do what
is necessary to uphold the law and keep the citizens’ faith in their king” (79)
After Sita got abandoned by Rama, the rejection of the woman’s emotion can be seen in her
forest life, “once again, I was alone.” (81) which expresses her need for companionship.
Moreover, her motherly quality than her lonely pain is shown in her words “But if I die, then
my child within me will die too. I cannot commit that sin. The child has done nothing wrong
and deserves to live.” (81) Motherly love, a special characteristic of a woman which is a great
emotion that can be seen everywhere in the novel, Sunaina, Queen of Videha’s longing for a
child, Kaikeyi’s love for her son, Bharatha that made her demand for the kingdom, and Sita’s
love for her child. The novel accentuates mother as an only comforter who understands the
suffering her child passes through, when Sita returns to Ayodhya, Rama’s mother says
“Welcome back, Sita! You have suffered so much. But you have upheld the reputation of Rama
of Ayodhya” (75) and in the end when Rama, her beloved asked for the declaration of her
purity, Bhudevi in her loving voice said, “Sita, you have suffered much. Come to me, my
daughter! You are right. Your work here is done.” (90)
The emotions behind the women’s struggles sometimes question her self-identity, “On
the journey to Ayodhya, I was deep in thought. I felt strange returning to a way of life that I
had forgotten. Many Questions filled my mind.” (86) At the same time, a woman stands for
herself when it comes to her dignity, emotion for others becomes secondary
“saddened by Rama’s words” who asked for an oath.
“one fire test in Lanka, and these twelve years of separation are enough. I will not
remain here any longer, where people will always doubt me and my love for you…
I will be happy to return to where I came from.” (89)
Furthermore, this novel clears the idea of children’s learning through stories raising a
child to have an impressive set in their minds forever, which is illustrated in the life of Sita’s
twin children who were taught by Valmiki’s stories. This novel also highlights the struggle of
a single mother who is valiant to raise her children, “Do not reveal my identity to anyone” “…
I missed my husband most the day I became a mother” (82) “Twelve years have passed since
I left the palace. Will my sons ever know their father? Will their father ever know his sons?”
(84)
Conclusion
Sita: Daughter of the earth is a female-centric graphic novel that exposes equality for the
human being rather than endorsing a specific gender role; even the traditional gender stereotype
 ideas are paralleled by strong contemporary perspectives in graphic illustration. The research
by Joydev Maity (2019) in his Myths and Its Role in Contemporary Society: A Critique of
Saraswati Nagpal’s Sita: Daughter of the Earth concluded the virtue of a woman cannot be
proved in society but it only can be grasped by her mother. Nevertheless, this study suggests
that feminism is not for females alone but for everyone; where modern feminism focuses on
women’s issues, women’s rights, women’s ethics, female freedom, etc. Similarly, the novel
begins with the female narration about a woman’s survival from birth to end. Through the
stages of women with various positions, such as infant, daughter, mother, daughter in law, wife,
sister, queen, and ordinary citizen, it seeks to reflect the social truth. Besides, this novel not
only explores the equality of man and woman but also of nature (land), which is represented in
the title page, Sita: Daughter of the earth. As a protagonist, Sita breaks the stereotype idea
among children who used to listen to the stories of men protagonists. It empowers women to
fight against their battle without expecting other’s help. It brings the understanding of humans
with equal rights beyond gender differences. The emphasis on female representation in novels
serves as an example or role model for being strong, determined and independent. This article
discloses that feminism is not a negative notion for children but it recognises both genders have
equitable opportunities in society without prioritising gender. In the sense of gender identity,
obligation, equality and emotional concern, this research paper communicates ‘being female’
through female representations in the book, Sita: Daughter of the earth. In this regard, the
author has balanced conventional cliché thoughts by addressing gender responsibilities. The
implication of this study is that feminism should not be identified or considered by the
comparison of man and woman but as equal as they are. The future scope can be studied from
the perspective of religion, ecology, aetiology, culture, subaltern and postcolonial.
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Hunt, P. (1991). Criticism, theory, and children’s literature. Cambridge: Basil
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LeMoyne, Roger (2011). “Promoting Gender Equality: An Equity-based Approach to
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