DEPARTMENT OF ENGLISH

UNIVERSITY OF DELHI
RESEARCH METHODOLOGY
LONG PAPER

COVER SHEET
SEMESTER III

Shalini Thakur
NAME OF THE STUDENT ....................................................................................
C
SECTION…………………………………..….
2022/21/011 22056708005
CLASS ROLL NO…………………….EXAMINATION ROLL NO……………..…...
Ramjas
COLLEGE/DEPARTMENT:....................................................................................
Dr Sanjay Verma
NAME OF THE MENTOR……………………………………………………………….

Unveiling Gender Dynamics in the Ramayana:

TITLE OF THE PAPER............................................................................................ An
In-depth exploration of roles and gender
……………………………………………………………………………….………….….
stereotypes in the narrative ”
.
05/01/24
DATE OF SUBMISSION: ..........................

DECLARATION: I certify that this is my own unaided work, and does

not contain unreferenced material copied from any other source. I
understand that plagiarism is a serious offence and may result in a
drastic reduction of marks awarded for the term paper. This
assignment has not been submitted, or any part of it, in connection
with any other assessment.

Shalini Thakur
Full Name:...................................................

Signature:...........................................................
Shalini Thakur
Dr Sanjay Verma
ENGLISH
5 January 2024

“Unveiling Gender Dynamics in the Ramayana: An In-depth exploration of roles and gender

stereotypes in the narrative ”

Abstract

This paper delves into the intricate analysis of gender dynamics within the Ramayana, an ancient

Indian epic. Through a comprehensive textual analysis, the study explores the portrayal of

traditional gender roles embodied by characters like Sita and Rama. The research examines societal

norms and expectations, critically assessing moments such as Sita’s agnipariksha to unveil the

complexities inherent in gender relations. Beyond reinforcing stereotypes, the epic presents

nuanced challenges to traditional norms, inviting a deeper understanding of cultural perceptions

during its time. This research not only sheds light on ancient narratives but also prompts reflection

on contemporary perspectives, fostering a dialogue between the past and present in the discourse

on gender.

Keywords: Gender Dynamics, Narrative structure Traditional roles, Societal norms, , Cultural

perception .
 Introduction

Mythology in India is not just an academic or a historical subject, it is a vital and living topic of

contemporary relevance. The complex social, political and religious studies of ‘modern’ India

cannot be understood without an understanding of our myths and their impact on the collective

faith of our people” (Gokhale XIV). Indian epic, Ramayan, not only constitutes a substantial part

of Indian mythology but also influences the socio-cultural, religious, and political landscape of

India to a large extent. Hence, creative minds through ages and across different cross-sections of

Indian society have re-interpreted and re-created this epic narrative, in varied forms and through

diverse media.

During the time when the Ramayana was composed, traditional norms were deeply rooted in the

socio-religious fabric of ancient India which lay a great emphasis on kingly dharma (loosely,

“duty”), physical and moral purity, and ethical combat and military warfare. Female characters do

play a significant role in the Ramayana ,however, female characters in the text are placed by and

large in passive roles, where obedience, grace and humility are considered vital traits for the ‘ideal’

woman.

Understanding this narratives offers valuable insight to understand how the gender dynamics

functions in the epic in the broader context of societal norms.Through a meticulous textual analysis

of the traditional gender roles as manifested in the characters of Sita and Rama, we embark on a

journey to dissect the portrayal of femininity and masculinity within the narrative, examining the

expectations imposed by societal norms.

By scrutinizing moments like Sita’s agnipariksha, contemplating their implications on gender

relations. As we navigate through the text our exploration extends beyond mere analysis of an
ancient tale; it beckons a critical reflection on the relevance of these gender dynamics in

contemporary discourse.

Literature Review

In approaching the text through the lens of gender dynamics, a key points emerge: that the

language of the Ramayana is inherently gendered; even in representations of non-living entities

and concepts such as that of the kingdom; that this language allows for the imposition of patriarchal

gender norms, where men are framed as the key agents of development and action; and finally,

that the inevitable consequence of this is the silencing and/or pacification of women. 1

For example, the language Valmiki uses when talking about the role of the king in the state. The

vast majority of the language used to frame nations casts the state in the role of the feminine, in

need of guardianship and management by the masculine strength and male-dominated hierarchy,

particularly within the elite Kshatriya and Brahmin castes; Valmiki describes the city of Ayodhya

in the aftermath of King Dasharatha’s death as being “…like a woman bereft of her husband.”
2
(II.60.61)

Traditional gender roles

The reinforcement of traditional gender roles in the epic reflects societal norms that was prevalent

during the time when the epic was written. Social realms were exclusively rooted in a “Male

1 Sanskrit is a grammatically gendered language (masculine, feminine, and neuter), however this thesis will not
touch upon that element in gender analysis)
2 Vālmīki, Pollock, and Goldman, The Rāmāyaṇa of Vālmīki, 1986, 213.
authority” paradigm, where husbands and fathers dictated fundamental conditions and made

pivotal decisions for their families, while women found themselves relegated to domestic

responsibilities. For instance Narendra Nath Kalia, highlights the gendering of characters in the

text. Men play dominant roles in the epic, and women are often characterised as passive and

domestically-oriented. 3 In the epic the descriptions of the male protagonist Ram is frequent, and

mostly focus on his size and musculature.

“His shoulders are broad and his arm” are massive. His neck is like a conch shell and his face is

beautiful. His collarbone is set deep in muscle his eyes pleasantly reddish”. (V:33:15.)4

In contrast to the above description Female characters are very rarely described by name; rather,

most often, by descriptors. This is reflective, of the general framing of women in the Ramayana;

as passive objects, whose emotions are inconsequential unless they have a direct effect either on

the male narrative or on male characters.

Both of these elements are seen most clearly in Sita, as the main female character in the Ramayana,

Though Sita is a primary character, she is almost always framed passively, with any active,

assertive, or aggressive behaviour is nearly always represented in a negative light. 5

A key example of this is when she lashes out at Lakshmana after hearing Rama call for help while

in the forest; Lakshmana responds by saying “…I dare not answer, Maithili, for you are a deity in

my eyes

3 Narendra Nath Kalia, “Women and Sexism: Language of Indian School Textbooks,” Economic and Political Weekly
21, no. 18 (1986): 794.
4 Vālmīki, Goldman, and Pollock, The Rāmāyaṇa of Vālmīki, 1996, 202.
5 Rajagopal, Politics After Television, 96.
The message of Sita’s submissiveness to the men around her is constant throughout Valmiki’s

Ramayana. The number of occasions where Sita’s name is not even used, instead being replaced

with the title ‘wife’ or ‘daughter’; she is a role, rather than an individual. For example, Valmiki

describes the abduction of Sita as: “Then, having slain the vulture Jatayu, he carried off Rama’s

wife.” (I.1.36) 6

Lacking of female representation

The representation of women in the Ramayana is lacking, not necessarily in the number of female

characters, but in their significance to either minor or major narratives, as well as in their

descriptions. Even in the case of women who have a noticeable presence in the text, their

contributions are largely passive, and this passivity is encouraged by the men around them as well

as by the women they interact with.

For instance Sita the lead female character is barely mentioned in Bala Kanda , even when Rama

wins her in swayamvar. It is only in Sundarakanda book fifth of the epic Valmiki has opened a

door through which we can perhaps, hear the muffled voice of Sita to represent a perfect wife ,a

pativrata, in the epic.

Sita’s Trial by fire:

Sita is an exemplary of the ‘ideal woman’, an inspiration to all. This elevated position was

attributed to her for fulfilling and subscribing to ‘naari dharm’ effortlessly. It is sad that a woman

is glorified and treated respectfully only when she surrenders her dignity and mind. The historical

6 Vālmīki, Goldman, and Pollock, The Rāmāyaṇa of Vālmīki, 1985, 123.

epochs echo with the chants of holy Sita, who is worshipped for her subjugated, obedient and

submissive role and not because of her willed, strong personality.

The episode where Sita is asked to prove her chastity and loyalty by Ram, through a trail by fire

i.e. Agni Pariksha gives a subtle symbolic message about the challenging of civilised code of

marital fidelity

Sita’s fire ordeal to test her purity and loyalty both in thought and action, emphasis the difficulties

women has to face to uphold the social value of fidelity . Sita is like sati chaste in both action and

thought, able to walk out of fire. Despite of this proof of her chastity given by Sita , the people of

Ayodhya ask Rama to reject the queen because of her soiled reputation and so ,Sita is once again

sent into the forest .

A woman who shows resilience and courage against an enemy, and upholds her duty in crisis, is

asked to prove her purity not once but twice. The lack of apathy towards Sita who had undergone

countless ordeals and hardships is appalling and raises a pertinent questions about the unequal

expectations placed on women and the lack of agency they had in shaping their own destinies

within the narrative.

Categorising women on the bases of sexuality

The paper also examines how female characters are marginalized and how women are portrayed

as powerless objects that succumb to the manipulation of men. Scholars analyse whether these

portrayals perpetuate harmful stereotypes or provide opportunities for critical reflection on societal

attitudes towards women.

To understand this in a more nuanced manner I have used virgin/ whore dichotomy as stated by

late nineteenth century psychologist Sigmund Freud. 7

According to the virgin/whore dichotomy, ‘good’ women are those who either do not express

themselves as sexual beings, or who only do so within the bounds of marriage. Women who do

not reach this ideal, meanwhile, are immediately classified as ‘whores’. 8

In the Ramayana, women are clearly framed in relation to two key categories. The first is the

‘virgin’ – a virtuous, obedient woman who fulfils her social obligations of fidelity, demureness,

and gentleness, to the extent that she may be endowed with goddess-like powers. The second

placed in opposition to the ideal woman, is the notion of the ‘whore’ – a category into which is

placed any woman who fails to meet the standards of the virgin ideal.

Sita is considered to be good, pure, auspicious women. Whereas Surpanakha is evil , impure ,dark

, inauspicious and insubordinate simply because she desires a man in his life. The split between

the women character is more pronounced and is always expressed in terms of sexuality.

Ultimately, it can be said that female fidelity is the core of her identity; while male fidelity is

almost irrelevant, as women are directed to worship their husbands regardless of their virtue.

Where Valmiki’s virtuous women are virtually interchangeable, his male characters have unique

identities, and are as such judged on those.

Sacrifices and Subjugation:

7 Browyn Kara Conrad, “Neo-Institutionalism, Social Movements, and the Cultural Reproduction of a Mentalité:
Promise Keepers Reconstruct the Madonna/Whore Complex,” The Sociological Quarterly 47, no. 2 (2006): 11.
8 Jonathan Gottschall et al., “Can Literary Study Be Scientific?: Results of an Empirical Search for the Virgin/Whore

Dichotomy,” Interdisciplinary Literary Studies 7, no. 2 (2006): 2.

When we talk about sacrifice the character of Urmila is on forefront who faced unique and

poignant hardship. When Lakshmana decided to accompany Lord Rama and Sita to the forest

during their exile, Urmila selflessly chose to stay behind. The lady went into a comatose state of

sleep. From then onwards she lay in coma on her couch. That was the manner in which Urmila

survived fourteen years.

The sacrifices is often interpreted as acts of devotion, glorified as the moral obligation of women

but it is important to note that the sacrifices highlights a form of subjugation where women endure

hardships in the service of their husbands or an unequal burden placed on women within the

narrative.

Research questions

1) How are traditional gender roles depicted in the characters of Sita and Rama in the

Ramayana.

2) How does the treatment of Sita, especially her agnipariksha, reflect and contribute to

gender notions in the Ramayana?

3) How do other female characters in the Ramayana portrayed in terms of their sexuality

Research Methodology

This Research paper has extensively focus on the gender dynamics involve in the great Indian

mythology “Ramayana ”by Valmiki using the qualitative research method, This involves visual

and textual analysis of the epic, examining character portrayals, societal norms, and values. By

analysing Ramayana through the lens of complex interplay of gender ,it unveils the various

stereotype deeply rooted in traditional values .

Additionally, to provide a deeper insight into the gender dynamics of the epic ,Virgin whore

dichotomy, a concept by Sigmund Freud is implemented to view every female character from the

lens of either virgin or whore and thereby helping us in analysing the stereotype employed in

viewing women ‘s body .This research paper will thus helps in comprehensive understanding of

how gender roles were perceived and practiced during the time the Ramayana was written.

Analysis

This research paper aims to examine the gender dynamics involve in the great Indian epic

Ramayana. Gender has always been a topical debate in the contemporary world but its roots are

foreground in the ancient past. When we shift our focus from the conventional reading of the epic

as a story of advocating a life of high morals , it points to the hidden notions of gender distinctions

between male and female . These distinctions were glorified in the name of upholding the morals

laws of Dharma however these moral laws are deeply rooted in hierarchy of patriarchy and the

social structure of the society but since time immemorial very little importance is given to these

nuances and they were generally accepted by the society as “standards of morality”.

Several instances of the novel such as that of Sita’s agnipariksha is often glorified in the name of

purity and sanctity of women however it raises a pertinent questions why is women always being

questioned on the basis of their chastity and why is it is her who needs to prove it. One reason

attributed to this is that people both men and women governed by society structure have

internalised these norms and accepted these gender dynamics as moral obligations but in today’s

contemporary world it is important to revisit the history and with a closer observation focus on the
gender dynamism inherent in the epic and therefore try to dismiss the stereotype and prejudice

associated with it.

Conclusion

In conclusion, the Ramayana offers a nuanced portrayal of gender dynamics, weaving a tapestry

of traditional values and societal expectations. While Sita and Rama embody archetypal gender

roles, closer scrutiny reveals subtle nuances and challenges to these norms. While Rama is

celebrated for his adherence to dharma, Sita faces criticism and suspicion despite her own

adherence to virtuous principles.

The epic invites reflection on the evolving nature of gender identities, prompting a deeper

understanding of cultural perceptions during its time. It highlights how gender roles portrayed In

the Ramayana were not arbitrary but deeply entrenched in the patriarchal society in which the

narrative unfolded. Men were expected to fulfill specific roles as rulers and leaders, their virtues

and ambitions celebrated. In contrast, women were confined to expressing loyalty and love within

the family, with limited scope for personal aspirations. This societal structure perpetuated a power

dynamic favouring men, marginalizing women from significant participation in political and

religious spheres. The epic thus serves as a lens through which scholars can examine and critique

societal norms, offering valuable insights into the gender dynamics prevalent during its time and

beyond.
Work cited

• Namita Gokhale, in the introductory note, entitled “Sita: A Personal Journey”, of her book,

In Search of Sita: Revisiting Mythology, which is co-edited by Malashri Lal, Retired

Professor, University of Delhi.

• Narendra Nath Kalia, “Women and Sexism: Language of Indian School Textbooks,”

Economic and Political Weekly 21, no. 18 (1986): 794.-97

• Vālmīki, Pollock, and Goldman, The Rāmāyaṇa of Vālmīki, 1986, 213

• Valmiki, Goldman, and Pollock, The Rāmāyaṇa of Vālmīki, 1996, 202.

• Valmiki, Goldman, and Pollock, The Rāmāyaṇa of Vālmīki, 1985, 123.

• Raja Gopal, Politics After Television, 96.

• Browyn Kara Conrad, “Neo-Institutionalism, Social Movements, and the Cultural

Reproduction of a Mentalité: Promise Keepers Reconstruct the Madonna/Whore

Complex,” The Sociological Quarterly 47, no. 2 (2006): 11.

 • Jonathan Gottschall et al., “Can Literary Study Be Scientific?: Results of an Empirical

Search for the Virgin/Whore Dichotomy,” Interdisciplinary Literary Studies 7, no. 2

(2006): 2.

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