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Aryaa: An Anthology of Vedic Women
She chose the life of a warrior, leading from the front, protecting her ancestral kingdom.
She waded through treacherous destiny. Her uncompromising love restored her husband back to glory.
She lived in a hermitage, chose a king as husband, and challenged his dharma in open sabha- a mother who shaped an emperor who reshaped the civilization.
She watched the play of beauty and destruction from afar. When she took centre stage, she nurtured the future to find its feet.
She was regal and virtuous. She embarked on a divine mission, and chose an incredible destiny and groom for herself.
She, a fisherwoman, rose to rule an empire, navigating challenges and making tough decisions with her steely resolve.
She led her life on her own terms, choosing to stay on the sidelines but shaping life at the centre.
She courageously pursued truth, unafraid to challenge the greatest scholars on metaphysics. An inspiration to seekers of all times.
She was the wind beneath her husband’s wings. When he pursued the ultimate truth, she too walked the unyielding path.
She sought an improbable marriage. Her penance and devotion won her heaven, and for her husband too.
She has many faces, different roles in different times, embodying the essence of a great tradition. She carved a niche, charted her own path but upheld Dharma at all times.
She is Aryaa - the glorious woman of Bharatavarsha - manifestation of the eternally present Shakti.
She waded through treacherous destiny. Her uncompromising love restored her husband back to glory.
She lived in a hermitage, chose a king as husband, and challenged his dharma in open sabha- a mother who shaped an emperor who reshaped the civilization.
She watched the play of beauty and destruction from afar. When she took centre stage, she nurtured the future to find its feet.
She was regal and virtuous. She embarked on a divine mission, and chose an incredible destiny and groom for herself.
She, a fisherwoman, rose to rule an empire, navigating challenges and making tough decisions with her steely resolve.
She led her life on her own terms, choosing to stay on the sidelines but shaping life at the centre.
She courageously pursued truth, unafraid to challenge the greatest scholars on metaphysics. An inspiration to seekers of all times.
She was the wind beneath her husband’s wings. When he pursued the ultimate truth, she too walked the unyielding path.
She sought an improbable marriage. Her penance and devotion won her heaven, and for her husband too.
She has many faces, different roles in different times, embodying the essence of a great tradition. She carved a niche, charted her own path but upheld Dharma at all times.
She is Aryaa - the glorious woman of Bharatavarsha - manifestation of the eternally present Shakti.
- GenresAnthologiesHinduism
374 pages, Paperback
Published January 18, 2023
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February 1, 2023
The first thing that the reader observes in the Preface is the liberal & specific use of traditional words like Purushartha, Dharma Consciousness, Saatatya along with their meanings. Along with these, the objective of retelling the stories to be truer to the core version by Vyasa sets high expectations of the book.
The opening of the first story on Chitrangada does remind one of the famous introductory scene of Devasena from Bahubali. The narrative establishes the context of Arjuna’s yatra, his brief encounter with Uloopi & final chance meeting with Chitrangada. The sweet romance brews like a fine concoction between Arjuna and Chitrangada. One of the striking details is the characterisation of Chitrangada as a true independent, self-sufficient, confident princess who is charting her own course. For a nuanced depiction, the author does deserve the credit.
On a side note, as the story proceeds, one can’t help but amaze the level of similarity between Chitrangada’s story & Devasena’s encounter with the Mahishmathi entourage. Whether Devasena’s characterisation was inspired from Chitrangada, only time/director can reveal.
The section on Damayanti is written so beautifully that it keeps the reader engaged. Told entirely from Damayanti’s perspective, the author gracefully interweaves the past history into the suffering of a loving wife & his single-minded devotion to find her loving husband. Wonderful piece by the author.
The story on Shakuntala is equally well narrated and in a gripping manner. While there are equally strong characters like Dushyanta, Bharatha, Vishwamitra, the author has ensured that the focus solely rests on Shakuntala with only an ending piece on time after Bharatha.
The story on Subhadra is based on one specific phase of life i.e. after the Great War, when Pandavas wish to retire to the forest. The story captures the preamble to the event, with past history being presented in passing glimpses. Subhadra’s character as a sister, wife, mother and finally Rajamatha is brought out through various conversations. Unlike the previous stories, this section is slightly different as Arjuna has a major role to play with extensive references to Krishna. On a small note, the language could have been generic. For ex., Maharishi instead of Rishivar could have been considered.
The story of Madhavi is told in a different manner with intermix of the narrative between current protagonist (Madhavi) and the actual focus of the story, Princess Madhavi. What seems like a typical liberal discourse of thought, gets a reality check in the form of a yogin who asks pertinent questions to discern the finer details in the narrative & derive a correct perspective. The explanation on the meaning of the word “kanya” and the story in general, is perhaps one of the finest writing I have encountered. Madhavi, Marvellous.
Satyavati’s story is narrated through the eyes of her daughter-in-law Ambika. The narration is loaded with multiple references to various events across her life starting from Ambika’s abduction cum marriage to their resignation to the forest. Satyavati is shown to be the iron-willed lady always and only fleeting references to her other attributes as an aching mother are presented.
Udupi’s narration is like a beautiful painting that evokes happiness and a smile on one’s face for no reason whatsoever. Written in simple and lyrical manner, this prose-poetry intermix is like a fine concoction of spices that yields a beautiful dish. The poetry is lucid, yet fits well within the whole narrative. One shouldn’t be surprised to identify a special, unexpected entry in the narrative. A wonderful tale of an illustrious mother and her prodigal sons, so beautifully & lyrically written.
Gargi’s story is told in 2 parallel narrations, one through her formative years in her father’s ashram & the other through the eternal debate of Yajnavalkya in Janaka’s court. The debate triggers multiple philosophical points which influences Gargi’s thought process and how these events lead to her eventual association with Yajnavalkya forms the crux of the story. This is one of the most philosophical stories in this anthology, which is sure to interest some keen readers.
The section on Maitreyi is quite interesting for its multi-layered interpretations & thought provoking ability. Capturing the last, but perhaps, the most important part of her life, this piece captures the conflict of a jeevatma in breaking its bonds with the samsara as it seeks out the divine paramatma. In some sections, Maitreyi’s views on her co-wife Katyayani does come across as judgemental, which is quite contrary to her known persona, it does reflect the conundrum faced in reality. In metaphysical sense, Katyayani would represent the samsari (one who is attached), Yajnavalkya to the one who has realised Brahman, while Maitreyi represents the transitionary portion, where an atma elevates itself towards Sat-Chit-Ananda. Very well written piece.
Shandilyaduhita - The last piece of this anthology is quite interesting. Written in poetic form, it introduces the various characters from the grand epic Mahabharatha, with one verse dedicated to each of the major personalities. The whole narration takes a different turn when the story of Shandilyaduhita starts, her quest for Vaikunta, experiences with the world leading to a crescendo, when she meets Sringavat. The poem beautifully captures the philosophical exchanges & the wonderful end to the story. As the author remarks, written in “ottava rima” style, this was a different reading experience. Of course, when the same would be composed in one of the native languages, I am quite sure the “rasa” would be accentuated multifold.
In summary, this anthology is like a fine lunch with some beautiful dishes, some of which are exotic and some are plain soul-gratifying. It’s a great introductory book to learn about these wonderful women from our Itihasas, for young and old alike.
The opening of the first story on Chitrangada does remind one of the famous introductory scene of Devasena from Bahubali. The narrative establishes the context of Arjuna’s yatra, his brief encounter with Uloopi & final chance meeting with Chitrangada. The sweet romance brews like a fine concoction between Arjuna and Chitrangada. One of the striking details is the characterisation of Chitrangada as a true independent, self-sufficient, confident princess who is charting her own course. For a nuanced depiction, the author does deserve the credit.
On a side note, as the story proceeds, one can’t help but amaze the level of similarity between Chitrangada’s story & Devasena’s encounter with the Mahishmathi entourage. Whether Devasena’s characterisation was inspired from Chitrangada, only time/director can reveal.
The section on Damayanti is written so beautifully that it keeps the reader engaged. Told entirely from Damayanti’s perspective, the author gracefully interweaves the past history into the suffering of a loving wife & his single-minded devotion to find her loving husband. Wonderful piece by the author.
The story on Shakuntala is equally well narrated and in a gripping manner. While there are equally strong characters like Dushyanta, Bharatha, Vishwamitra, the author has ensured that the focus solely rests on Shakuntala with only an ending piece on time after Bharatha.
The story on Subhadra is based on one specific phase of life i.e. after the Great War, when Pandavas wish to retire to the forest. The story captures the preamble to the event, with past history being presented in passing glimpses. Subhadra’s character as a sister, wife, mother and finally Rajamatha is brought out through various conversations. Unlike the previous stories, this section is slightly different as Arjuna has a major role to play with extensive references to Krishna. On a small note, the language could have been generic. For ex., Maharishi instead of Rishivar could have been considered.
The story of Madhavi is told in a different manner with intermix of the narrative between current protagonist (Madhavi) and the actual focus of the story, Princess Madhavi. What seems like a typical liberal discourse of thought, gets a reality check in the form of a yogin who asks pertinent questions to discern the finer details in the narrative & derive a correct perspective. The explanation on the meaning of the word “kanya” and the story in general, is perhaps one of the finest writing I have encountered. Madhavi, Marvellous.
Satyavati’s story is narrated through the eyes of her daughter-in-law Ambika. The narration is loaded with multiple references to various events across her life starting from Ambika’s abduction cum marriage to their resignation to the forest. Satyavati is shown to be the iron-willed lady always and only fleeting references to her other attributes as an aching mother are presented.
Udupi’s narration is like a beautiful painting that evokes happiness and a smile on one’s face for no reason whatsoever. Written in simple and lyrical manner, this prose-poetry intermix is like a fine concoction of spices that yields a beautiful dish. The poetry is lucid, yet fits well within the whole narrative. One shouldn’t be surprised to identify a special, unexpected entry in the narrative. A wonderful tale of an illustrious mother and her prodigal sons, so beautifully & lyrically written.
Gargi’s story is told in 2 parallel narrations, one through her formative years in her father’s ashram & the other through the eternal debate of Yajnavalkya in Janaka’s court. The debate triggers multiple philosophical points which influences Gargi’s thought process and how these events lead to her eventual association with Yajnavalkya forms the crux of the story. This is one of the most philosophical stories in this anthology, which is sure to interest some keen readers.
The section on Maitreyi is quite interesting for its multi-layered interpretations & thought provoking ability. Capturing the last, but perhaps, the most important part of her life, this piece captures the conflict of a jeevatma in breaking its bonds with the samsara as it seeks out the divine paramatma. In some sections, Maitreyi’s views on her co-wife Katyayani does come across as judgemental, which is quite contrary to her known persona, it does reflect the conundrum faced in reality. In metaphysical sense, Katyayani would represent the samsari (one who is attached), Yajnavalkya to the one who has realised Brahman, while Maitreyi represents the transitionary portion, where an atma elevates itself towards Sat-Chit-Ananda. Very well written piece.
Shandilyaduhita - The last piece of this anthology is quite interesting. Written in poetic form, it introduces the various characters from the grand epic Mahabharatha, with one verse dedicated to each of the major personalities. The whole narration takes a different turn when the story of Shandilyaduhita starts, her quest for Vaikunta, experiences with the world leading to a crescendo, when she meets Sringavat. The poem beautifully captures the philosophical exchanges & the wonderful end to the story. As the author remarks, written in “ottava rima” style, this was a different reading experience. Of course, when the same would be composed in one of the native languages, I am quite sure the “rasa” would be accentuated multifold.
In summary, this anthology is like a fine lunch with some beautiful dishes, some of which are exotic and some are plain soul-gratifying. It’s a great introductory book to learn about these wonderful women from our Itihasas, for young and old alike.
February 3, 2023
Aarya an anthology Vedic women.
Congratulations to all the authors and everyone in the project for such a wonderful anthology.
IndicA and Shivakumar GV garu have created a strong platform for the authors to express themselves.
I liked the theme of this anthology. There are many inspiring women throughout our Itihasas and Puranas. Their tales are nothing short of amazing. They are also very inspiring and have laid foundations to the Bharatiya Sampradaya. While, I wouldn't say ignored, these characters have not gotten their due in modern times. This anthology attempts to re-establish their prominence and re-introduce them to modern readers.
Shiva Kumar GV garu has done an excellent job as the curator in not only selecting these stories but in helping this group of talented writers, reshape their stories into such beautiful versions they are today.
I will try to give the review of each story. What I liked and didn't like. These are just based on my opinion and a reflection of my own likes and dislikes.
1) Chitrangada the way of warrior by Rohini Gupta
I liked the story and the concept. The conflict the author established in the story is very good. It engages the reader till the end. The romance between Arjuna and Chitrangada was also very well written.
But I felt the story is more about Arjuna than Chitrangada. Throughout the story it is Arjuna's struggle that was explored.
2) Damayanti - Finding Nala by Manjula Tekal
This story highlights the quest of Damayanti to find her missing husband Nala. Nalopakyanam is a very interesting part of Aranya Parva of Mahabharata. This story centered around Damayanti briefly but thoroughly explores the entire story. It will be helpful for the first time readers who are not familiar with the characters.
However I felt this story needs a book of its own. There are many scenes throughout the story which can properly be brought out in a full length novel adaptation.
3) Shakuntala - The mother of Bharatvarsha by Prasad Kulkarni
Shakuntala is a very familiar character to most of us be it through Kalidasa's abhigyan shakuntalam or Vyasa's Mahabharata. Most of the modern adaptations explore her struggle to reunite with her husband. What I liked about this story is the author's idea to explore Sakuntala as a mother to Bharatha. This is also the only rationalized story in the anthology. I found the authors interpretations very interesting.
I felt, the creative liberties the author took to show Shakuntala as the guiding mother could have been better.
4) Subhadra - The auspicious one by Bharathi V
Post Kurukshetra war Mahabharata is very less explored by many modern day writers. The author brilliantly chose this chapter in Subhadra's life to explore her grief following the death of her entire clan. The decision of Pandavas to leave on their journey to Swarga. The analysis of Mahabharata and her own ideas the author introduced through this story are good.
I initially thought the story focused more on Arjuna than Subhadra but as the story progresses the writer ingeniously brought out Subhadra's sacrifice. Apart from Subhadra we get a glimpse into the lives of Kurukshetra survivors. It is a very interesting read.
The author has brilliantly crafted this story to absolute perfection. There are some scenes like Arjuna training Parikshit that are heart warming.
5) Madhavi - King Yayati's daughter by Madhureima Devii Dasi
This is the only story of the anthology set in modern times. I liked the way the author brilliantly explored Madhavi's story through both modern and traditional lenses. The story is very well researched and very well written. The conversation between Yogini and modern Madhavi is very engaging and enlightening.
This is my most favourite write up in the anthology.
6) Satyavati the iron woman by Deepak MR
The story is a flashback of a flashback 😀. I liked this format. The story is also very quick paced and covers entire life journey of not only Satyavati but also Ambika and Ambalika. People who are not familiar with these characters will have complete knowledge after reading this story.
However I felt the pace is very fast and at some places I felt it would have been better to show the emotions rather than tell them.
7) Ulupi the legend of Naga Princess by Rajani Muralidhar
This story has some very interesting elements. Mainly Ulupi's love for Arjuna a person who is hated by her brother for his role in the massacre Naga community during the events of Khandava Vana Dahana. What it means to raise not only Irwan but also Babruvahana without the help of Arjuna. I liked how the story is narrated with the help of both prose and poetry.
However I felt the story could lose some of the very well written scenes to make the narrative much smoother. The argument Ulupi presents Irwan to explain the role of Arjuna in Khandava Vana Dahana is not very convincing.
On an unrelated note there is slight correction in the character biography. Ulupi is introduced in Aadi Parva (:
8) Gargi- The Brahmavadini by Celia Pillai
This story is also told by using both prose and poetry. The philosophical discussions in the story are very engaging and enlightening to read and experience.
The author has also brilliantly narrated many moments of Gargi's life that made her what she was.
9) Maitreyi - The Perfect Match by Kavita Krisha Meegama
I must admit this character is very new to me. Throughout the story the conversations and thoughts Maitreyi has on the wake of her husband's decision to take Sanyasa are very well written. Her journey throughout the story is very inspiring. I liked how the author presented Katyayani the sister-wife of Maitreyi.
I felt most of the story is taking place in Maitreyi's thoughts and there is very less action. However I cannot imagine the story in any other way.
10) Shandilyaduhita - Tushara Swayamvara by Ranjith Radhakrishnan
I don't have any comments on the story except to say it's very well written. The author chose to narrate the entire story in the form of a very well written poem. I had no other thoughts than pure bliss reading this.
I thank the authors and curator Shiva Kumar GV for bestowing the knowledge I acquired from reading this book. Once again I congratulate all the authors. Hoping to read many more of your works 🙏.
Congratulations to all the authors and everyone in the project for such a wonderful anthology.
IndicA and Shivakumar GV garu have created a strong platform for the authors to express themselves.
I liked the theme of this anthology. There are many inspiring women throughout our Itihasas and Puranas. Their tales are nothing short of amazing. They are also very inspiring and have laid foundations to the Bharatiya Sampradaya. While, I wouldn't say ignored, these characters have not gotten their due in modern times. This anthology attempts to re-establish their prominence and re-introduce them to modern readers.
Shiva Kumar GV garu has done an excellent job as the curator in not only selecting these stories but in helping this group of talented writers, reshape their stories into such beautiful versions they are today.
I will try to give the review of each story. What I liked and didn't like. These are just based on my opinion and a reflection of my own likes and dislikes.
1) Chitrangada the way of warrior by Rohini Gupta
I liked the story and the concept. The conflict the author established in the story is very good. It engages the reader till the end. The romance between Arjuna and Chitrangada was also very well written.
But I felt the story is more about Arjuna than Chitrangada. Throughout the story it is Arjuna's struggle that was explored.
2) Damayanti - Finding Nala by Manjula Tekal
This story highlights the quest of Damayanti to find her missing husband Nala. Nalopakyanam is a very interesting part of Aranya Parva of Mahabharata. This story centered around Damayanti briefly but thoroughly explores the entire story. It will be helpful for the first time readers who are not familiar with the characters.
However I felt this story needs a book of its own. There are many scenes throughout the story which can properly be brought out in a full length novel adaptation.
3) Shakuntala - The mother of Bharatvarsha by Prasad Kulkarni
Shakuntala is a very familiar character to most of us be it through Kalidasa's abhigyan shakuntalam or Vyasa's Mahabharata. Most of the modern adaptations explore her struggle to reunite with her husband. What I liked about this story is the author's idea to explore Sakuntala as a mother to Bharatha. This is also the only rationalized story in the anthology. I found the authors interpretations very interesting.
I felt, the creative liberties the author took to show Shakuntala as the guiding mother could have been better.
4) Subhadra - The auspicious one by Bharathi V
Post Kurukshetra war Mahabharata is very less explored by many modern day writers. The author brilliantly chose this chapter in Subhadra's life to explore her grief following the death of her entire clan. The decision of Pandavas to leave on their journey to Swarga. The analysis of Mahabharata and her own ideas the author introduced through this story are good.
I initially thought the story focused more on Arjuna than Subhadra but as the story progresses the writer ingeniously brought out Subhadra's sacrifice. Apart from Subhadra we get a glimpse into the lives of Kurukshetra survivors. It is a very interesting read.
The author has brilliantly crafted this story to absolute perfection. There are some scenes like Arjuna training Parikshit that are heart warming.
5) Madhavi - King Yayati's daughter by Madhureima Devii Dasi
This is the only story of the anthology set in modern times. I liked the way the author brilliantly explored Madhavi's story through both modern and traditional lenses. The story is very well researched and very well written. The conversation between Yogini and modern Madhavi is very engaging and enlightening.
This is my most favourite write up in the anthology.
6) Satyavati the iron woman by Deepak MR
The story is a flashback of a flashback 😀. I liked this format. The story is also very quick paced and covers entire life journey of not only Satyavati but also Ambika and Ambalika. People who are not familiar with these characters will have complete knowledge after reading this story.
However I felt the pace is very fast and at some places I felt it would have been better to show the emotions rather than tell them.
7) Ulupi the legend of Naga Princess by Rajani Muralidhar
This story has some very interesting elements. Mainly Ulupi's love for Arjuna a person who is hated by her brother for his role in the massacre Naga community during the events of Khandava Vana Dahana. What it means to raise not only Irwan but also Babruvahana without the help of Arjuna. I liked how the story is narrated with the help of both prose and poetry.
However I felt the story could lose some of the very well written scenes to make the narrative much smoother. The argument Ulupi presents Irwan to explain the role of Arjuna in Khandava Vana Dahana is not very convincing.
On an unrelated note there is slight correction in the character biography. Ulupi is introduced in Aadi Parva (:
8) Gargi- The Brahmavadini by Celia Pillai
This story is also told by using both prose and poetry. The philosophical discussions in the story are very engaging and enlightening to read and experience.
The author has also brilliantly narrated many moments of Gargi's life that made her what she was.
9) Maitreyi - The Perfect Match by Kavita Krisha Meegama
I must admit this character is very new to me. Throughout the story the conversations and thoughts Maitreyi has on the wake of her husband's decision to take Sanyasa are very well written. Her journey throughout the story is very inspiring. I liked how the author presented Katyayani the sister-wife of Maitreyi.
I felt most of the story is taking place in Maitreyi's thoughts and there is very less action. However I cannot imagine the story in any other way.
10) Shandilyaduhita - Tushara Swayamvara by Ranjith Radhakrishnan
I don't have any comments on the story except to say it's very well written. The author chose to narrate the entire story in the form of a very well written poem. I had no other thoughts than pure bliss reading this.
I thank the authors and curator Shiva Kumar GV for bestowing the knowledge I acquired from reading this book. Once again I congratulate all the authors. Hoping to read many more of your works 🙏.
May 13, 2023
The exploration of mythology, or Itihaasa as it is more authentically and preferentially called, can often be a daunting task. One must scour through countless books and resources to find those rare gems that present these ancient tales in their unadulterated form, preserving the narrative without discounting its essence.
A true literary marvel is a book that allows readers to indulge in the simplicity of language, one that enables the reader to unravel the mysteries of Itihaasa while staying true to the texts themselves. For this reason, the search for authentic Itihaasa is a worthy endeavor, as it offers an opportunity to experience the richness of the past, while also learning valuable lessons for the present and the future.
Aryaa: An Anthology of Vedic Women is a masterpiece of literary creation, an exercise in its own right that seeks to shed light on the many facets of our civilization, through retellings of our beloved Epics. This book, carefully curated and crafted, is a tribute to the great women of our past, whose stories are brought to life through the masterful writings of ten talented authors.
Read the detailed review - https://www.bookgeeks.in/aryaa-an-ant...
A true literary marvel is a book that allows readers to indulge in the simplicity of language, one that enables the reader to unravel the mysteries of Itihaasa while staying true to the texts themselves. For this reason, the search for authentic Itihaasa is a worthy endeavor, as it offers an opportunity to experience the richness of the past, while also learning valuable lessons for the present and the future.
Aryaa: An Anthology of Vedic Women is a masterpiece of literary creation, an exercise in its own right that seeks to shed light on the many facets of our civilization, through retellings of our beloved Epics. This book, carefully curated and crafted, is a tribute to the great women of our past, whose stories are brought to life through the masterful writings of ten talented authors.
Read the detailed review - https://www.bookgeeks.in/aryaa-an-ant...
March 8, 2023
Aryaa by Indic Academy, curated by Shivakumar GV, is an anthology of ten short stories. Based on some famous and some less remembered women from the Vedas, Puranas and Epics, the very idea behind it is wonderful and uplifting. It’s particularly important for the women and girls today to learn about these extraordinary women, rather than simply buy into the popular narrative of an ancient oppressive patriarchal society with no women characters to look up to. Kudos to Indic Academy for bringing this book out.
The selection of stories as well as the characters they’re based on is eclectic. While everyone knows- or thinks they know- the story of Shakuntala, or even Subhadra, this book throws a new light on the characters. And the best part is that the light that is shined is not a complete reimagining of the characters that frankly serves no purpose, but is a path that you travel upon to actually know these women and their stories. And for this, full marks to all the authors as well as the curator.
The women characters covered in the book are Chitrangada, Damayanti, Shakuntala, Subhadra, Madhavi, Satyavati, Ulupi, Gargi, Maitreyi and Shandilyaduhita. Every one of the authors has done a great job, and every story brought out an aspect of the character that I had never thought about before. Each story is unique in its own way and writing style. For instance, in one, by Rohini Gupta, you have the feelings of a woman tied to the throne of her father’s kingdom. In another, by Manjula Tekal, a woman who undertakes quite a quest to bring back her husband to herself. Then there’s the guiding force of a mother who helps shape the life of the future monarch, by Prasad Kulkarni. A woman who held together a kingdom left without successors through her iron will and some hard decisions is featured in one, by Deepak MR. And in another, a woman who dedicates her entire life to nourish the results of her one decision, told by Rajani Muralidhar.
One of my very favorites in the book is the story of Subhadra by Bharathi V. It brings to light an episode of Subhadra’s life that nobody thinks about. It shows her as a grieving mother, sister, daughter- and also as a wife who has to make the toughest decision of her life. Beautifully narrated, the story makes you feel for Subhadra and you cannot help but marvel at her fortitude and sacrifice.
Another beautiful story is the one on Madhavi, written by Madhureima Devii Dasi. It’s frankly the most relatable, as it has been set in modern times, with a modern protagonist, who’s struggle a lot of youngsters today would identify with. Caught between the different times, values as well as perceptions, this story should ideally start some on an internal journey. Writing more would give it away, but this story can easily be adapted into a web series. Amazing.
The stories on Gargi and Maitreyi are like sisters, and I like how they’re one after the other. Gargi’s tale, written by Celia Pillai, is a journey into the life and mind of one of the foremost of highly intellectual women of ancient times. The philosophy in the story is food for a starved soul. Maitreyi, by Kavita K Meegama, is a journey towards achieving the state of Gargi. It shows a woman on the cusp of letting go of the last shackles that stop her from achieving her true self. It’s a bit of a reflection of all of us, and how the duties and attachments of this world bind us to what we are, not letting us be what we’d rather. Gargi is being, Maitreyi is about to undertake the path of ultimately being.
The last story of the book is actually a poem. Shandilyaduhita by Ranjith Radhakrishnan is a feast for the senses. Beautifully written, it captures the tale of a very obscure character who is mentioned in passing in the Mahabharata- a woman who’s given name has been lost through the ages. But what a striking story, and what a narration! This poem was like the perfect dessert after a full meal that satisfied the soul.
All in all, a lovely compilation that I would honestly recommend.
The selection of stories as well as the characters they’re based on is eclectic. While everyone knows- or thinks they know- the story of Shakuntala, or even Subhadra, this book throws a new light on the characters. And the best part is that the light that is shined is not a complete reimagining of the characters that frankly serves no purpose, but is a path that you travel upon to actually know these women and their stories. And for this, full marks to all the authors as well as the curator.
The women characters covered in the book are Chitrangada, Damayanti, Shakuntala, Subhadra, Madhavi, Satyavati, Ulupi, Gargi, Maitreyi and Shandilyaduhita. Every one of the authors has done a great job, and every story brought out an aspect of the character that I had never thought about before. Each story is unique in its own way and writing style. For instance, in one, by Rohini Gupta, you have the feelings of a woman tied to the throne of her father’s kingdom. In another, by Manjula Tekal, a woman who undertakes quite a quest to bring back her husband to herself. Then there’s the guiding force of a mother who helps shape the life of the future monarch, by Prasad Kulkarni. A woman who held together a kingdom left without successors through her iron will and some hard decisions is featured in one, by Deepak MR. And in another, a woman who dedicates her entire life to nourish the results of her one decision, told by Rajani Muralidhar.
One of my very favorites in the book is the story of Subhadra by Bharathi V. It brings to light an episode of Subhadra’s life that nobody thinks about. It shows her as a grieving mother, sister, daughter- and also as a wife who has to make the toughest decision of her life. Beautifully narrated, the story makes you feel for Subhadra and you cannot help but marvel at her fortitude and sacrifice.
Another beautiful story is the one on Madhavi, written by Madhureima Devii Dasi. It’s frankly the most relatable, as it has been set in modern times, with a modern protagonist, who’s struggle a lot of youngsters today would identify with. Caught between the different times, values as well as perceptions, this story should ideally start some on an internal journey. Writing more would give it away, but this story can easily be adapted into a web series. Amazing.
The stories on Gargi and Maitreyi are like sisters, and I like how they’re one after the other. Gargi’s tale, written by Celia Pillai, is a journey into the life and mind of one of the foremost of highly intellectual women of ancient times. The philosophy in the story is food for a starved soul. Maitreyi, by Kavita K Meegama, is a journey towards achieving the state of Gargi. It shows a woman on the cusp of letting go of the last shackles that stop her from achieving her true self. It’s a bit of a reflection of all of us, and how the duties and attachments of this world bind us to what we are, not letting us be what we’d rather. Gargi is being, Maitreyi is about to undertake the path of ultimately being.
The last story of the book is actually a poem. Shandilyaduhita by Ranjith Radhakrishnan is a feast for the senses. Beautifully written, it captures the tale of a very obscure character who is mentioned in passing in the Mahabharata- a woman who’s given name has been lost through the ages. But what a striking story, and what a narration! This poem was like the perfect dessert after a full meal that satisfied the soul.
All in all, a lovely compilation that I would honestly recommend.
March 13, 2023
This is a very beautiful and touching anthology on some of the lesser-known women from our purana's. While we have heard and read about them in bits and pieces through the Mahabharata, this book brings out a different face to each of them - something which we have never thought of, something which inspires you to the core. The first story on Chitrangada set the pace of what to come further. And each of the rest introduces a new heroine, a new background and a new setting - but all stories are tied by the common narratives of courage, moral strength, empathy and intelligence. My personal favorite is the one on Subhadra, followed by Shakuntala.
Highly recommended for the pleasure of engaging story-telling in a Vedic set up...
Highly recommended for the pleasure of engaging story-telling in a Vedic set up...
February 20, 2023
Just finished reading this wonderful anthology #Aryaa curated by @SaamaanyaJ . Ten authors. Ten stories of extraordinary women. Chitrangada, Damayanti, Shakuntala, Subhadra, Madhavi, Satyavati, Uloopi, Gargi, Maitreyi and Shandilyaduhita.
Multiple writing styles. One of the stories, Madhavi cuts between the present and the past. Another one, Shandilyaduhita is written entirely in verse. Maitreyi and Gargi delve deeply into Advaita philosophy even as they give us a glimpse into these women. All in all, would heartily recommend this anthology.
Multiple writing styles. One of the stories, Madhavi cuts between the present and the past. Another one, Shandilyaduhita is written entirely in verse. Maitreyi and Gargi delve deeply into Advaita philosophy even as they give us a glimpse into these women. All in all, would heartily recommend this anthology.
April 6, 2023
The book Aryaa curated by Shivkumar GV was an anthology of Vedic woman. This book celebrates the glorious role of women in shaping our civilization and their ultimate sacrifices for Bharatavarsha . This book inspires us to know more about our past , our rich culture and embrace our tradition and culture. This book picked up many different aspects of our civilization and our Epics that bring out the true essence of our rich and varied heritage and tradition. It generates a certain curiosity within us to know and find out more about our past and ancestors. It highlights the growing role of women in the past reflecting how they were a huge part of our culture and how their sacrifices were amendable. This book is a 5/5 for me because i found it very interesting specially the chapter on the queen mother of Hastinapur , Subhadra-The Auspicious One. I liked the way the Authors wrote , It made me feel like I was a part of what was happening in the chapter . The Glossary at the end was very helpful because there were some Sanskrit words that were hard to understand , Overall i enjoyed the book and i recommend this book and people should read it.
February 12, 2023
A very important, exciting and thought-provoking book retelling the stories of strong-willed - even if some of them are relatively unknown - women from ancient India. The choice of characters whose stories are told is both ambitious and perceptive - and showcases, as curator Shivakumar puts it, "inspiring women" in both "peaceful and troubled times." Ten stories focus on a wide range of women - warrior Chitrangada, dutiful Damayanti, "iron woman" Satyavati, and philosopher Gargi, amongst others. Each of the ten stories - and the Preface - has been written to highlight the relevance of the narrative to our times (though this is sometimes implicit), and hence even the philosophical discussion is accessible to interested readers. In a way, this is an intelligent contemporary retelling of their stories. Possibly, more such efforts are needed to understand what these stories mean for the history of our past. A very good read that will make you think more about the past as well as the present.
May 21, 2023
RE-IMAGINED STORIES OF UNSUNG WOMEN OF EPICS
This is a collection of stories about women in epics on whom much focus was not thrown. They were all important characters, who play a part in the epics like Mahabharata but people do not know much about them. We are not talking about Kunti, Gandhari or Draupadi. There are many powerful women characters whose stories are not only exciting but also help understand the position of women in the Vedic era.
In all, there are ten stories written by ten different authors.
Chitrangada, Damayanti, Shakuntala, Subhadra, Madhavi, Satyavathi, Ulupi, Gargi, Maitreyi, and Shandilya Duhitha are the ten characters chosen for this. There were many more and perhaps they were reserved for the next volume.
I so far, read only the first story titled Chitrangada-The Way of the Warriors: The Princess of Manipura by Rohini Guptha and had a fleeting glance at the other chapters but ventured to write the review to share my excitement in finding something of value.
Chitrangada is not an unknown character for the readers of Mahabharata. She was the daughter of Manipur King Chitravhana whom Arjuna marries during his exile of twelve years after Yudhistara was crowned as the king of Indraprastha. The reason for his exile is his breaking the protocol by entering the chamber of Draupadi when Yudhistira was present.
However, the authoress Rohini Gupta creates a splendid fiction from the flimsy material available. Chitrangada is a trained warrior and was not inclined to marry anyone. Her father keeps on searching for a good husband who is supposed to provide him with a grandson ( or granddaughter?) to succeed him and rule Manipura. Chitrangada won't move out of Manipura after her marriage, the husband has to stay with her. Not many royals would be interested in such terms, which could be considered a little dishonourable. Finally, Chitravahana decides to offer her daughter to Duryodhana ( of all, and this is a nice literary imagination) and sends a messenger to him. Meanwhile, Duryodhana also sends his messengers to the king of Manipura. Chitrangada doesn't want to marry Duryodhana and wants to stop her father's message to Duryodhana, and embarks in her warrior outfit to accost the messenger on his way and also to confront the band of messengers/warriors of Duryodhana before they reach her father.
This is the background of the story which we come to know during the course, and Chitrangada meets Arjuna who was roaming in the forests rather aimlessly. Their meeting, interactions and their getting more intimate with each other gradually are dealt so dramatically that would keep the interest of readers sustained. The highly dramatic moment of the story is when Duryodhana's band were attracted by Chitrangada alone and later joined by Arjuna. The Hatinapura group fails to impress or intimidate Chitrangada and the presence of Arjuna also emboldens her. The group thinks of the intruder as a lightweight and wants to overpower him but back off, the moment Arjuna starts removing his sword from the shield. They recognise Arjuna and back off. The story ends with Chitrangada accepting Arjuna's proposal to marry and stay with her till an offspring is produced.
The story, part fact and part fiction was told in an expert manner, and the author also tells us what is what at the end of the story and also tells how the story finishes in the epic.
The story was told well and I think she could have developed it into a whole novel if she so wanted. The story was short but the character of Chitrangada will be remembered by the readers long after they finish reading the story.
I will take time to read the rest of the stories, and if possible expand my review, but I am sure the rating would stand unchanged.
07–05–2023 Today I completed the second story, “Damyani-Finding Nala; The Queen of Nishada” by the author Manjula Tekal. Again a known story but told in a different way. I assume most of us are familiar with the story which was told by Brihadaswa to Yudhistira when the later asks him if there was a more unfortunate person than him. Yes, there are parallels to both misfortunes to an extent. Both lose their kingdoms to their ruthless cousins by losing in the game of dice, the unholiest vice. Nala was vanquished by Pushkara and was asked to stake Damayanti if he wished to regain the kingdom. However, unlike Yudhistara he wakes up in time, realises his folly and stops the game there and goes to the forests along with Damayanti. His misfortune is compounded when the birds take away his dhoti and Damynti had to share half of her saree to cover his body. At this stage, Nala abandons his wife and takes refuge in Ritupana’s Ayodhya kingdom. On the way he rescues Karkotaka, the serpent from fire and gets bitten by it which makes him a short, ugly, dark-coloured man so that nobody could recognise him. Damayanti escapes from the dangers of being swallowed by a python, followed by an attempt to force her into companionship by a tribal who saves her from the python and finally finds refuge in the kingdom of Chedi. Her father traces her and brings her home. Damyanti plans to bring Nala home, after suspecting that Bahuka must be Nala in disguise. Finally, she sends a messenger to Ayodhya that she was going for a second swayamvara and King Rituparna seeks the help of Bahuka, the ace charioteer, to bring him to Kundinapura in less than a day. Damayanti makes Nala confess the truth and gets reunited with him, and Bahuka consumes the antidote and becomes normal Nala again. This story was narrated so tenderly by the author that readers would engross themselves in the story. The story starts after Damayanti returns home to reunite with her parents and twin children and the story up to that point is narrated by Damayanti to her loving mother Chandramathi. This is the imagination of the author and the angry reaction of the mother against Nala’s conduct in abandoning her daughter alone and helpless in the forest to fend for herself will be echoed by the readers too. The author also narrates the story of Nala’s marriage with Damayanti as one of the latter’s reflections. The Mahabharata quote, “When excellence mates with excellence the results are extraordinary”, as uttered by the swan which brought the love message of Nala to Damayanti before Damayanti swayamvar was. contextually recalled in the story. None of the major particulars were changed. There were minor changes like Damyanti killing her captor physically, instead of through her curse. The retelling of the story captured the essence of the original and portrayed Damayanti as not only beautiful but a resourceful, bold and intelligent woman. The author’s narrative skills are excellent and keep the reader hooked to the story till the finish.
The third story is Shakuntala -The Mother of Bharata Varsha.' The author is Prasad Kulkarni. This is also a retelling of a known story from Mahabharata and the author followed this authentic narration to a major extent rather than the dramatic Abhijnana Shakuntalam of Kalidasa which was another powerful source available to him.
The story had a short Epilogue, to drive home the point that the throne should belong to the ablest and not to the eldest. Sarvadamana, later called Bharata, makes none of his nine sons as a king but makes Bhumanyu, the son of Brihaptasya his successor.
Shakuntala goes to Vanaprastha along with her husband after Bharata ismade the king.She comes out from the story as an intelligent girl, gifted, capable of choosing her husband, shrewd, determined, an able mother, and a fearless woman to fight for her rights. Her defiant dialogue when readying to part of the assembly is worth mentioning.
” Listen to me Dushyantha. I am leaving this assembly. A kingdom that does not respect promises will not survive. Once you shed the mortal frame, my son will perform your final rites and rule your vast empire.”
Certainly a bold statement by the standards of any age. Shakuntala comes out as a role model for all women. The author succeeds in restoring the original strength of that powerful woman of the Vedic age, which was somewhat diluted by Kalidasa in his dramatisation to save Dushyanta's character.
If modern readers are given a choice to select among the Shakuntalas of Vyasa, Kalidasa and the present author, many might probably vote for the present one.
For a more detailed review follow my space, 'Mythological fictions -book discussions and book reviews' on Quora.
The fourth story in the anthology was about Subhadra -The Auspicious One -The Queen Mother of Hastinapura by Ms Bharati. This story portrays Subhadra during the final moments of her husband's departure permanently and her recollections of the past and the role she had played so far in her life. Subhdra comes out as a strong character befitting to be the sister of Krishna.
The story makes you think about Subhadra in a new light. When we read this scene in MAHABHARATA, we do not realise how deep are the wounds of Subhadra and how boldly she faced her hardships. Soon after her marriage and when Abhimanyu was still a boy, she had to endure thirteen years of separation from her husband taking the responsibility of rearing not only her son but the five sons of Draupadi. Soon after her husband returns, there was war and her only son gets killed. She consoles the bereaved daughter-in-law absorbing her own sorrow at losing her son. Finally, in the end, she loses her whole support group, her valiant brothers, her parents and all her contacts in Dwaraka which, itself is submerged in the sea. Her husband lost all interest in life and wanted to retire from his life.
The author had succeeded in portraying Subhadra as an astute thinker and a deserving sister of an illustrious brother. One gets this feeling which gets reinforced by Arjuna’s statement,” I will always have a part of Krishna by my side, Bhadre, in you.” Subhadra’s recollection of her marriage with Arjuna was based on Bhagavatha rather than Bharata where there is no ‘abduction’ of Draupadi. We can taste the sense of humour of the author in an otherwise serious story when Subhadra recalls her fondest memory of her taking the reins of Arjuna’s chariot and herself ‘abducting’ the invincible ‘Vijaya’. You can’t help if a smile creeps on your lips. Her addressing Arjuna as ‘Gudakesha’ lightly is interesting as Arjuna would not have slept for days in his distressed mood after his return from Dwaraka. The conversations between Arjuna and Subhadra, Draupadi and Subhadra as well as Subhadra’s reminiscences of her conversation with Krishna were crafted with sensitivity. Subhadra realises that her role is similar to that of the original Rajamatha, Satyavati who had set aside her grief at the loss of her husband and two brave sons to focus her energies on ensuring the prosperity of vamsha and resigns to take up that role as her destiny. Her gradual thought process through which she finally finds the solution to her husband’s as well as Hastinapur’s problem goaded by her inner voice triggered by Krishna’s whisper is well built up.
Overall, the reimagining and the portrayal of Subhadra in assuming the role of Rajamatha fitted well into this garland of ‘Vedic Women Anthology’.
A more detailed review can be seen in the space Mythological Fictions -Book Discussions-Reviews on Quora.
This is a collection of stories about women in epics on whom much focus was not thrown. They were all important characters, who play a part in the epics like Mahabharata but people do not know much about them. We are not talking about Kunti, Gandhari or Draupadi. There are many powerful women characters whose stories are not only exciting but also help understand the position of women in the Vedic era.
In all, there are ten stories written by ten different authors.
Chitrangada, Damayanti, Shakuntala, Subhadra, Madhavi, Satyavathi, Ulupi, Gargi, Maitreyi, and Shandilya Duhitha are the ten characters chosen for this. There were many more and perhaps they were reserved for the next volume.
I so far, read only the first story titled Chitrangada-The Way of the Warriors: The Princess of Manipura by Rohini Guptha and had a fleeting glance at the other chapters but ventured to write the review to share my excitement in finding something of value.
Chitrangada is not an unknown character for the readers of Mahabharata. She was the daughter of Manipur King Chitravhana whom Arjuna marries during his exile of twelve years after Yudhistara was crowned as the king of Indraprastha. The reason for his exile is his breaking the protocol by entering the chamber of Draupadi when Yudhistira was present.
However, the authoress Rohini Gupta creates a splendid fiction from the flimsy material available. Chitrangada is a trained warrior and was not inclined to marry anyone. Her father keeps on searching for a good husband who is supposed to provide him with a grandson ( or granddaughter?) to succeed him and rule Manipura. Chitrangada won't move out of Manipura after her marriage, the husband has to stay with her. Not many royals would be interested in such terms, which could be considered a little dishonourable. Finally, Chitravahana decides to offer her daughter to Duryodhana ( of all, and this is a nice literary imagination) and sends a messenger to him. Meanwhile, Duryodhana also sends his messengers to the king of Manipura. Chitrangada doesn't want to marry Duryodhana and wants to stop her father's message to Duryodhana, and embarks in her warrior outfit to accost the messenger on his way and also to confront the band of messengers/warriors of Duryodhana before they reach her father.
This is the background of the story which we come to know during the course, and Chitrangada meets Arjuna who was roaming in the forests rather aimlessly. Their meeting, interactions and their getting more intimate with each other gradually are dealt so dramatically that would keep the interest of readers sustained. The highly dramatic moment of the story is when Duryodhana's band were attracted by Chitrangada alone and later joined by Arjuna. The Hatinapura group fails to impress or intimidate Chitrangada and the presence of Arjuna also emboldens her. The group thinks of the intruder as a lightweight and wants to overpower him but back off, the moment Arjuna starts removing his sword from the shield. They recognise Arjuna and back off. The story ends with Chitrangada accepting Arjuna's proposal to marry and stay with her till an offspring is produced.
The story, part fact and part fiction was told in an expert manner, and the author also tells us what is what at the end of the story and also tells how the story finishes in the epic.
The story was told well and I think she could have developed it into a whole novel if she so wanted. The story was short but the character of Chitrangada will be remembered by the readers long after they finish reading the story.
I will take time to read the rest of the stories, and if possible expand my review, but I am sure the rating would stand unchanged.
07–05–2023 Today I completed the second story, “Damyani-Finding Nala; The Queen of Nishada” by the author Manjula Tekal. Again a known story but told in a different way. I assume most of us are familiar with the story which was told by Brihadaswa to Yudhistira when the later asks him if there was a more unfortunate person than him. Yes, there are parallels to both misfortunes to an extent. Both lose their kingdoms to their ruthless cousins by losing in the game of dice, the unholiest vice. Nala was vanquished by Pushkara and was asked to stake Damayanti if he wished to regain the kingdom. However, unlike Yudhistara he wakes up in time, realises his folly and stops the game there and goes to the forests along with Damayanti. His misfortune is compounded when the birds take away his dhoti and Damynti had to share half of her saree to cover his body. At this stage, Nala abandons his wife and takes refuge in Ritupana’s Ayodhya kingdom. On the way he rescues Karkotaka, the serpent from fire and gets bitten by it which makes him a short, ugly, dark-coloured man so that nobody could recognise him. Damayanti escapes from the dangers of being swallowed by a python, followed by an attempt to force her into companionship by a tribal who saves her from the python and finally finds refuge in the kingdom of Chedi. Her father traces her and brings her home. Damyanti plans to bring Nala home, after suspecting that Bahuka must be Nala in disguise. Finally, she sends a messenger to Ayodhya that she was going for a second swayamvara and King Rituparna seeks the help of Bahuka, the ace charioteer, to bring him to Kundinapura in less than a day. Damayanti makes Nala confess the truth and gets reunited with him, and Bahuka consumes the antidote and becomes normal Nala again. This story was narrated so tenderly by the author that readers would engross themselves in the story. The story starts after Damayanti returns home to reunite with her parents and twin children and the story up to that point is narrated by Damayanti to her loving mother Chandramathi. This is the imagination of the author and the angry reaction of the mother against Nala’s conduct in abandoning her daughter alone and helpless in the forest to fend for herself will be echoed by the readers too. The author also narrates the story of Nala’s marriage with Damayanti as one of the latter’s reflections. The Mahabharata quote, “When excellence mates with excellence the results are extraordinary”, as uttered by the swan which brought the love message of Nala to Damayanti before Damayanti swayamvar was. contextually recalled in the story. None of the major particulars were changed. There were minor changes like Damyanti killing her captor physically, instead of through her curse. The retelling of the story captured the essence of the original and portrayed Damayanti as not only beautiful but a resourceful, bold and intelligent woman. The author’s narrative skills are excellent and keep the reader hooked to the story till the finish.
The third story is Shakuntala -The Mother of Bharata Varsha.' The author is Prasad Kulkarni. This is also a retelling of a known story from Mahabharata and the author followed this authentic narration to a major extent rather than the dramatic Abhijnana Shakuntalam of Kalidasa which was another powerful source available to him.
The story had a short Epilogue, to drive home the point that the throne should belong to the ablest and not to the eldest. Sarvadamana, later called Bharata, makes none of his nine sons as a king but makes Bhumanyu, the son of Brihaptasya his successor.
Shakuntala goes to Vanaprastha along with her husband after Bharata ismade the king.She comes out from the story as an intelligent girl, gifted, capable of choosing her husband, shrewd, determined, an able mother, and a fearless woman to fight for her rights. Her defiant dialogue when readying to part of the assembly is worth mentioning.
” Listen to me Dushyantha. I am leaving this assembly. A kingdom that does not respect promises will not survive. Once you shed the mortal frame, my son will perform your final rites and rule your vast empire.”
Certainly a bold statement by the standards of any age. Shakuntala comes out as a role model for all women. The author succeeds in restoring the original strength of that powerful woman of the Vedic age, which was somewhat diluted by Kalidasa in his dramatisation to save Dushyanta's character.
If modern readers are given a choice to select among the Shakuntalas of Vyasa, Kalidasa and the present author, many might probably vote for the present one.
For a more detailed review follow my space, 'Mythological fictions -book discussions and book reviews' on Quora.
The fourth story in the anthology was about Subhadra -The Auspicious One -The Queen Mother of Hastinapura by Ms Bharati. This story portrays Subhadra during the final moments of her husband's departure permanently and her recollections of the past and the role she had played so far in her life. Subhdra comes out as a strong character befitting to be the sister of Krishna.
The story makes you think about Subhadra in a new light. When we read this scene in MAHABHARATA, we do not realise how deep are the wounds of Subhadra and how boldly she faced her hardships. Soon after her marriage and when Abhimanyu was still a boy, she had to endure thirteen years of separation from her husband taking the responsibility of rearing not only her son but the five sons of Draupadi. Soon after her husband returns, there was war and her only son gets killed. She consoles the bereaved daughter-in-law absorbing her own sorrow at losing her son. Finally, in the end, she loses her whole support group, her valiant brothers, her parents and all her contacts in Dwaraka which, itself is submerged in the sea. Her husband lost all interest in life and wanted to retire from his life.
The author had succeeded in portraying Subhadra as an astute thinker and a deserving sister of an illustrious brother. One gets this feeling which gets reinforced by Arjuna’s statement,” I will always have a part of Krishna by my side, Bhadre, in you.” Subhadra’s recollection of her marriage with Arjuna was based on Bhagavatha rather than Bharata where there is no ‘abduction’ of Draupadi. We can taste the sense of humour of the author in an otherwise serious story when Subhadra recalls her fondest memory of her taking the reins of Arjuna’s chariot and herself ‘abducting’ the invincible ‘Vijaya’. You can’t help if a smile creeps on your lips. Her addressing Arjuna as ‘Gudakesha’ lightly is interesting as Arjuna would not have slept for days in his distressed mood after his return from Dwaraka. The conversations between Arjuna and Subhadra, Draupadi and Subhadra as well as Subhadra’s reminiscences of her conversation with Krishna were crafted with sensitivity. Subhadra realises that her role is similar to that of the original Rajamatha, Satyavati who had set aside her grief at the loss of her husband and two brave sons to focus her energies on ensuring the prosperity of vamsha and resigns to take up that role as her destiny. Her gradual thought process through which she finally finds the solution to her husband’s as well as Hastinapur’s problem goaded by her inner voice triggered by Krishna’s whisper is well built up.
Overall, the reimagining and the portrayal of Subhadra in assuming the role of Rajamatha fitted well into this garland of ‘Vedic Women Anthology’.
A more detailed review can be seen in the space Mythological Fictions -Book Discussions-Reviews on Quora.
January 28, 2023
Aryaa gives the reader a soulful journey through the glorious past of India through a feminine eye. It is refreshing to read these stories of women protagonists, some of them forgotten, some of them misunderstood and the rest, wilfully misrepresented in other adaptations.
The ten writers have put their heart and soul into researching the source texts and also craft a page turning story about the ancient heroine of their choice. Each story is unique in style but all are united in spirit. And that is how various women of ancient India were! The curator Shivakumar GV has done the tight ropewalk between both in an admirable fashion.
I dont want to pick and show what my favourite story here is because each story here, be it Uloopi, Chitrangada or Subhadra (This trio mamaged to give a 360 degree view of Arjuna and somehow stand out in my view) Madhavi or Shakuntala, Damayanti or Satyavati, Gargi or Maitreyi, each of them have something special to enrich the reader's persoective. Read the book and make others read it.
The ten writers have put their heart and soul into researching the source texts and also craft a page turning story about the ancient heroine of their choice. Each story is unique in style but all are united in spirit. And that is how various women of ancient India were! The curator Shivakumar GV has done the tight ropewalk between both in an admirable fashion.
I dont want to pick and show what my favourite story here is because each story here, be it Uloopi, Chitrangada or Subhadra (This trio mamaged to give a 360 degree view of Arjuna and somehow stand out in my view) Madhavi or Shakuntala, Damayanti or Satyavati, Gargi or Maitreyi, each of them have something special to enrich the reader's persoective. Read the book and make others read it.
May 7, 2023
I went into this book with a lot of expectations as it promised to focus our historical women figures. The index had some known, lesser known & a completely new name for me. Unfortunately the book did not live up to my expectations.
The stories of Subhadra & Madhavi really stood out for me. I loved the author's portrayal of Subhadra where she showed her strength by not sending her to fight wars or have the last word in an argument. Subhadra here is the one who stays back, who chooses to let her husband go & shoulder his responsibilities in his absence, who loses almost every relation in life but stands strong for those who are still alive. She is an admirable woman! Madhavi's chapter was equally good. I loved the author's way of telling Madhavi's story by combining the past & present & adding a little bit of mystic to the mix. Her explanations of the various doubts we have even today regarding various things in Hinduism were very convincing. Without bringing up science in every other sentence the author instead focused on explaining Bharatiya things with a Bharatiya POV. These two chapters were exceptionally good & I would give both of them a 5 star rating for sure.
The rest of chapters were average with some being just a retelling of the Mahabharata in simpler words (like Satyawati's chapter). It felt like an opportunity squandered when there is so much scope to explore about her. Ulupi's chapter was good but the way the poems kept popping up got extremely annoying.
The most boring chapter for me was of Gargi. It was just too very philosophical for an anthology. I skipped the half of it & was dreading Maitreyi for the same reason but fortunately her chapter was a much more interesting read.
Shandilyaduita was unusual in her life as well as in the way the author chose to represent her through a poem. The poem here was much better than the Ulupi chapter & the whole story was completely new for me & I enjoyed reading about her.
Overall an OK read with a few exceptionally great chapters.
The stories of Subhadra & Madhavi really stood out for me. I loved the author's portrayal of Subhadra where she showed her strength by not sending her to fight wars or have the last word in an argument. Subhadra here is the one who stays back, who chooses to let her husband go & shoulder his responsibilities in his absence, who loses almost every relation in life but stands strong for those who are still alive. She is an admirable woman! Madhavi's chapter was equally good. I loved the author's way of telling Madhavi's story by combining the past & present & adding a little bit of mystic to the mix. Her explanations of the various doubts we have even today regarding various things in Hinduism were very convincing. Without bringing up science in every other sentence the author instead focused on explaining Bharatiya things with a Bharatiya POV. These two chapters were exceptionally good & I would give both of them a 5 star rating for sure.
The rest of chapters were average with some being just a retelling of the Mahabharata in simpler words (like Satyawati's chapter). It felt like an opportunity squandered when there is so much scope to explore about her. Ulupi's chapter was good but the way the poems kept popping up got extremely annoying.
The most boring chapter for me was of Gargi. It was just too very philosophical for an anthology. I skipped the half of it & was dreading Maitreyi for the same reason but fortunately her chapter was a much more interesting read.
Shandilyaduita was unusual in her life as well as in the way the author chose to represent her through a poem. The poem here was much better than the Ulupi chapter & the whole story was completely new for me & I enjoyed reading about her.
Overall an OK read with a few exceptionally great chapters.
April 13, 2023
👉The Crux:-
🔸 Aryaa is a collection of ten different stories from ten different authors from ancient Indian history about Vedic women. This anthology consists of stories about Chitrangada, Damayanti, Shakuntala, Subhadra, Madhavi, ulupi, Satyavati and a few more. Each story is unique, strong and well-shaped.
🔸 Chitrangada - who decided to stay back in her kingdom to rule her father's kingdom without going with her husband.
🔹 Damayanti - who struggled when she was separated from her husband.
🔸 Satyavati - one of the bold women from our epic, who made sure her husband's Empire didn't end without an heir after his death.
🔹 Likewise every story has its uniqueness and teaches us something. Thanks for sharing this mind-blowing epic read with us @indica
👉My two cents:-
🔸The language is simple and lucid. The narration is just perfect. All the authors explained beautifully about every story. This seems like a very big read with a whole lot of stories but once you start reading it you will get immersed and it turns out to be a page-turner. I loved the way all the stories have been elaborated in a different style which didn't spoil and kept the essence of the anthology.
🔹I am a big fan of the ancient epic Mahabharata and many stories are about the characters who were involved in that which gives me an amazing experience to read about them. And trust me this is a perfect read for everyone who wants to know more about the great epic and its stories which we never heard before. So why are you waiting? go grab your copy of this masterpiece anthology of ten different stories.
🔸 Aryaa is a collection of ten different stories from ten different authors from ancient Indian history about Vedic women. This anthology consists of stories about Chitrangada, Damayanti, Shakuntala, Subhadra, Madhavi, ulupi, Satyavati and a few more. Each story is unique, strong and well-shaped.
🔸 Chitrangada - who decided to stay back in her kingdom to rule her father's kingdom without going with her husband.
🔹 Damayanti - who struggled when she was separated from her husband.
🔸 Satyavati - one of the bold women from our epic, who made sure her husband's Empire didn't end without an heir after his death.
🔹 Likewise every story has its uniqueness and teaches us something. Thanks for sharing this mind-blowing epic read with us @indica
👉My two cents:-
🔸The language is simple and lucid. The narration is just perfect. All the authors explained beautifully about every story. This seems like a very big read with a whole lot of stories but once you start reading it you will get immersed and it turns out to be a page-turner. I loved the way all the stories have been elaborated in a different style which didn't spoil and kept the essence of the anthology.
🔹I am a big fan of the ancient epic Mahabharata and many stories are about the characters who were involved in that which gives me an amazing experience to read about them. And trust me this is a perfect read for everyone who wants to know more about the great epic and its stories which we never heard before. So why are you waiting? go grab your copy of this masterpiece anthology of ten different stories.
April 15, 2023
It truly is a must-read for anyone with a thirst for good literature. Rarely have I come across so-well compiled a collection of short stories from such passionate authors. Despite the fact that this present decade has been one in which many talented authors from various parts of the world have undertaken the task of giving voice to the great women of our mahakavyas, this book shall always remain my favorite of the lot. While the theme is one that has always captivated me, I was initially skeptic about how far such an anthology of stories would do justice to the unspoken history of our heroines. The book however totally bowled me over and I am proud of this masterpiece I now have with me.
Every one of the stories reflects how a lady struggles to combat not only the circumstances challenging her but also her fight with her inner self , the journey of becoming the mistress of not just her own situation but also the strategy she adopts in being a source of strength to every person around her.
The stories also address many of the problems plaguing the modern world today with these intelligent heroines of our history acting as the voices of sanity. The dignity and confidence with which their actions and words actually solve so many relatable questions in today's times is extraordinary. Every one of the stories was a masterpiece in its own right and I truly have a hard time in picking a favorite. All I will say is that the authors truly have the blessings of Ma Adi Shakti and I shall hope and pray that She keeps guiding them in their journey of bringing such legends to life.
Every one of the stories reflects how a lady struggles to combat not only the circumstances challenging her but also her fight with her inner self , the journey of becoming the mistress of not just her own situation but also the strategy she adopts in being a source of strength to every person around her.
The stories also address many of the problems plaguing the modern world today with these intelligent heroines of our history acting as the voices of sanity. The dignity and confidence with which their actions and words actually solve so many relatable questions in today's times is extraordinary. Every one of the stories was a masterpiece in its own right and I truly have a hard time in picking a favorite. All I will say is that the authors truly have the blessings of Ma Adi Shakti and I shall hope and pray that She keeps guiding them in their journey of bringing such legends to life.
April 3, 2023
I thoroughly enjoyed the collection of stories of ten Vedic women. I particularly enjoyed Damayanti by Manjula Tekal, Madhavi by Mdhureima Devii Vasi and Gargi by Celia Pillai. Ranjith Radhakrishnan’s Shandilyaduhita was a good attempt at prose. I am not sure of the structure of using four and eight lines but the effect is good. The rhythm is not forced. In all the stories, the authors have used their imagination to bring some flavour to the original. It makes the reading interesting. Most readers would not know the original hence the story telling, each in its own way, is enjoyable. Women characters like Ulupi, Gargi and Maitreyi are particularly enjoyable as not much is written about them unlike Satyavati, Chitrangada and Shakuntala. That does not make these three stories boring. The authors have ensured that the reader remains engaged. The end notes like ‘what happened later’, or ‘about so and so’, add to completing the narrative.
It is a compilation wherein the reader can pick up any story and read.
It is a compilation wherein the reader can pick up any story and read.
April 17, 2023
Having always harbored deep interest in the great Mahakavyas of our country and its innumerable characters, this rare chance to explore the journeys of some of the most iron-willed ladies in our history was truly a gift from above. I sincerely wanted to do justice to this reading and true to the preface provided helpfully by the curator Shivakumar G.V , each of the stories beautifully highlights how these characters and their unique actions have made them inspiring to men and women alike.
The extraordinary maturity with which they have dealt with the perils that destiny has pushed in their way while taking control of the situation with unwavering confidence has been brought to life in the pages of this beautiful book. Rarely have I come across such an anthology of stories where each contribution has been so consistent. A very engaging read, overall and I recommend it to anybody who has a thirst for good books.
The extraordinary maturity with which they have dealt with the perils that destiny has pushed in their way while taking control of the situation with unwavering confidence has been brought to life in the pages of this beautiful book. Rarely have I come across such an anthology of stories where each contribution has been so consistent. A very engaging read, overall and I recommend it to anybody who has a thirst for good books.
February 18, 2023
This book is a great compilation of ancient stories of women from Vedic times combined with a modern spin to story writing. It is a perfect combination to entertain and educate readers of short stories. I found some of the stories really fascinating - stories of Shakuntala, Satyavati, and Ulupi stood out for me as exceptional stories. The story telling style of Madhavi story too is innovative and engaging.
The authors did a great job of weaving interesting stories while maintaining fidelity to the original Vedic stories. The stories wonderfully highlighted different aspects and multiple dimensions of strong Indian women from ancient past.
I recommend this book to those who are interested in learning about ancient stories of bharatiya women in a fun and engaging way.
The authors did a great job of weaving interesting stories while maintaining fidelity to the original Vedic stories. The stories wonderfully highlighted different aspects and multiple dimensions of strong Indian women from ancient past.
I recommend this book to those who are interested in learning about ancient stories of bharatiya women in a fun and engaging way.
November 17, 2023
This book provides an insight ïnto depth of mahabharata .The curator has compiled the anthology with the epics gravitas in mind..GARGI AND MAITREYI àre two stories that will appealt o a reader with a philosophical bent of mind. Subadhra is both heart wrenching and đepicts her strength and sense of duty .Chitrangadha is ànother fine example of țhè grit and depth of a mahabhartian woman. A must read for both women and men who wish to indulge in a fine book.
September 4, 2023
My favorite stories are of Madhavi’s and Shandilyaduhita’s. Such unique and soul-stirring stories of their lives!
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