Manjari Shukla

Kindly spend some valuable moments on this write-up and give your valuable comments.

Often it is said, that Women are the potential sources of quarrel or war or any other dispute…which in my opinion is nothing but the defeated voice of a male-dominated society, who never realise that quarrels, wars, and disputes are caused not by women but ego clashes.

It is said that Sita was responsible for the disputes in Ayodhya which were recorded in Ramayana, it is said that Draupadi was responsible for Mahabharata. My point of view here is, who has written this that they were responsible, a MALE who always wanted to unleash the POWER OF MALE-DOMINATED SOCIETY, irrespective of the actual facts.

If Sita would have been guilty of any misconduct, she would have never passed the AGNIPARIKSHA, which Lord Rama asked her to undergo, she was proved to be innocent and PATIVRATA, but was Lord Rama ever questioned about his behaviour or conduct?.....…NO, because he was a Male and so, do all of you think that Being a Male is itself a virtue? In my opinion it is not at all a virtue, but a power-game, in which since time immemorial males have been privileged.

Coming to Draupadi, if in a sense of joke, she said to Duryodhan that …..“ANDHE KA BETA ANDHA”, does this gives DHARAMRAAJ YUDHISTHIR the right to lose his wife as an object in Gambling, thereby giving permission to do CHIR-HARAN with her. In my opinion NO, a joke can be answered with a joke, not with IMMORALITY,which the Kauravas did. Here also, if Draupadi would have been wrong, Lord Krishna would never have come to rescue her.



Indian Culture and Mythology is the only one, which exercises the concept of ARDHNARIESHWAR, that is equal distribution of anything to male and female, but since time immemorial, the male spirit have dominated the female spirit, thinking it to be feeble.

You must be thinking, if this condition is prevailing from long time, why not women reacted against it….then let me tell you that until and unless you get authority how can you express anything…to some extent we can say EMERGENCE OF FEMINISM was a response to the age-old atrocities, but very soon it started losing grounds, do you know why? Because if it would have been in POWER totally, it would have converted the Male-Dominated society into dust.

When a writer writes, until and unless she/he gets authority or recognition she/he is not known….to anyone…….if RAMAYANA, MAHABHARATA or any other Scripture would have been written by women, might be, the way the world is viewed today would have been different………but males never allowed females to study, there were very few female stalwarts and intellectuals in Ancient Times, but nothing much is known about them. Do you know why? Because the Male-Principle never gave a chance for the arousal of Female-Principle. If one can assume, why women never reacted to atrocities, why can’t they assume that may be some females have written scriptures equivalent to RAMAYANA & MAHABHARATA, but since Male-dominated society gave no heed to it, they were lost in oblivion?

The argument can go on……but at the end even though FEMALE-PRINCIPLE will be victorious…….it will be said that MALE-PRINCIPLE Won.

I must clarify that I am NOT AGAINST MALE or MALE-PRINCIPLE, I believe in the Concept of “ARDHNARIESHWAR”, equal rights, respect and recognition should be provided to females, because in no way they are feeble to males.

It is said “POWER CORRUPTS AND ABSOLUTE POWER CORRUPTS ABSOLUTELY”, it is this power given to the males, that have corrupted their whole male-point of view. If they will realise that women are capable like them, no clashes will be there.

Hope They Realise This Soon………

Manjari Shukla



GOOD LUCK.......
Manjari Shukla

My purpose in this paper is to discuss the use of myth & mythological narratives in Shashi Tharoor’s THE GREAT INDIAN NOVEL that synchronises the epic narratives of the Mahabharata & the twentieth century political history of India. It covers the period of Indian history from the advent of Gandhi as an undisputed leader of freedom struggle to the emergency rule of Indira Gandhi.

Shashi Tharoor’s THE GREAT INDIAN NOVEL (1989) has been inspired by a sense of urgency and outrage on account of general erosion of values and norms in the post-partition Indian poility. The author seems to have been most upset by the darkest period in the history of free India, i.e. the Emergency promulgated in 1975, and conceptualizes that experience into an existential riddle to be solved through the understanding of a parallel happening in the in the remote Indian past.

Shashi Tharoor carves out a niche for himself through the replacement of a peace meal convenient, multi-form structure of fantasy by an elaborate & integrated corpus of myth, undoubtedly Tharoor schematically revives a vital chord in the common consciousness, & anticipates the direction of events with respect to that. It is this reawakening of this common consciousness that is significant in the entire construct of his craft, because of which Tharoor’s history becomes a transcendental vision of the past and an added facility to the understanding of the past by capitalizing on in an inherent culture resources. It is within the ambit of this consciousness that the novelist uses myth. Tharoor does not scan history intuitively but enlightened with available cultural motif. Even if man evolves, he retains the features of identity reflected in the cultural mooring of the past. Tharoor tries to come to terms with his present retrospectively. The Indian mythology in its stupendous diversity provides many motives to correlate various aspects of human life. The Mahabharata is a unitary national myth that perceives human life in totality & supplies for Tharoor’s novel. The most appropriate allegorical background to project the contemporary Indian situation. He uses the mythical setting of the Mahabharata to foreground the eternal present that is the continuance of the historical process from India’s remote past to the present. It corresponds to reality only obliquely, howsoever deliberate the desire to question the present may be, Tharoor says that the official histories of nation are no better than hagiographies and suggests that the vision of an individual recollected from memory can also participate in and contribute to the making of national history.


Manjari Shukla

What are we here for?

Have you ever pondered over the fact what are we here for? Why god has chosen us to be a part of the modern world? The modern man is so busy in the rat race of modern life that he hardly gets time to think over the questions which I have raised at the beginning of the post.

What I feel is that surely we are here to complete some grave purpose of God. Our existence is surely a meaningful decision of god…it is completely up to us how we make our life meaningful & worthwhile…

I consider that man should take his life to be a canvas…it is needed that on the canvas of life with the choicest colours…one should paint a unique picture…one that is outstanding, out worldly…this painting should be made in such a way that it should reflect the unique identity of the painter…the painting should be the return gift to God as well as to one’s parents who have made the existence of the person possible…

Make your life such a canvas that the painting which you draw on it, by taking the colours from life, prove to be a unique blend of innocence as well as wisdom.