Monologues of Mahalakshmi by Nihar Satpathy
Reviewed by
Dr. Prakash Chandra Pradhan
Professor
Department of English
Banaras Hindu University
Uttar Pradesh, India
Monologues of Mahalakshmi | Novella | Nihar Satpathy |
Bird Nest,
2020, pp. 88, INR 150
ISBN: 978-93-88824-92-7
Monologues of
Mahalakshmi by Nihar Satpathy is an original attempt by
the author to revisit the narrative of Lakshmi
Puran written by Sri Balaram Das in the 15th century. Sri
Satpathy has presented the narrative in
a new style and technique though he has retained the values aimed at
inculcating them among the Odias. He has brought out the dilemma of
Mahalakshmi who reflects on the two
evils of the society, namely negligence of women and caste discriminations. The
monologic structure of narrative apparently seems to be based on Lakshmi
narrating her story. However, the narrative invites the readers to participate
and interact with her. The dominant voice of Lakshmi is to raise an awareness
among the Odias, both men and women.
They must understand the situation of a woman in Odia culture and
society because women are often relegated to the back door and treated as
inferior in status rather than being considered as equal which is their rightful
claim. Sri Satpathy has actually emphasised this aspect in his narrative
although he has nowhere presented Lakshmi violating the norms of a true Odia
woman who always maintains her sanctity for establishing an order in the
family. The author is conscious of this important typical cultural trait in his
narrative.
The book begins with Mahalakshmi narrating her story of
returning home after a quarrel with her husband, Lord Jagannath. The narration
draws a parallel between what happened to women hundreds of years ago, and what
is their situation in the contemporary society in the 21st century. Mahalakshmi
does not believe in feminist ideas which might disturb the peaceful
tranquillity of an Odia society. Of course, she does not appreciate certain
patriarchal ideologies and norms which are irrelevant and irrational. These are
therefore irrelevant and they have no standing to continue any more in our
culture. Women need more space of their own individuality and justified freedom
for their existence and identity. Further, she believes in a social order where
both men and women should have to live together for a better and healthier
society. Sri Satpathy’s Mahalakshmi in Monologues
of Mahalakshmi is more human and less godly. Mahalakshmi seeks permission
of her husband for an outing on her day of worship, the first Thursday of Margashir. While seeking her permission,
she was doubtful if her husband had fully agreed and permitted her to move
around the city to have an interaction with her devotees. That is because Lord
Jagannath asked Lakshmi to see that her visit to her devotees did not affect
cooking and other domestic chores in the temple that day. This is how a woman
does not have a space of her own, and even a free time to her own fulfilment
and desires. The authorial voice is critical of the patriarchal mind-set of the
society: “Lakshmi, you should remain within the boundaries of the town when you
go out. And before leaving, you should also ensure that the cooking for the day
is finished in the temple” (p 13). Satpathy’s Lakshmi, like Balaram Das’s, also
attires herself best in good clothes and beautiful ornaments. That is the case
with most of the women to make up when they go out. Mahalakshmi walked in the
streets to see how her devotees prepared themselves for the occasion of her
worship that Thursday. She was much impressed with the Alpana decorated on the floors in the doorsteps of her devotees to
welcome her on that fateful day of Margashir.
Though Balaram Das has not made any divisions in his
narrative poem, Satpathy has however presented the story of Mahalakshmi in a
new style in his Monologues. He has
adopted an alternate mode of narration dividing the book into ten chapters. The
second chapter in the book therefore has been presented in third person narrative
technique where Mahalakshmi tells us the story of the two brothers, their
sufferings and miseries after her departure from the Temple soon after her
quarrel with her husband. This chapter is reflective, and here Lakshmi tells
the story from her memory and perspective. Narration from memory is an
important technique to arrest the attention of the readers to certain important
issues the authorial voice emphasises. As is the case in ‘Introductory’
chapter, so also in chapter 3, Lakshmi tells her own story in the first person
narrative style. In the long chapter 3, Lakshmi explains the detailed
procedures of her Puja to Sadhavani, the trader’s wife, one of her devotees who
has been much more anxious to know about it. She has also advised the trader’s
wife to follow a lot of dos and don’ts in her life. Chapter 4, written in the 3rd
person narrative, deals with the untold sufferings of the two brothers, Lord
Jagannath and Lord Bhalabhadra, when they were roaming the streets as beggars.
In chapter 5, Lakshmi’s interaction with her favourite devotee Sriya, an
untouchable woman, is very interesting. Impressed with the sincere devotion of
Sriya, Goddess Lakshmi grants her boons, and then comes back to the Temple in a
hurry to look after the domestic chores. This chapter elucidates Mahalakshmi’s
kindness and concerns towards the downtrodden people and untouchables. Goddess
Lakshmi has no discriminations. She loves Sriya because of her simplicity and
sincerity in keeping the house clean, and worships her with a deep sense of
devotion. However, her love for the untouchable Sriya has a turning point in
the story. Soon after her return, there has been a serious quarrel between Lord
Jagannath and Mahalakshmi because of his elder brother’s objections to
Lakshmi’s love for the untouchable Sriya and her visit to the houses of
downtrodden and untouchable people in the city. The quarrel pertinently brings
out the dominance of patriarchal culture in exploiting women and the
downtrodden people in the hierarchy of the society.
Sri Satpathy’s book contains a foreword, an introductory
chapter, “Fast-forward” (5 chapters) and “Rewind” (4 chapters). Through this structural arrangement, Sri
Satpathy perhaps wants to achieve certain objectives that make the book
different from Balaram Das’s book.
Chapters 1, 3,5, 9 (Fast-forward) and introductory chapter constitute
the part of the story Lakshmi narrates from her perspective; and chapters
2,4,6,8 and 10 (Rewind chapters), which are alternately written to the odd
numbered chapters in the structure of the book, are described by Lakshmi in
reference to what happened to the two brothers, Lord Jagannath and Balabhadra
after her departure from the temple soon after the classic feud between her and
her husband on that fateful day. So the “Fast- forward” chapters focus on the
miseries, sufferings and realizations of the two brothers, and the “Rewind”
chapters are more reflective in nature, and focus on the centrality of Lakshmi
and her arguments, viewpoints and importance. These chapters also critically
examine male chauvinism, patriarchal ideologies as well as the beautiful
relationship between husband and wife in Odia culture. Moreover, the entire
book is a critique of the Odia society, both good and bad aspects of the
culture, the joys and pleasures of Odia family life.
Mahalakshmi had never thought of deserting her Lord
though she wanted the brothers to realise her necessity and importance in their
life. Like all women, she was angry because she was emotionally hurt. As such
she took the help of a number of deities and gods entrusted with specific
powers such as Saraswati, Vishwakarma, Agni, Sun god, Astabetalas and so on to
fulfil her mission of bringing the two brothers to the knees so that they could
understand the significance of a woman like Lakshmi in their lives. She also
wanted the brothers to realise how there should not be any discrimination
between castes in the society. Achieving these fits when the two brothers
realised their mistakes, Mahalakshmi returned to her “private sanctum at the
corner of the temple compound, while the two lords took their places at the
sanctum sanctorum of the grand temple” (p 88). Satpathy’s Lakshmi finally
pleads that her diplomacy/action has no mala fide intention, and also it should
not be construed as “a vindication of feminism” (p 88). That is because she respected the male folk,
her “consort Lord Jagannath being the foremost among them” (p 88). Despite the
fact that Lakshmi indulged in a lot of gimmicks in her war against the wrong
ideologies in patriarchy, her ultimate goal is not to harm her Lord. This
cultural ethos is prevalent in Odia culture even today. Of course, in the
circumstances there have been certain changes in Odia society. However, basic
tenets of Odia culture - the depth of relationship between husband and wife and
a peaceful coexistence of all castes without demeaning the lower castes – are
still continuing.
Sri Satpathy’s Monologues
of Mahalakshmi is an important book in this perspective though the
narrative of Lakshmi has been delineated in a different mode and style. The
distinctive way of presenting the narrative in the alternate mode of
“Fast-Forward” and “Rewind” is definitely refreshing, and adds more flavour to
Balaram Das’s culturally enriched book, Lakshmi
Puran. Monologuesof Mahalakshmi
does not contradict the former book by Balaram Das in its effort to bring an
order in the society in the context of values and culture of Odia family. Both
the books are complimentary to each other.
Sri Satpathy’s book presenting the narrative in a new mode adds to the
values portrayed in the original, and the book itself also explores certain new
ideas and vision. The book thus contributes much by providing pleasure and
enlightenment. It is quite engaging, and gives us a pleasant reading experience.
The colloquial simple style is not an obstruction to present the powerful
thoughts Sri Satpathy tries to focus on. His mastery of English language is
commendable. Often his style attains poetic flavour with a high degree of
poetic sensibility. It is an oversight
on the part of Sri Satpathy to commit two typographical errors on pages 25 and
29. Inadvertently he has written Jagannath Das which should have been Balaram
Das. The book is a sincere effort to
refresh the story of Mahalakshmi to bring in certain contemporary flavour for
drawing our attention to the key issues of our culture and society. It does not
dilute the spirit of the original story. It however enriches it in a
significant way because of the issues already discussed in this review.