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  1. Aug 2024
    1. The text's use of masculine language and imagery reinforces the dominant masculine ideology, perpetuating the notion that men are the primary actors in society. This is evident in the portrayal of King Arthur and other male characters, who embody traditional masculine qualities like strength, courage, and leadership.

      The text's linguistic value also reveals the limited roles assigned to women in medieval society. Female characters are often depicted using feminine language and imagery, emphasizing their domesticity, maternal instincts, and subordination to men. This reinforces the notion that women are secondary to men and lack agency in society. The linguistic value of "Le Morte d'Arthur" highlights the cultural and political context of the time, including the emphasis on male heroism and the subordination of women, providing a nuanced understanding of the patriarchal norms that shaped medieval society. CC Jamie Santos

    2. Somethings clear and that is that Arthur is portrayed as the epitome of masculinity, embodying traditional masculine qualities like strength, courage, and leadership. These traits are highly valued in the text and are seen as essential for a hero.

      In contrast, female characters like Guinevere and Morgan le Fay are relegated to traditional feminine roles, emphasizing maternal instincts and domesticity. They are depicted as passive and submissive, with their actions and decisions largely influenced by the men in their lives. This reinforces the notion that women are secondary to men and lack the strength and courage required for heroism.

      The portrayal of gender in "Le Morte d'Arthur" reflects the patriarchal norms of medieval society, where men held positions of power and authority. The text perpetuates the idea that masculinity is associated with power, strength, and heroism, while femininity is associated with passivity, nurturing, and subordination. This highlights the importance of considering the cultural and historical context in which the text was written, and how it shapes the representation of gender roles and definitions. CC Jamie Santos

    3. It definitely notable differences in the portrayal of gender roles and definitions. The original 15th-century text depicts female characters, such as Guinevere and Morgan le Fay, as passive and submissive, conforming to the traditional feminine norms of the time. In contrast, the 19th-century translation presents these same characters with more agency and autonomy, reflecting the shifting attitudes towards gender roles and definitions during the Victorian era.

      This comparative analysis highlights the evolving nature of gender roles and definitions over time. The changes in the portrayal of female characters between the two versions demonstrate a gradual move away from the patriarchal norms of the Middle Ages and towards a more nuanced understanding of women's roles in society. This shift underscores the impact of cultural and historical context on the representation of gender in literature, and the importance of considering these factors when interpreting texts. CC Jamie Santos

    1. Also, the idea of gender is deeply tied to the construction of the HERO, Beowulf, as a masculine ideal. Beowulf embodies traditional masculine qualities like strength, courage, and leadership, which are highly valued in the text. He is the epitome of masculinity, and his actions and behaviors are held up as a model for others to follow. This reinforces the notion that masculinity is associated with power, strength, and heroism.

      In contrast, female characters like Wealhtheow and Grendel's mother are relegated to traditional feminine roles, emphasizing maternal instincts and domesticity. They are largely marginalized and lack agency, with their actions and behaviors being dictated by their relationships with men. This reinforces the notion that femininity is associated with passivity, nurturing, and subordination. The text's portrayal of gender roles and definitions perpetuates a binary understanding of gender, reinforcing harmful stereotypes and biases that have had a lasting impact on Western literature and culture. CC Jamie Santos

    2. This was patriarcharls time. And it shows. in the use of masculine language and imagery, which reinforces the dominant masculine ideology and perpetuates the notion of male superiority. The text's linguistic value is, therefore, deeply rooted in the patriarchal norms of Anglo-Saxon society.

      The portrayal of female characters in Beowulf also reflects the limited roles assigned to women in Anglo-Saxon society. Women are largely relegated to the background, with few speaking lines and limited agency. This reinforces the notion that women are secondary to men and lack the strength and courage required for heroism. The linguistic value of the text highlights the cultural and political context of the time, including the emphasis on male heroism and the subordination of women.

      The patriarchal mindset that underpins Beowulf has had a lasting impact on Western literature and culture. The text's linguistic value perpetuates the notion of male superiority, reinforcing harmful gender stereotypes and biases. A critical analysis of the text must, therefore, take into account the patriarchal mindset that shaped its translation and interpretation, and consider the ways in which it reflects and reinforces the cultural and political context of the time. CC Jamie Santos

    1. Æschylus was born about the year 525 B. C. at Eleusis, near Athens, a village celebrated for the secret rites of Demeter there performed,—those Eleusinian mysteries which are among the most remarkable institutions that the world has seen. The great goddess of Eleusis, Demeter, or Mother Earth, was one of the most august of the divinities of Greece. She represented the earth in its power and its kindliness; in the conception formed of her, the earth's venerable age and greatness, and the mysterious influence by which she quickens seed and nourishes life, were combined with the genial fertility and rich healthy fruitfulness of the soil; and so was made up the notion of a goddess, awful from her power, but a kind mother still to men. Eleusis was one of the chief seats of her worship, and thence originated a sort of sacred freemasonry, which was widely spread among the different tribes of Greece. For there were certain secret doctrines which only the initiated might learn, and rites at which only the initiated might assist; and these rites and doctrines, whatever they were, were no formal or trifling thing, but furnished a creed and an interest which raised the initiated, in some degree, to a higher level than his fellow-men. We have no means of guessing what it was that was taught in them. It has been supposed that some vestiges of the true faith, ideas of the unity of God and the immortality of the soul, were kept alive and handed down by these mysteries: however that may be, they were regarded as peculiarly holy, and the place on which the shadow of their solemnity fell could not fail to suggest grand thoughts to a powerful and imaginative mind. It can hardly be merely fanciful to ascribe, in some degree at least, to this influence the delight which Æschylus shows, throughout his extant works, in all that is mysterious and awful, as well as his preference for the more dimly known and ancient of the gods. A boyhood passed in longing to know the meaning of the crowds that constantly were coming to his native village, and of the long processions which sometimes passed through its fields; in wondering at the awestruck look of the men who came out from the sacred place, or in guessing the import of the dim allusions which he heard from time to time;—a boyhood so passed must surely give a solemnity and earnestness to the whole nature of the man. And certainly Æschylus, if we may believe his biographers, was from an early age haunted by solemn imaginations, and by a consciousness of the presence of the gods. It is said that he told this story of himself. Once, when quite a child, he was left in a vineyard to guard or watch the grapes, and, tired with the sun, he lay down and slept; and he saw coming through the rows of vines the flushed face of Bacchus, merry, yet terrible; and Bacchus bade him give himself henceforth to the tragic art. On this anecdote we cannot place much reliance—it sounds like a later fabrication; but we may well believe that a "fine frenzy" was early seen in the eyes of Æschylus, and that his character was early marked by a fiery earnestness and pride.

      Its interesting how it reveals significant differences in gender roles and definitions. Aeschylus' works, like "The Persians", reinforce traditional patriarchal norms, portraying male heroes who embody masculine qualities like courage and leadership, while female characters are relegated to traditional feminine roles. In contrast, Sophocles' "Antigone" challenges these norms by introducing a strong and defiant female protagonist who rejects traditional feminine roles and expectations.

      The comparative aspect highlights the diversity of gender representations in ancient Greek literature. While Aeschylus' works perpetuate patriarchal norms, Sophocles' "Antigone" offers a more nuanced and complex portrayal of gender roles. Antigone's character, in particular, subverts traditional feminine norms, demonstrating courage, determination, and leadership. This comparison underscores the importance of considering multiple perspectives and challenging dominant narratives, even in ancient texts, to gain a deeper understanding of gender roles and definitions. CC Jamie Santos

    2. To us Æschylus is a poet, and a poet he has been to all ages since his own; but to himself he was a soldier, so that when he was to write an epitaph for himself, the one fact which he wished inscribed upon his tomb was this—that the long-haired Persians knew how he could fight. To the men of his own age he was both soldier and poet, and from their stand-point we must try to regard him.

      I just noticed that the concept of gender is intricately linked to the construct of the HERO. The male heroes, such as Xerxes and Darius, are portrayed as embodying traditional masculine qualities like courage, strength, and leadership. These traits are highly valued in the context of the play, and are seen as essential for a hero.

      In contrast, female characters like Atossa are relegated to traditional feminine roles, emphasizing maternal instincts and domesticity. This reinforces the notion that women are primarily caregivers and nurturers, rather than leaders or heroes. The gender roles and definitions presented in the play reflect the patriarchal norms of ancient Greek society, where men held positions of power and authority.

      The portrayal of male and female characters in "The Persians" highlights the societal expectations of gender roles during that time. Men were expected to be strong, brave, and assertive, while women were expected to be submissive, nurturing, and domestic. These expectations are reinforced through the characters and their actions, perpetuating the gender norms of the time.

      The gender roles and definitions presented in Aeschylus' works have had a lasting impact on Western literature and culture. The heroic ideals embodied by male characters like Xerxes and Darius have influenced the development of Western heroism, while the limited roles assigned to female characters like Atossa have contributed to ongoing gender stereotypes and biases. CC Jamie Santos

    3. CHAPTER II. THE SOLDIER-POET

      It is clear that influenced by the patriarchal mindset of the time. This is evident in the use of masculine language and imagery, which reinforces the dominant masculine ideology. The text's linguistic value is, therefore, deeply rooted in the patriarchal norms of ancient Greek society.

      The patriarchal mindset has also shaped the representation of gender roles and definitions in the text. For instance, the Athenian democracy's emphasis on male citizenship has led to a focus on male characters and their experiences, while female characters are relegated to the background. This reinforces the notion that men are the primary actors in society, while women are secondary.

      Furthermore, the linguistic value of Aeschylus' works has been shaped by the cultural and political context of the time. The use of language, imagery, and metaphor all reflect the patriarchal norms and values of ancient Greek society. Therefore, a critical analysis of the text must take into account the linguistic value and patriarchal mindset that underpin the translation and interpretation of Aeschylus' works. CC Jamie Santos

    1. What is this story? Sita is a goddess/princess/woman utterly devoted to her husband Rama, the god/prince/man. Sita’s story moves from total enmeshment and romantic joy (Here We Are, What Wouldn’t I Do For That Man) to hopeful longing separation (Daddy Won’t You Please Come Home) to reunion (Who’s That Knockin’ At My Door) to romantic rejection (Mean to Me) to reconciliation (If You Want the Rainbow) to further rejection (Moanin’ Low, Am I Blue) to hopeless longing (Lover Come Back to Me,) back to love – this time self-love (I’ve Got a Feelin’ I’m Fallin’). Sita’s role is to suffer, especially through loving a man who rejects her. Women especially connect emotionally to her story and these emotions are clearly expressed in songs. As Nabaneeta Dev Sen writes in “Lady sings the Blues: When Women retell the Ramayana”:

      It provides a unique lens through which to view the ancient Indian text of the Ramayana. This cultural context allows Paley to approach the narrative with a fresh perspective, unencumbered by traditional interpretations and expectations.

      Paley's contemporary Western context also highlights the universality of gender politics and relationships, demonstrating that the themes and emotions expressed in the Ramayana are still relevant today. By transposing the ancient epic into a modern Western setting, Paley reveals the timelessness of its messages and emotions, making it accessible to a broad audience.

      At the same time, Paley's work reflects the cultural and political context of the time in which it was created. The film's feminist perspective and critique of patriarchal values, for example, reflect the cultural and political debates of the contemporary Western world. By engaging with these issues, Paley's work demonstrates the ongoing relevance of the Ramayana to contemporary society.

      Through its cultural context, Paley's work offers a nuanced exploration of the complex and dynamic nature of cultural exchange and interpretation. By bringing together ancient Indian and contemporary Western perspectives, Paley's work creates a rich and multifaceted narrative that challenges traditional boundaries and expectations, offering a fresh and innovative take on an ancient text. CC Jamie Santos

    2. One of the major stories surrounding Sita Sings The Blues been your use of songs by musician Annette Hanshaw and the back-and-forth dialogue you have had with the copyright owners as a result. Can you explain why you used these songs? The songs themselves inspired the film. There would be no film without those songs. Until I heard them, the Ramayana was just another ancient Indian epic to me. I was feebly connecting this ancient epic to my own experiences in 2002.

      It reveals a striking contrast in Sita's character development and the portrayal of patriarchal values. Traditional versions often depict Sita as a passive, obedient, and submissive character, whereas Paley's work reimagines her as a strong, independent, and assertive individual. This comparative aspect highlights the significance of Sita's character development and the subversion of patriarchal values in Paley's work, demonstrating the evolution of gender roles and definitions over time.

      The comparative aspect also underscores the impact of cultural and historical context on the representation of gender roles and patriarchal values. Traditional versions of the Ramayana reflect the patriarchal norms of ancient Indian society, whereas Paley's work reflects contemporary feminist perspectives and values. By comparing these different versions, we can see how gender roles and definitions have changed over time, and how art can reflect and shape societal attitudes towards gender. This comparative analysis offers a nuanced understanding of the complex and dynamic nature of gender roles and patriarchal values. CC Jamie Santos

    3. Read on to learn more about the licensing trials and tribulations associated with the film’s release, how CC has played a role, and Paley’s opinions on the Free Culture movement as a whole.

      It has a critique of patriarchal values by subverting the traditional portrayal of Rama as an idealized hero. Instead, Paley's Rama is complex and multidimensional, with flaws and shortcomings that make him more human. This nuanced portrayal challenges the patriarchal norms that have historically elevated men to heroic status, often at the expense of women's agency and autonomy.

      By highlighting Rama's flaws, Paley's work critiques the patriarchal values that have traditionally justified his actions as heroic. Rama's treatment of Sita, in particular, is portrayed as problematic and even abusive. This critique of Rama's behavior challenges the patriarchal norms that have historically condoned or excused such behavior, offering a feminist reinterpretation of the Ramayana that prioritizes Sita's experiences and perspectives.

      Paley's patriarchal critique also extends to the broader cultural context of the Ramayana. By portraying Rama as a complex and multidimensional character, Paley challenges the cultural norms that have traditionally revered him as a hero. This critique of patriarchal values offers a fresh and innovative take on an ancient text, one that prioritizes feminist perspectives and challenges traditional power dynamics CC Jamie Santos

    4. We recently had the opportunity to talk with Paley about the film – we touched on the film’s aesthetics and plot points, but perhaps most interesting to those in the CC community is Paley’s decision to utilize our copyleft license, Attribution-ShareAlike, and her thoughts on free licensing and the open source movement in general.

      They give her a voice and allowing her to express her emotions and desires, which i think its quite genius. This is a significant departure from traditional versions of the Ramayana, where Sita is often relegated to the background and her thoughts and feelings are largely unexplored. By centering Sita's narrative, Paley empowers her to take control of her own story.

      Paley's reclaiming of Sita's agency is also reflected in the film's use of music and animation. The jazz and blues soundtrack gives Sita a powerful and expressive voice, allowing her to convey the full range of her emotions. The animation style, too, brings Sita to life in a way that is both vibrant and nuanced. Through these artistic choices, Paley creates a Sita who is fully realized and multifaceted.

      By reclaiming Sita's agency, Paley offers a feminist reinterpretation of the Ramayana that challenges traditional patriarchal norms. Sita is no longer just a passive victim of circumstance, but a strong and assertive individual who takes charge of her own destiny. This reclaiming of agency is a powerful statement about the importance of women's voices and perspectives, and offers a fresh and innovative take on an ancient text. CC Jamie Santos

    5. Nina Paley’s Sita Sings The Blues, released online a little over two months ago, has been generating great press and even greater viewership, closing in on 70,000 downloads at archive.org alone.

      Bold subversion of traditional gender roles. By reimagining Sita as a strong, independent, and assertive character, Paley challenges the submissive and obedient Sita of traditional Ramayana narratives.

      This subversion is significant because it reclaims Sita's agency and autonomy, allowing her to express her emotions and desires. In traditional versions, Sita is often relegated to the background, with her thoughts and feelings largely unexplored. Paley's Sita, on the other hand, is a fully realized character with her own motivations and aspirations.

      Paley's subversion of traditional gender roles also extends to her portrayal of Rama. Unlike the idealized hero of traditional versions, Paley's Rama is complex and multidimensional, with flaws and shortcomings that make him more human. This nuanced portrayal challenges patriarchal norms and expectations, offering a fresh perspective on the ancient epic.

      The subversion of traditional gender roles in "Sita Sings the Blues" is also reflected in the film's linguistic value. Paley's use of jazz music and American blues style gives the film a unique sonic landscape, blending Eastern and Western cultural influences. This blend challenges traditional representations of the Ramayana, offering a contemporary and innovative take on the ancient text.

      Through her subversion of traditional gender roles, Paley offers a feminist reinterpretation of the Ramayana, one that challenges patriarchal norms and expectations. By reimagining Sita as a strong and assertive character, I think Paley provides a powerful counter-narrative to traditional versions, one that celebrates female agency and autonomy too!

    1. Sita Sings the Blues

      Comparing "Sita Sings the Blues" to traditional versions of the Ramayana reveals a striking contrast in Sita's character development and the portrayal of patriarchal values. In traditional versions, Sita is often depicted as a passive, obedient, and submissive character, whereas in the film, she is reimagined as a strong, independent, and assertive individual. This comparative aspect highlights the significance of Sita's character development and the subversion of patriarchal values in the film.

      The comparative aspect also demonstrates the evolution of gender roles and definitions over time. Traditional versions of the Ramayana reflect the patriarchal norms of ancient Indian society, whereas "Sita Sings the Blues" reflects contemporary feminist perspectives and values. By comparing these different versions, we can see how gender roles and definitions have changed over time, and how art can reflect and shape societal attitudes towards gender.

      Furthermore, the comparative aspect highlights the agency and autonomy that Sita gains in the film, which is absent in traditional versions. By reimagining Sita's story in a contemporary context, the film empowers her to express her emotions, desires, and agency, challenging the patriarchal norms that have historically silenced women's voices.

      Through this comparative aspect, "Sita Sings the Blues" offers a nuanced exploration of gender roles and definitions, demonstrating how art can be used to challenge and subvert patriarchal values. By comparing the film to traditional versions of the Ramayana, we can appreciate the significance of Sita's character development and the evolution of gender roles and definitions over time, highlighting the power of art to shape and reflect societal attitudes towards gender. CC Jamie Santos

    2. Sita Sings the Blues

      Western context, which provides a fresh perspective on the ancient Indian text of the Ramayana. This cultural context allows the film to approach the narrative with a new set of eyes, highlighting the universality of gender politics and relationships. By transposing the ancient epic into a modern Western setting, the film reveals the timelessness of its themes and emotions.

      The film's cultural context also enables it to engage with contemporary issues and concerns, such as feminism and personal empowerment. By reimagining Sita's story in a modern context, the film highlights the ongoing relevance of her experiences and emotions. This cultural context also allows the film to draw parallels between ancient and modern societies, revealing the commonalities that exist across cultures and time.

      The film's use of a contemporary Western context also facilitates a dialogue between different cultural traditions. By blending elements of Indian and Western cultures, the film creates a unique cultural landscape that reflects the diversity of modern society. This blending of cultures enables the film to speak to a broad audience, transcending cultural boundaries and highlighting the shared human experiences that unite us.

      Through its cultural context, "Sita Sings the Blues" demonstrates the power of art to bridge cultural divides and facilitate new understandings. By reimagining the Ramayana in a contemporary Western context, the film reveals the universality of its themes and emotions, highlighting the shared human experiences that connect us all. CC Jamie Santos

    3. Sita Sings the Blues

      a distinct linguistic value, courtesy of its innovative use of jazz music and American blues style. This bold choice blends Eastern and Western cultural influences, creating a unique sonic landscape that defies traditional boundaries. By incorporating jazz and blues, the film's soundtrack acquires a fresh, contemporary feel that resonates with diverse audiences.

      The fusion of jazz and blues with the ancient Ramayana narrative creates a captivating linguistic value, one that transcends cultural and temporal boundaries. This blend of styles enables the film to convey complex emotions and themes in a way that feels both timeless and modern. The use of jazz and blues also adds a layer of depth and nuance to the storytelling, making the film's message more relatable and impactful.

      The linguistic value of the film's soundtrack is further enhanced by its use of lyrical language, which adds a poetic dimension to the narrative. The blues-inspired vocals, in particular, bring an emotional intensity to the storytelling, conveying the passion and longing that drives Sita's journey. By leveraging the expressive power of music, the film creates a rich, multilayered language that engages audiences on multiple levels.

      Through its innovative use of jazz and blues, "Sita Sings the Blues" redefines the linguistic value of the Ramayana, making it feel fresh, vibrant, and relevant to contemporary audiences. By blending Eastern and Western cultural influences, the film creates a unique linguistic value that not only honors the ancient epic but also reimagines it for a new era. CC Jamie Santos

    4. Sita Sings the Blue

      Critique of patriarchal values by subverting the traditional portrayal of Rama as an idealized hero. Instead, the film presents Rama as a complex and multidimensional character, highlighting his flaws and shortcomings. This nuanced portrayal challenges the patriarchal norms that have historically elevated men to heroic status, often at the expense of women's agency and autonomy.

      By humanizing Rama, the film exposes the flaws in patriarchal ideology, revealing the ways in which it can lead to harm and suffering for women. Rama's shortcomings, such as his treatment of Sita and his willingness to abandon her, are brought to the forefront, highlighting the need for a more nuanced understanding of masculinity.

      The film's critique of patriarchal values is further emphasized through its portrayal of Rama's relationships with other male characters. The dynamics between Rama and his brothers, as well as his interactions with other men, reveal the ways in which patriarchal norms can lead to toxic masculinity and harm.

      Through its critique of patriarchal values, the film offers a feminist reinterpretation of the Ramayana, challenging traditional representations of men and women. By presenting Rama as a complex and multidimensional character, the film provides a more nuanced understanding of masculinity, one that acknowledges the harm caused by patriarchal norms and offers a more empathetic and compassionate perspective. CC Jamie Santos

    5. Sita Sings the Blues

      By giving her a voice and allowing her to express her emotions and desires. In the original Ramayana, Sita is often relegated to the background, with her thoughts and feelings largely unexplored. The film rectifies this by placing Sita center stage, allowing her to narrate her own story.

      By giving Sita a voice, the film empowers her to express her emotions and desires, which are often suppressed in the original text. This narrative shift enables Sita to emerge as a fully realized character, with her own motivations and aspirations. The film's use of jazz music and blues style adds a unique layer of emotional depth to Sita's story, further emphasizing her agency.

      The reclaiming of Sita's agency is a powerful feminist statement, challenging the patriarchal norms that have historically silenced women's voices. By amplifying Sita's voice, the film provides a platform for her to assert her autonomy and individuality. This narrative reclaiming also highlights the importance of listening to women's stories and perspectives.

      Through Sita's reclaimed agency, the film offers a nuanced exploration of her experiences, emotions, and desires. The film's portrayal of Sita as a complex and multidimensional character challenges traditional representations of women in ancient epics, providing a refreshing and empowering perspective on the Ramayana. cc Jamie Santos

    6. Sita Sings the Blues

      traditional gender roles by reimagining Sita as a strong, independent, and assertive character. This depiction challenges the original Ramayana's portrayal of Sita as submissive and obedient, offering a fresh perspective on the iconic heroine.

      In the original Ramayana, Sita is often depicted as a passive figure, defined by her relationships with male characters. In contrast, the film empowers Sita, giving her agency and autonomy. This subversion of traditional gender roles allows Sita to emerge as a complex and multifaceted character.

      The film's portrayal of Sita as a strong and independent individual challenges patriarchal norms and expectations. By redefining Sita's character, the film paves the way for a more nuanced understanding of gender roles and relationships. This subversion also highlights the limitations and restrictions placed on women in traditional narratives.

      Through Sita's character development, the film critiques traditional gender roles and expectations, offering a feminist reinterpretation of the Ramayana. By challenging patriarchal norms, the film provides a refreshing and empowering perspective on the ancient epic, making it more relatable and relevant to contemporary audiences. CC Jamie Santos

    1. Krishna assures him that this particular battle is righteous and he must fight as his duty or dharma as a warrior. Arjuna's sva-dharma was to fight in the battle because he was a warrior, but he must fight with detachment from the results of his actions and within the rules of the warriors' dharma. Indeed, not to act according to one's own dharma is wrong and called adharma. Correct action in accordance with dharma is also understood as service to humanity and to God.

      Rama's character in the Ramayana embodies traditional masculine ideals, influencing the construction of the hero in Hindu culture. His depiction as strong, brave, and authoritative reinforces societal expectations of men, solidifying his position as a masculine icon. This portrayal has had a lasting impact on Hindu culture, shaping the way masculinity is perceived and performed.

      Sita's character, on the other hand, represents feminine virtues, reinforcing gender stereotypes and restricting women's agency. Her depiction as loyal, devoted, and submissive reinforces societal expectations of women, limiting their potential and autonomy. This portrayal perpetuates patriarchal attitudes, reinforcing gender roles that restrict women's empowerment.

      The Ramayana reinforces patriarchal values, reflecting the societal context in which it was written. The text's portrayal of gender roles and relationships perpetuates a worldview that privileges male authority and dominance. This reinforces restrictive gender roles, limiting individuals' potential and agency.

      Language plays a crucial role in shaping gender representation, with patriarchal language reinforcing restrictive gender roles. The text's linguistic choices perpetuate gender stereotypes, reinforcing societal expectations of men and women. By examining the language used to describe Rama and Sita, we can understand how patriarchal attitudes are embedded in the narrative, and how these attitudes continue to influence interpretations of the text today. CC Jamie Santos

    2. But acting virtuously does not mean precisely the same for everyone; different people have different obligations and duties according to their age, gender, and social position. Dharma is universal but it is also particular and operates within concrete circumstances. Each person therefore has their own dharma known as sva-dharma. What is correct for a woman might not be for a man or what is correct for an adult might not be for a child. The importance of sva-dharma is illustrated well by the Bhagavad Gita. This text, set before the great battle of the Mahabharata, depicts the hero Arjuna riding in his chariot driven by his charioteer Krishna between the great armies. The warrior Arjuna questions Krishna about why he should fight in the battle. Surely, he asks, killing one's relatives and teachers is wrong and so he refuses to fight. Krishna assures him that this particular battle is righteous and he must fight as his duty or dharma as a warrior. Arjuna's sva-dharma was to fight in the battle because he was a warrior, but he must fight with detachment from the results of his actions and within the rules of the warriors' dharma. Indeed, not to act according to one's own dharma is wrong and called adharm

      The Ramayana reflects a patriarchal mindset, with language that reinforces gender stereotypes and restricts women's agency. The text's portrayal of gender roles and relationships is shaped by a worldview that privileges male authority and dominance. This patriarchal mindset is evident in the language used to describe male and female characters, with men often depicted as strong and powerful, while women are depicted as weak and submissive.

      The cultural context in which the Ramayana was written also played a significant role in shaping its portrayal of gender roles and relationships. The text was composed in a patriarchal society, where women's roles were limited and their agency was restricted. This societal context influenced the text's authors and editors, who reflected and reinforced the patriarchal values of their time.

      Translators and editors have also had a significant impact on the text's linguistic value, potentially emphasizing patriarchal values in their interpretations. Whether intentionally or unintentionally, translators and editors may have used language that reinforces gender stereotypes, restricting women's agency and perpetuating patriarchal attitudes. This highlights the importance of considering the role of translators and editors in shaping our understanding of the text.

      The combination of these factors - the patriarchal mindset, cultural context, and translator's/editor's influence - has resulted in a text that reinforces restrictive gender roles and relationships. Understanding these dynamics is crucial for recognizing the ways in which patriarchal attitudes have been embedded in the narrative, and how these attitudes continue to influence interpretations of the text today. By acknowledging these factors, we can work towards more inclusive and nuanced understandings of the Ramayana. CC Jamie Santos

    3. Dharma is the power that maintains society, it makes the grass grow, the sun shine, and makes us moral people or rather gives humans the opportunity to act virtuously. But acting virtuously does not mean precisely the same for everyone; different people have different obligations and duties according to their age, gender, and social position. Dharma is universal but it is also particular and operates within concrete circumstances. Each person therefore has their own dharma known as sva-dharma. What is correct for a woman might not be for a man or what is correct for an adult might not be for a child. The importance of sva-dharma is illustrated well by the Bhagavad Gita. This text, set before the great battle of the Mahabharata, depicts the hero Arjuna riding in his chariot driven by his charioteer Krishna between the great armies. The warrior Arjuna questions Krishna about why he should fight in the battle. Surely, he asks, killing one's relatives and teachers is wrong and so he refuses to fight.

      Different translations and adaptations of the Ramayana can have varying portrayals of gender roles, with some emphasizing patriarchal values more than others. This variation highlights the potential for linguistic and cultural nuances to shape our understanding of gender in the text. By examining multiple versions of the Ramayana, we can identify patterns and inconsistencies in gender representation, revealing the complexities of patriarchal attitudes in Hindu culture.

      Comparing the Ramayana's gender dynamics to other Hindu texts, such as the Mahabharata, offers valuable insights into the broader cultural context. By analyzing these texts side by side, we can identify both patterns and variations in gender representation, revealing the ways in which patriarchal values are reinforced or challenged. This comparative approach enables us to understand the Ramayana's gender dynamics within a larger cultural framework.

      Through comparative analysis, we can uncover the ways in which gender roles and definitions are constructed and reinforced across Hindu texts. By examining the intersections and divergences between the Ramayana and other texts like the Mahabharata, we can gain a deeper understanding of the complex and multifaceted nature of gender in Hindu culture. This nuanced understanding can help us challenge restrictive gender roles and promote more inclusive representations of gender in Hindu texts and traditions. CC Jamie Santos

    4. Dharma is an important term in Indian religions. In Hinduism it means 'duty', 'virtue', 'morality', even 'religion' and it refers to the power which upholds the universe and society. Hindus generally believe that dharma was revealed in the Vedas although a more common word there for 'universal law' or 'righteousness' is rita. Dharma is the power that maintains society, it makes the grass grow, the sun shine, and makes us moral people or rather gives humans the opportunity to act virtuously.

      The Ramayana reinforces traditional gender roles, with Rama embodying masculine ideals like bravery and duty, while Sita represents feminine virtues like loyalty and devotion. This dichotomy reinforces societal expectations of men and women, limiting their potential and agency. Rama's character is defined by his strength, courage, and leadership, while Sita's character is defined by her loyalty, devotion, and nurturing qualities.

      The text defines gender through societal expectations, with men expected to be strong and protective, while women are expected to be submissive and nurturing. This definition of gender restricts individuals to narrow roles, preventing them from exploring their full potential. The Ramayana's portrayal of gender reinforces these expectations, perpetuating a patriarchal worldview that limits women's agency and autonomy.

      The Ramayana's reinforcement of traditional gender roles and definitions has significant implications for how we understand gender in Hindu culture. By perpetuating restrictive gender roles, the text limits individuals' potential and reinforces societal expectations. Understanding these dynamics is crucial for recognizing the ways in which patriarchal attitudes have been embedded in the narrative, and how these attitudes continue to influence interpretations of the text today. CC Jamie Santos

    1. Then, then the hero's senses failed; In mad despair he wept and wailed, Upon the pile that bird he laid, And still in quest of Sitá strayed. A hideous giant then he saw, Kabandha named, a shape of awe. The monstrous fiend he smote and slew, And in the flame the body threw; When straight from out the funeral flame In lovely form Kabandha came, And bade him seek in his distress A wise and holy hermitess. By counsel of this saintly dame To Pampá's pleasant flood he came, And there the steadfast friendship won Of Hanumán the Wind-God's son. Counselled by him he told his grief To great Sugríva, Vánar chief, Who, knowing all the tale, before The sacred flame alliance swore. Sugríva to his new-found friend Told his own story to the end: His hate of Báli for the wrong And insult he had borne so long. And Ráma lent a willing ear And promised to allay his fear. Sugríva warned him of the might Of Báli, matchless in the fight, And, credence for his tale to gain, Showed the huge fiend 1b by Báli slain. The prostrate corpse of mountain size Seemed nothing in the hero's eyes; He lightly kicked it, as it lay, And cast it twenty leagues 2b away. To prove his might his arrows through Seven palms in line, uninjured, flew. He cleft a mighty hill apart, And down to hell he hurled his dart, Then high Sugríva's spirit rose, Assured of conquest o'er his foes. With his new champion by his side To vast Kishkindhá's cave he hied. Then, summoned by his awful shout, King Báli came in fury out, First comforted his trembling wife, Then sought Sugríva in the strife. One shaft from Ráma's deadly bow The monarch in the dust laid low. Then Ráma bade Sugríva reign In place of royal Báli slain. Then speedy envoys hurried forth Eastward and westward, south and north, Commanded by the grateful king Tidings of Ráma's spouse to bring.

      The societal context of ancient India, with its deeply ingrained patriarchal values, likely influenced the portrayal of gender roles in the Ramayana. The text reflects the cultural norms of its time, reinforcing the idea that men held power and authority, while women were relegated to subordinate roles.

      As a product of its time, the Ramayana may have been shaped by the need to reinforce social norms and gender expectations. The text's authors and editors may have intentionally crafted the narrative to perpetuate patriarchal values, solidifying the gender hierarchy and limiting women's agency and autonomy.

      The Ramayana's portrayal of gender roles, therefore, cannot be separated from the societal context in which it was written. Understanding the historical and cultural background of the text is crucial to recognizing the ways in which patriarchal attitudes have been embedded in the narrative, and how these attitudes continue to influence interpretations of the text today. CC Jamie Santos.

    2. He came to Ráma's hermitage. There, by Márícha's magic art, He wiled the princely youths apart, The vulture 1 slew, and bore away The wife of Ráma as his prey. The son of Raghu 2 came and found Jatáyu slain upon the ground. He rushed within his leafy cot; He sought his wife, but found her not.

      Translations of the Ramayana can vary significantly in their use of language, with some versions employing more patriarchal terminology than others. This variation highlights the potential for linguistic choices to shape our understanding of gender roles and relationships in the text.

      In some translations, the patriarchal language may be more pronounced, reinforcing negative stereotypes and restrictive gender roles. Conversely, other translations may opt for more neutral or inclusive language, subtly shifting the narrative's tone and implications.

      Adaptations of the Ramayana offer another avenue for challenging traditional gender roles. By reimagining characters like Sita as stronger, more independent figures, adaptations can subvert patriarchal expectations and offer fresh perspectives on the ancient epic.

      Through these adaptations, the Ramayana's timeless themes and characters can be reinterpreted for modern audiences, promoting greater gender equality and nuance. By engaging with the text in new and innovative ways, we can uncover fresh insights into the human experience, unbound by restrictive gender roles and stereotypes. CC Jamie Santos

    3. A guardian God to help and save. And Ráma's falchion left its trace Deep cut on Súrpanakhá's face: A hideous giantess who came Burning for him with lawless flame. Their sister's cries the giants heard. And vengeance in each bosom stirred: The monster of the triple head. And Dúshan to the contest sped. But they and myriad fiends beside Beneath the might of Ráma died. When Rávan, dreaded warrior, knew The slaughter of his giant crew: Rávan, the king, whose name of fear Earth, hell, and heaven all shook to hear: He bade the fiend Márícha aid The vengeful plot his fury laid. In vain the wise Márícha tried To turn him from his course aside: Not Rávan's self, he said, might hope With Ráma and his strength to cope.

      The language used to describe the female characters in the Ramayana perpetuates negative stereotypes, employing words like "fiend" and "monster" to dehumanize and vilify them. This terminology reinforces harmful gender biases, reducing complex characters to simplistic and derogatory labels.

      Furthermore, the depiction of violence against women is troubling, as seen in the description of Rama's sword leaving a "deep cut" on Surpanakha's face. This graphic image implies a disturbing level of brutality, highlighting the dangers of condoning violence against women.

      In contrast, Rama's emotions are portrayed in a way that humanizes him, with descriptions of "mad despair" and "weeping" evoking sympathy and understanding. Meanwhile, the female characters are objectified, denied the same depth and complexity, and instead reduced to one-dimensional figures in the narrative. This disparity in characterization reinforces a patriarchal perspective, prioritizing male experiences and emotions over those of women. CC Jamie Santos

    4. Beneath the shady trees he stood Of Dandaká's primeval wood, Virádha, giant fiend, he slew, And then Agastya's friendship knew. Counselled by him he gained the sword And bow of Indra, heavenly lord: A pair of quivers too, that bore Of arrows an exhaustless store. While there he dwelt in greenwood shade The trembling hermits sought his aid, And bade him with his sword and bow Destroy the fiends who worked them woe: To come like Indra strong and brave, A guardian God to help and save. And Ráma's falchion left its trace Deep cut on Súrpanakhá's face: A hideous giantess who came Burning for him with lawless flame. Their sister's cries the giants heard. And vengeance in each bosom stirred: The monster of the triple head. And Dúshan to the contest sped. But they and myriad fiends beside Beneath the might of Ráma died.

      Sita, the female protagonist, is portrayed as the quintessential damsel in distress, relying on Rama to rescue her from harm. This depiction reinforces traditional gender roles, where women are seen as vulnerable and in need of male protection.

      In contrast, Surpanakha is depicted as a monstrous figure, described as a "hideous giantess" with a "lawless flame." This characterization serves as a warning against the dangers of female desire and power, perpetuating negative stereotypes about women who defy societal norms.

      The contrast between Sita and Surpanakha highlights the limited and restrictive gender roles assigned to women in the Ramayana. While Sita embodies the ideal of feminine passivity, Surpanakha represents the feared consequences of female agency and desire, reinforcing a patriarchal worldview that restricts women's autonomy and power. CC. Jamie Santos

    1. When Phaedra sees Hippolytus for the very first time in the narrative of Pausanias 2.32.3, as I noted in the posting for 2018.06.21, she is already falling in love with the youthful hero.

      I think that she was falling in love with him but also with the power of being independent that he showed.

    2. In The Ancient Greek Hero in 24 Hours, 20§57, I focus on the painterly passage in the Hippolytus of Euripides where Phaedra, in an erotic reverie, puts herself into the picture, as it were. Into a picture of what? She pictures herself as Hippolytus hunting in the wilderness. But it can also be said that she pictures herself as Artemis hunting in the wilderness. Here is how Phaedra expresses her passionate desire (Hippolytus 219–222): ‘I swear by the gods, I have a passionate desire [erâsthai] to give a hunter’s shout to the hounds, |and, with my blond hair and all (in the background), to throw | a Thessalian javelin, holding (in the foreground) the barbed | dart in my hand’. In my translation here, I have added within parentheses the cues ‘in the background’ and ‘in the foreground’. That is because, in her painterly imagination, Phaedra even poses herself in the act of hurling a hunting javelin that is foregrounded against the golden background of her blond hair flowing in the wind. Holding this pose, as I argue in H24H, Phaedra can thus become the very image of Artemis.

      Phaedra's story shows her struggle to find her own identity and independence. She wants to be like Artemis, the goddess of the hunt, who represents power and freedom.

      When we don't receive enough love and support from our families, we may seek it elsewhere, which can lead to problems.

      Phaedra's journey highlights the challenge of balancing our own values with what society expects from us. She must decide what's more important: being true to herself or fitting in.

      Through Phaedra's experiences, we see the importance of self-discovery and finding our own path in life.

    1. Though now in the deepest of his life’s trenches, God is still with Joseph (Genesis 39:21). His fellow inmates, Pharaoh’s former butler and his former baker, both dream symbolic dreams, and Joseph’s skills as a dream-interpreter are put to use. He predicts that the butler will be exonerated in three days and restored to Pharaoh’s service, and that the baker will be put to death. Joseph’s interpretations come true.

      This is a complete different turn from the other charavter story. And probably the action is what made the difference.

    2. Joseph finds great fortune with Potiphar, but his promotion through Potiphar’s household attracts the attention of Potiphar’s wife, who repeatedly tries to seduce him. When her attempts fail, she accuses Joseph of rape, which lands him in prison.

      This is quite a good reference to the story we are studying in class right now. Unfortunately, the character succumbs in the temptation tho.

    3. The brothers then tear up Joseph’s special coat, dip it in goat’s blood, and present it to Jacob as proof of his son’s death.

      This shows that the motive they are doing this is the jealousy they feel, mostly because their father likes Joseph more.

    4. Eventually the brothers act on their emotions. Seeing the “dreamer” approach on a shepherding trip, they ambush Joseph and throw him into a pit — the first of the great depths to which Joseph will sink.

      This potentially could have lead to someones anti hero story. Of course the brothers are seen like that after this but have Joseph decided on revenge, he would have become one too.

    5. an impressive amount of ink considering that many other major biblical stories are told in less than one Torah Torah <audio src="https://www.myjewishlearning.com/wp-content/uploads/2017/02/torah.mp3" controls> Your browser does not support the &lt;code&gt;audio&lt;/code&gt; element. </audio> Pronunced: TORE-uh, Origin: Hebrew, the Five Books of Moses. portion.

      Its quite amusing to think that even when it comes to his story, Joseph's life occupies more space than other characters in the bible.

    6. Joseph’s life is a series of highs and lows — literally and figuratively. In his father’s house, Joseph is the favored son: “Israel (another name for Jacob) loved Joseph more than all his sons since he was a child of his old age” (Genesis 37:3). Joseph likely also has this status because he is the eldest child of Jacob’s favorite (deceased) wife, Rachel. To demonstrate this preference, Jacob gifts Joseph with the famous kitonet passim, translated as both a garment with long sleeves, or a fine woolen tunic. (Commentators extrapolate that it had stripes of different colors.) This preferential treatment from their father elicits much jealousy from Joseph’s 10 older brothers.

      This is actually a very common life. Highs and lows are part of it and sometimes theres more preference for some than others. Of course, this is not correct but sadly it happens. And favoritism sometimes, or most of the times, brings jealousy along the way.

    1. Now when the people beheld that he was come forth alive, they rent the welkin with their shouting. And the nobles came forth to greet him, and, save only Soudabeh, there was joy in all hearts. Now Siawosh rode till he came before the King, and then he got him off his horse, and did homage before his father. And when Kay-Kavous beheld him, and saw that there were no signs of fire about him, he knew that he was innocent. So he raised his son from off the ground, and placed Siawosh beside him on the throne, and asked his forgiveness for that which was come to pass. And Siawosh granted it. Then Kay Kavous feasted his son with wine and song, and three days did they spend in revels, and the door of the King's treasury was opened.                 But on the fourth day Kay-Kavous mounted the throne of the Key’ianides. He took in his hand the ox-headed mace, and he commanded that Soudabeh be led before him. Then he reproached her with her evil deeds, and he bade her make ready to depart the world, for verily death was decreed unto her. And in vain did Soudabeh ask for pardon at the hands of the King, for she continued to speak ill of Siawosh, and she said that by the arts of magic alone had he escaped the fire, and she ceased not to cry against him. So the King gave orders that she be led forth unto death, and the nobles approved his resolve, and invoked the blessings of Heaven upon the

      The scene where Siawosh is proven innocent is very powerful. It's like when a loved one is falsely accused and later cleared of wrongdoing - it's a huge relief.

      The story builds up to this moment really well, keeping us engaged and worried about Siawosh's fate. The fact that the whole community celebrates his innocence shows how much they care about him.

      The fire test also shows Siawosh's purity and goodness, which is an interesting idea that appears in other cultures too. It's like a test of truthfulness.

      Overall, this scene is memorable and impactful, teaching us about the importance of patience, truth, and community.

    2. But Soudabeh, when she had so far accomplished her longing that she had gotten him within the house, desired that he should speak with her alone. But Siawosh resisted her wish. And three times did Soudabeh entice him behind the curtains of the house, and three times was Siawosh cold unto her yearning. Then Soudabeh was wroth, and she made complaint unto the King, and she slandered the fair fame of Siawosh, and she spread evil reports of him throughout the land, and she inflamed the heart of Kay-Kavous against his son. Now the King was angered beyond measure, and it availed nought unto Siawosh to defend himself, for Kay-Kavous was filled with the love of Soudabeh, and he listened only unto her voice. And he remembered how she had borne his captivity in Hamavaran, and he knew not of her evil deceits. And when she said that Siawosh had done her great wrong, Kay-Kavous was troubled in his spirit, and he resolved how he should act, for his heart went out also unto his son, and he feared that guile lurked in these things. And he could not decide between them. So he caused dromedaries to be sent forth, even unto the borders of the land, and bring forth wood from the forests. And they did so, and there was reared a mighty heap of logs, so that the eye could behold it at a distance of two farsangs. And it was piled so that a path ran through its midst such as a mounted knight could traverse. And the King commanded that naphtha be poured upon the wood; and when it was done he bade that it be lighted, and there were needed two hundred men to light the pyre, so great was its width and height. And the flames and smoke overspread the heavens, and men shouted for fear when they beheld the tongues of fire, and the heat thereof was felt in the far corners of the land.

      Siawosh, the hero of the Shahnameh, defies traditional male gender roles by refusing to engage in a relationship with his father's wife, thanks to Rostam's teachings. This sets him apart from other epic heroes, like those in the Epic of Gilgamesh.

      In contrast, Soudabeh's character challenges traditional female virtues, making her an antagonist whose desires lead to Siawosh's downfall. Despite this, Siawosh chooses to protect her, highlighting the complexities of patriarchal attitudes towards gender and protection.

      This story also shows how men often defend women, even when they're in the wrong, due to a "savior complex" rooted in patriarchal norms. Meanwhile, Soudabeh's actions spark conflict between Siawosh and his father, King Kay Kāvus.

      Overall, the Shahnameh offers a unique perspective on gender roles and heroism, one that's worth exploring in the context of other epics, like the Ramayana.

    3. Now when Siawosh was become strong (so that he could ensnare a lion), he came before Rostam, bearing high his head. And he spake, saying- "I desire to go before the King, that my father may behold me, and see what manner of man thou hast made of me."

      Something about this line makes me think how we can see the beginning of an anti hero on the character and it demostrates his future and his destiny.

    4. "I counsel you, let Kay-Kavous decide between you." And they listened to the voice of the counsellor, and they took with them the Pari-faced, and led her before Kay-Kavous, and recounted to him all that was come about. But Kay-Kavous, when he beheld the beauty of the maid, longed after her for himself, and he said that she was worthy of the throne; and he took her and led her into the house of his women.                 Now after many days there was born to her a son, and he was of goodly mien, tall and strong, and the name that was given to him was Siawosh. And Kay-Kavous rejoiced in this son of his race, but he was grieved also because of the message of the stars concerning him. For it was written that the heavens were hostile unto this infant; neither would his virtues avail him aught, for these above all would lead him into destruction.                 In the meantime the news that a son had been born unto the King spread even unto the land of Rostam. And the Pahlewan, when he learned thereof, aroused him from his sorrow for Sohrab, and he came forth out of Zabolestan, and asked for the babe at the hands of its father, that he might rear it unto Iran. And Kay-Kavous suffered it, and Rostam bare the child unto his kingdom, and trained him in the arts of war and of the banquet. And Siawosh increased in might and beauty, and you would have said that the world held not his like.                 Now when Siawosh was become strong (so that he could ensnare a lion), he came before Rostam, bearing high his head. And he spake, saying-

      In the Shahnameh, a pivotal moment occurs when King Kay Kāvus is captivated by a beautiful maiden, leading to the birth of Sīyāvash. However, a prophecy foretells Sīyāvash's tragic fate, hinting at the complex interplay of destiny, power, and virtue that will shape his life.

      Sīyāvash embodies the ideal male hero, with strength, virtue, and a destined greatness. In contrast, Soudabeh's role is complex, as her desires and actions defy traditional female virtues. Her character challenges the expected nurturing and supportive archetype, becoming an antagonist whose personal desires lead to Sīyāvash's downfall.

      This reinforces a patriarchal view, where female virtue is equated with subservience and modesty. The passage's language emphasizes Siawosh's virtues, using elevated language to reinforce predestination. However, it also reflects the patriarchal mindset, portraying Soudabeh's actions as dangerous and subversive.

      Comparing this to the Ramayana, Sita's resistance to Ravana reinforces her purity and devotion, highlighting the cultural context's impact on gender roles in epics.

  2. www.repository.govardhanacademy.com www.repository.govardhanacademy.com
    1. YOU,THE FIVEPANPAVAS, A 6E THEFIVE HUSBANDSPRAUPAPI IS DESTINEDTO HAVE.

      And here we can see the consequence of the action that happened before.

    2. SHIVA'S W ORDS O N C EU TTER ED COULD N O T BEREV O K ED . B U T

      This is a good example and a good morale too. Every thing has a consequence and even if we can redeem it a little bit, we can not escape it. It is up to us if we want them to be good or bad.

    3. A R JU N A .T H EVALIANT PANPAVA WOULDHAVE BEEN AN IDEALH U SB A N D FO R MY DAUGHT E R . IF ONLY H E , H ISM O T H E R ,A N P BR O TH ER SH A P SURVIVEPTHAT FATEFULFIRE ATV/ARANA

      Her father genuinly planned everything for her, from the very strt. Which related quite a lot to the traditions.

    4. wom an typical ofher times, her fiery personality lent a g lo w to everything that she did

      I like this. Girls reading this type of text are encouraged to do something else in life and that we all have choices and different dreams as well. Draupadi lived just as every other women lives, but she had passions and other activities that she liked, therefore she did them. That should be for everyone too.

    5. which was less than kind towom en.

      The text is clear to the reader from the very introduction. All the reader can come to a conclusion after reading the first pharagraph is "this is an important character and she is very strong" and at the end, with this line, the text makes it clear with its own words.

    6. Her steely will, which often gleams throughher hapless married life, was shaped by the powerand plenty that she knew as the beloved daughterof the wealthy king of Panchala.

      Draupadi is a very strong and changing character compared to others. Married life is mentiones here but it specifically shows that the thing that shaped her life was her knowlodge. Which at the time, was not common for a female character to be described like that.

    7. Draupadi sprang full grow n from the fire but noother heroine in Hindu m ythology was as earthy asshe

      It is common to relate the heroines, moslty the females, to fire. This resembles the beauty, grace and delicacy. But when it comes to Draupadi, she is described as earthy. Which is something new but that I personally like very much.

    1. While o'er the fields of Greece the embattled troops     Of Persia march with delegated sway,     We o'er their rich and gold-abounding seats     Hold faithful our firm guard; to this high charge

      This shows the richness in the world and the lifestyle for this type of people too, which is something i always find very interesting. While they are enjoying, others go to war, even the youbg ones, the a whole life ahead of them.

    2. Hath Asia sent, and for her youth I sigh.

      As I mentioned before, we are not only talking about a cruel and berbaric war, but moslty, and the horrible thing about everything is that young men are going. Kids, even. Countries in those days use to send every single men possible. No matter if they were experienced or not. It was against their will sometimes too. And here, the narrator sighs not only for the pain of the situation but also for the young souls too.

    3. Leading their martial thousands; their proud steeds     Prance under them; steel bows and shafts their arms,     Dreadful to see, and terrible in fight,     Deliberate valour breathing in their souls.

      Others go only for the feeling that they are fighting for their country and its here were we can see the manipulation of the higher into the population. To make them think that they will do a glourious thing with no training or further explanation whatsoever.

    4. Our towns exposed to wild affright     An easy prey to the invader lie:

      A town without walls is a town free to be conquered by others.

    5. Taught to behold with fearless eyes

      They are terrified from whats happening but were taught to be brave and show that they are strong.

    6. For when misfortune's fraudful hand     Prepares to pour the vengeance of the sky,     What mortal shall her force withstand?     What rapid speed the impending fury fly?

      I like to think that this is a reference of a physical object being those the arrows that were used in battles at the time.

    7. Soft sons of luxury; and those that dwell     Amid the inland forests, from the sea     Far distant; these Metragathes commands,     And virtuous Arceus, royal chiefs, that shine     In burnish'd gold, and many a whirling car     Drawn by six generous steeds from Sardis lead,     A glorious and a dreadful spectacle.

      This caught my attention. It talks about the type of people going to fight. The types of men. We are talking about every single kind. When it says "Soft sons of luxury" clearly refers to the young boys of higher society who didn't do a labor work every day like the others, therefore their appareance and even experience was soft not only physical but emotional. "Those that dwell" refers to the ones who are the opposite and might have more experience. But still, he is sorry for everyone. And its amusing to see that they are togheter for the same thing only becuase of that circumstance.