In the intricate tapestry of Hindu epics, vilified women, particularly Surpanakha, have been persistently portrayed as embodiments of female malevolence. Within Valmiki’s Ramayana, she is depicted as both a monstrous witch, symbolizing dark femininity, and an unruly whore, representing unbridled desire and chaos. This portrayal has perpetuated a damaging archetype, leading generations of Indian girls to internalize fear or abhorrence of Surpanakha. The pervasive nature of this phallocentric narrative underscores the formidable power of patriarchal constructs in demonizing and marginalizing women who transgress societal norms. To subvert this persistent image, this study explores Surpanakha’s individuation quest in Kavita Kané’s feminist retelling, Lanka’s Princess (2017). Utilizing Anis Pratt’s framework of the Novel of Rebirth and Transformation, the research elucidates how Surpanakha undergoes a profound metamorphosis by centring her narrative within a personal, rather than patriarchal, space. Anchored in Pratt’s framework, which aligns with Carl Jung’s concept of the “individuation” process, this study also re-evaluates Surpanakha’s so-called ‘bitch’ tendencies. These traits, traditionally stigmatized, are reconceptualized as pivotal in her quest for self-actualization. Consequently, this research posits that Surpanakha need not expunge these tendencies from her psyche but rather embrace them to enrich her existence as a fully individuated feminine archetype.

Authors:
Henusha Suthesan, University of Malaya, Malaysia

About the Presenter(s)
Henusha Suthesan is an English teacher. She explores traditional mythology and feminist retellings globally to promote appreciation of diverse women’s literary experiences and engages with feminist theories to understand gender and social justice.

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