The popular imagination is generally filled with tales of fair-looking angels and temptresses. Rare is the mention of ravishing dark beauty as in the case of Draupadi, who is cherished by her five husbands but also desired by numerous others. Even more rarely does one come across a fire-born fiery woman known for her firebrand dialogue and sexuality simultaneously; Draupadi is that rare symbol of bravado and beauty all rolled into one. Draupadi defies all known categorizations. In her dissolves the divine feminine and heroic feminine to emerge in a new form of fierce woman, unique in world classics and traditions. Draupadi is the most vocal and courageous female leader studied in this book. She expressed her opinions and questioned other men when she thought their actions are inappropriate. She also discussed her thoughts on women and their conduct with other women. Her discussions and thoughts are important that the MahabharataFootnote 1 preserves them in detail.

The symbolism of fire is unmistakable in the persona as well as the journey of Draupadi. Beginning with fire, holding fire within her, Draupadi moved burning anything and everything evil that obstructed the path of dharma (Duty/right). Incidentally her husband Yudhisthira is also called Dharma/Dharmaraja represented as a true follower of dharma (duty) in the Mahabharata. Even though she is born from the fire of the Yagna, the Mahabharata is cautious not to identify her with Agni, but identified her as an incarnation of Sachi, wife of Indra clarifying her role as partner in upholding dharma/rita. In her role as the central feminine leader of the Mahabharata, she appears in each crucial event of the Mahabharata, frequently advancing her thoughts and objectives. Draupadi appears as the most ferocious woman of all the heroic feminine, who does not shy away from expressing her opinions.

Draupadi’s journey seems like one long journey with stops in between. The text also symbolically notes her exhaustion mentioning her falls not once but twice: once, during their exile on the Gandhamadhana mountain range (Book 3 of the Mahabharata) and the next in her final journey, the Mahaprasthanam, her last journey, along with the Pandavas (Book 17–18 of the Mahabharata). However, five stages of life can be discerned in her journey, each of which is marked by tumultuous events. The first stage of journey is marked by her miraculous birth from fire. The second stage of her journey is marked by her marriage to the Pandavas and the establishment of the Kingdom Khandavaprastha by building the capital, Indraprastha. This is the most joyful and peaceful period of her life. This stage might have lasted at least fifteen or sixteen years. Draupadi gave birth to five sons with the Pandavas, while Arjuna left on twelve years of pilgrimage and brought a co-wife for her, Subhadra (see Chap. 8). The third stage is the most difficult part of her life dotted with a dice game, exile, including incognito exile. The fourth stage is marked by her return and war. The fifth stage is marked by her final journey to the other world, which ends for her as soon as it begins.

Draupadi is compared to Damayanti and Savitri, noting her willingness to face unexpected difficulties and emerging victorious through one’s sheer perseverance and creativity. Draupadi is examined in comparison with Sita (Karve 1969; Sutherland 1989:63–79). The fire symbolism in the stories of both women is unmistakable. While Draupadi is born from fire Sita emerges unscathed from fire. Upon a cursory glance, it almost seems as though the fire might have empowered them to face what was ahead in their life.

Whether one worships her or not Draupadi’s story is the most commonly read, performed, and discussed epic tale of the Indian subcontinent. Aspects of Draupadi’s story are also the most studied noting her centrality to the epic as well as connecting her to political, social, and cultural aspects. Draupadi VastrapaharanamFootnote 2 based on one of the most humiliating events in the life of Draupadi forms part of literary compositions as well as artistic performances (Dhavalikar 1991:523–26; Bhattacharya 2005:149–59; Diesel 1994:65–94; Hiltebeitel 1988). Draupadi Capatham (Bennett 2010:145–153; Perundevi 2014:1–31; Frasca 1994:89–104) is an important dance-drama enacted in Telugu and Tamil regions, with the same theme of Draupadi’s humiliation. However, in this next dance-drama, Draupadi undertakes an active role by taking a vow that she would not tie her hair until the Kauravas are vanquished (Mehendale 1997:159–75).

Previous scholarship has evaluated Draupadi utilizing the frameworks of the feminine divine categorizing her as aggressive female based on the application of male perspectives, which evaluate women based on their relations with their male counterparts in their life. Her marriage to five husbands (polyandry) is also the subject of numerous works. This evaluation frequently verged on deciding the prominence of the feminine divine as graceful (good) or terrible (bad) depending on those relations. Early works on Draupadi are not different; much had been made of her marriage to five men while ignoring other aspects of her life. As an individual Draupadi is interpreted as a blend of contradictions, which was considered an anomaly as opposed to evaluating her unique personality as a representation of her heroic nature and leadership qualities (Jamison 1996:15–16; Dhand 2008). It is also suggested that Draupadi may have derived her acumen for law (dharma) through eavesdropping on the conversations of men (Black 2007:53–63). The story of Draupadi and other women was also interpreted in the context of soteriology, connecting “women bondage that men try to overcome” (Brodbeck and Black 2007:162–164). It is also noted in the case of Draupadi’s arguments that the thoughts and her expression might not represent the gendered nature of her argument, but non-gendered (Maliner 2007:79–89). Draupadi’s sexuality in comparison to the stories of other feminine leaders (Damayanti, Sita, and Savitri), which she heard during their exile is also discussed (Hiltebeitel 2007:115–116). This chapter examines Draupadi’s role beyond sexuality through a comprehensive examination of the major episodes of her life.

Although temples of Pandavas and Draupadi are found across India, active performance traditions of Draupadi survive only in northern India and southern India. Central Indian religious theatrical traditions are either lost or rarely survive in mere fragments. Parts of Draupadi’s story such as Draupadi Svayamvaram, Draupadi Vastrapaharanam, and Kichakavadha are performed as part of theater performances hosted during festivals such as Narasimhajayanti or Sriramanavami celebrations in the Spring. An exhaustive study on the representation of Draupadi in the Mahabharata and the theater and rituals connected with Draupadi are discussed in Hiltebeital’s exhaustive study on the cult of Draupadi (Hiltebeitel 1988) in southern India. Similarly, a close study of Garhwal Pandavlila reveals striking similarities between the northern and southern theatrical stories associated with Draupadi (Sax 1996:358; 1991:274). This indicates the pan-India spread of themes and stories of the Mahabharata, especially those associated with female protagonists, especially Draupadi. The following pages are dedicated to examining the five stages of life of Draupadi to gain a clear understanding of her feminine heroic role.

Stage 1 of Draupadi’s Journey: Birth

Fire symbolically appears in most of the episodes of Draupadi’s life including her birth. Incidentally, it so happened that Draupadi is born from the anger of her father when he was defeated by Arjuna as part of his paying gurudakshina to his guru Drona, who took half of the kingdom of Drupada. Therefore, distressed Drupada searched far and wide to find a suitable sage to perform a yajna for him to obtain a son, as skillful in warfare as Arjuna (Adiparva. Chaitrarathaparva. Section CLXIX). On the banks of Yamuna at an asrama he found the sages Yaja and Upayaja. Drupada consulted him about his desire to obtain a son and sought the help of sage Upayaja. However, sage Upayaja refused to help him but suggested that his brother Yaja might help him achieve his goal (Section CLXIX). Drupada approached Yaja who agreed to perform the yajna for him to obtain a son skilled in weapons and warfare.

Yaja performed yagna and invited the queen Prisala saying, “Come hither, O queen, O daughter-in-law of Prishata! A son and a daughter have arrived for thee!” (Section CLXIX).

However, the queen delayed and requested him to wait as she considered herself impure to accept the yagnaphala as she still smelled of unguents. However, Yaja said, “O lady, whether thou comest or waitest, why should not the object of this sacrifice be accomplished when the oblation hath already been prepared by me and sanctified by Upayaja’s invocations?” (Section CLXIX). Saying thus he poured the libations into the sanctified fire. Immediately arose from the fire a grown man followed by a grown woman, son, and daughter of Drupada that did not require a mother to give birth to them.

Although Draupadi’s birth from fire is described in detail in the Mahabharata, she is also noted as the incarnation of Sachi, the wife of Indra, and not of fire.

And the faultless Draupadi, slender-waisted like the wasp, was born of a portion of Sachi (the queen of the celestials), in the line of Drupada. And she was neither low nor tall in stature. And she was of the fragrance of the blue lotus, of eyes large as lotus-petals, of thighs fair and round, of dense masses of black curly hair. And endued with every auspicious feature and of complexion like that of the emerald, she became the charmer of the hearts of five foremost of men. (Mahabharata. Book 1. Adiparva. Sambhavaparva. LXVII)

Draupadi’s brother, Dhrishtadyumna was identified as an incarnation of Agni, while Shikhandi was identified as incarnation of rakshasa (demon) and her children were identified as Vishva devas. It is notable that Drishtadyumna, Draupadi’s brother, who was born from fire along with her was identified as an amsa of Agni (God of Fire) unlike her, who is identified as an incarnation of Sachi.

O monarch, that the mighty car-warrior Dhrishtadyumna was a portion of Agni. And know also that Sikhandin, who was at first a female, was (the incarnation of) a Rakshasa. And, O bull in Bharata’s race, they who became the five sons of Draupadi, those bulls amongst the Bharata princes, were the celestials known as the Viswas. Their names were Pritivindhya, Sutasoma, Srutakirti, Satanika, Nakula, and Srutasena, endued with mighty energy. (Mahabharata. Book 1. Adiparva. Sambhavaparva. LXVII)

Mahabharata includes an exceedingly flattering description of Draupadi as she arose from the fire.

The fire-born woman was extremely beautiful. Her eyes were black and large as lotus-petals, her complexion was dark, and her locks were blue and curly. Her nails were beautifully convex and bright as burnished copper; her eyebrows were fair, and her bosom was deep. Indeed, she resembled the veritable daughter of a celestial born among men. Her body gave out fragrance like that of a blue lotus, perceivable from a distance of full two miles. Her beauty was such that she had no equal on earth. Like a celestial herself, she could be desired (in marriage) by a celestial, a Danava, or a Yaksha (Mahabharata. Adiparva. CLXIX).

As she arose from the fire a celestial voice said portending her future, “This dark-complexioned girl will be the first of all women, and she will be the cause of the destruction of many Kshatriyas. This slender-waisted one will, in time, accomplish the purpose of the gods, and along with her many a danger will overtake the Kauravas” (Section CLXIX).

Seeing the twins, the queen came forward and requested the sage Yaja that she be their mother. Yaja said, ‘so be it,’ and left. The brahmanas assembled there blessed the children giving them names. They named the son Dhrishtadyumna because he was born like a ‘Dyumna’ with natural mail and weapon and he was audacious. They named the fire-born woman Krishnaa, a word signifying her darkness. However, as a daughter of Drupada, she is widely known as Draupadi.

As a fire-born woman Draupadi is born an adult, hence did not undergo childhood like other normally born human beings. Hence, the start of her journey is unique as it proceeds to svayamvara and marriage with Pandavas. From her marriage to her final journey, the Mahaprasthanam, it’s a tumultuous journey.

Second Stage of Draupadi’s Journey: Marriage and Queen of Indraprastha

The second stage is the happiest phase of Draupadi’s life as she got married to the Pandavas, becoming the queen of Indraprastha. Draupadi’s journey began with her birth from fire and the symbolism of fire is also clear in the next episode of her life following her marriage. The marriage of Draupadi to Pandavas is a complicated episode. However, following the marriage symbolism of fire comes forth as burning the forest of Khandavaprastha (Mahabharata. Book 1. Adiparva. Khandavadahana Parva. Section CCXXIV–CCXXXVI) forms the prelude to their arrival in Indraprastha and construction of their palace, the Mayasabha.

As the news of Draupadi’s svayamvara (Mahabharata. Adiparva. Section CLXXXVI) spreads far and wide, numerous princes, as well as the general public including brahmanas, began proceeding towards Pancala. It so happened that the Pandavas also began their journey toward Pancala at this time along with their mother, Kunti. As they were on their way toward Pancala they were met by a large group of brahmanas on their way to Pancala, who invited Pandavas to join them. They said that Drupada arranged svayamvara of his daughter, Draupadi, praising her beauty: “Of eyes like lotus-petals and faultless features endued with youth and intelligence, she is extremely beautiful. And the slender-waisted Draupadi of every feature perfectly faultless, and whose body emits a fragrance like unto that of the blue lotus for two full miles around” (CLXXVI). The brahmanas also described the festivities, performances, and the expected gifts for brahmanas, adding that, “Ye are all handsome and like unto the celestials! Beholding you, Krishna may, by chance, choose someone from amongst you superior to the rest. This thy brother of mighty arms and handsome and endued with beauty also, engaged in (athletic) encounters, may, by chance, earn great wealth” (CLXXXVI). How prognostic those words proved to be as Arjuna won archery competition at the svayamvara resulting in not one but all five of them marrying Draupadi. Dharma agreed to join them with his family traveling toward Pancala for some time.

However, the Pandavas proceeded slowly toward Pancala camping on the way in the forests and groves. They also met Vyasa on their journey. Taking blessings from him they reached the capital of Pancala, where the svayamvara was being held. They set up their stay at a potter’s house and continued to live as brahmanas remaining unrecognizable to anyone there.

Drupada has always intended to marry his daughter, Draupadi, to Arjuna the best archer of Bharata. Hence, he designed a special bow and a moving target that could not be easily strung by anyone. It only could be strung and shot by the best archer. After sixteen days of celebrations and artistic performances came the day of svayamvara. As Draupadi entered the arena with her brother Drushtadyumna, who said the following words introducing the contest for winning the Draupadi: “Hear ye assembled kings, this is the bow, that is the mark, and these are the arrows. Shoot the mark through the orifice of the machine with these five sharpened arrows. Truly do I say that possessed of lineage, the beauty of persons, and strength whoever achieves this great feat shall obtain today this my sister, Krishna for his wife.” He also read the names of assembled kings to Draupadi (Section CLXXXVII).

Many of the assembled kings attempted to string the bow and failed. None of the assembled kshatriyas were successful in their attempts. As the princes and kings failed, others were invited to attempt. At this juncture, Arjuna dressed as a poor brahmana rose to attempt the challenge. To the surprise of many Arjuna strung the bow and shot the moving target (CLXL). Arjuna soon left the arena with Draupadi and his brothers. Recognizing that they must be the Pandavas (CLXLI) Krishna and Balarama followed them to their residence (CLXLII). Reaching their residence they announced to Kunti that they brought special alms. Without seeing them or Draupadi, Kunti told them all to enjoy, thinking they might have got some nice food. Realizing her mistake Kunti talked to her sons on how to rectify her command given in haste so that she might not incur the sin of being untruthful. However, the Pandava brothers discussed among themselves finally deciding to marry Draupadi together to honor their mother’s word (CLXLIII). Krishna and Baladeva reached the residence of Pandavas. They stayed for a few minutes speaking to the Pandavas and left fearing that anyone may discover them. Unknown to them all Draupadi’s brother Drushtadyumna also followed the Pandavas to their residence and hid clandestinely in the potter’s residence (CLXLIV). Staying there all night he learned information about Pandavas and reaching home in the morning, informed his father Drupada (CLXLV). Learning that Arjuna had in fact won the archery challenge at the svayamvara as he had intended, Drupada felt elated and invited his priest to make arrangements for the impending wedding. Having made the arrangements for the wedding he had invited the Pandavas. Yudhisthira upon his arrival informed Drupada of their decision to marry Drauapadi together. This decision shocked Drupada who objected to it saying that, “O scion of Kuru’s race, it hath been directed that one man may have many wives. But it hath never been heard that one woman may have many husbands! O son of Kunti, as thou art pure and acquainted with the rules of morality, it behoveth thee not to commit an act that is sinful and opposed both to usage and the Vedas. Why, O prince, hath thy understanding become so?” (CLXLVII).

While they were discussing the wedding, sage Vyasa arrived there. Drupada concerned about his daughter marrying five grooms consulted Vyasa about it. Vyasa drew Drupada to another room and explained to him the reason for this marriage and told Drupada to proceed with the wedding. Vyasa informed him that in her past life Draupadi was the daughter of a sage and could not get married in that life. Hence, she performed penances for Shiva. When Shiva appeared to bless her with a vara (boon), she repeated the phrase, “give me a husband,” five times. Hence, Shiva gave her the boon of five husbands to which the startled maiden replied that she only wanted one husband. However, Shiva told her that since she repeated her request five times he had blessed her so and it will happen in her next life (Section CLXLIX). Thus, satisfied Drupada conducted the wedding of his daughter to the five Pandavas. It is clear from this narrative diversion that the marriage was in fact conducted according to the wishes of Draupadi, even though, it was from her past life.

Although Draupadi had not spoken explicitly during this episode of her svayamvara and wedding, mostly remaining a passive participant, the wedding is still conducted on her wishes based on what she had spoken in her past life. As noted here in the words of Vyasa it was indeed Draupadi’s blessed wish. Therefore, Draupadi leads the path here of even though it appears as though the others have planned and conducted the wedding.

Draupadi’s marriage comes into discussion again when Krishna asked Karna to join in the Mahabharata war along with the Pandavas, defecting Duryodhana, as their elder brother being the son of Kunti. Krishna said, “During the sixth period, Draupadi also will come to thee (as a wife)” (Mahabharata. Udyogaparva. Section CXL) offering Draupadi as a wife in addition to the kingdom and family honor as the eldest of the Pandavas. However, Karna refused to join the Pandava side, due to his loyalty to his friend Duryodhana.

Vidura, heard about the wedding of Pandavas with Draupadi and went to Dhritarashtra and said that the “Kauravas are prospering with good luck” (Section CCII). Assuming that his son Duryodhana had married Draupadi, Dhritarashtra ordered that a great reception and celebrations be arranged for their arrival. This shows how selfishly motivated the blind king had been to see his sons succeed at the expense of Pandavas. As far as Dhritarashtra is concerned Pandavas died in the lacquer-house in Varanavata. Hence, this seemed to be an opportune moment for Dhritarashtra to promote his son Duryodhana. However, Vidura informed him that Pandavas married Draupadi. However, Dhritarashtra could not change the decision he publicly gave even though his son Duryodhana and Karna were angered and objected to the celebrations (Section CCII). Incidentally, this helped Pandavas successfully enter Hastinapura. He was subsequently forced to cede part of the kingdom to Pandavas, so further problems could be avoided. It is clear from how he allocated a remote useless uninhabited forest land to the Pandavas to build their kingdom that he merely wanted to keep them away, but did not want to see them succeed; this despite knowing the fact that the kingdom he was ruling was ceded by their father Pandu, previously.

Vidura was sent to Panchala to invite Pandavas to Hastina. Pandavas along with their relatives and Krishna came to Hastinapura upon the invitation of Dhritarashtra (Viduraparva. CCIX). After sometime, Dhritarashtra invited them to the court and said, “Listen, O son of Kunti, with thy brothers, to what I say. Repair ye to Khandavaprastha so that no difference may arise again (between you and your cousins). If you take up your quarters there so no one will be able to do you any injury. Protected by Partha (Arjuna), like the celestials by the thunderbolt, reside ye at Khandavaprastha, taking half of the kingdom” (Viduraparva. CCIX).

Thus, begins the unique journey of Draupadi, not with one, but five husbands. Even though the episode presented Draupadi as a non-involved partner not expressing her wishes, in the end, it is noted that her wedding is held according to her wishes even though not of this life, but her previous life. Thus, it ensures that her life moves according to her wishes as the journey begins. Her arrival brought the kingdom and security back to the Pandavas. Building a great capital city at Indraprastha (Rajyalabhaparva. Section CCX), Draupadi and the Pandavas enter the next important stage of their life, the grihasta, householder. As they set up the household, the Pandavas made a rule to guide their relations with Draupadi so that, “when one of them would be sitting with Draupadi, any of the other four who would see that one thus must retire into the forest for twelve years, passing his days as a Brahmacharin (CCXIV).” Thus even though Draupadi is the common wife of five brothers this rule ensured the privacy and familial harmony of the Pandavas. Thus, living happily in Indraprastha, Draupadi gave birth to five children from her five husbands, Prativindhya (son of Dharma), Sutasoma (son of Bhima), Srutakarma (son of Arjuna), and Chudakarana and Upanayana (Nakula and Sahadeva), respectively (Adiparva. Book 1. Haranaharanparva. Section CCXXIII).

Duryodhana’s Humiliation and Dice

To celebrate their arrival and the completion of their capital city Pandavas arranged for a celebration. They invited a great many guests including their hundred cousins, the Kauravas. Here another important episode involving Draupadi is crucial to setting the course of her next part of the journey along with the Pandavas.

Duryodhana recollects the humiliation he felt when he visited the palace of Pandavas in Indraprastha while seeking his father’s permission to invite Pandavas for a dice game as a ruse to take revenge on the Pandavas (Section XLIX). When he visited the palace he saw a beautiful pond filled with lotuses and drew his clothes up so they might not get wet while passing through it. Seeing this Bhima laughed at him. Although angered at Bhima’s laughter to the extent that he wished to kill Bhima right then and there, but Duryodhana controlled himself and continued his visit. While recollecting the incident to his father Dhritarashtra he said that he controlled his anger as he thought if he killed Bhima there, he might have faced the same fate as that of Shishupala, who was killed by Krishna on that day. However, he couldn’t forget it as he said, “that insult by the enemy burns me,” while recollecting the incident. While he was visiting the palace, he found another pond filled with lotuses. Assuming it to be an illusory pond as the previous one he walked straight into it thereby falling headlong into the pond wetting himself and his clothes. At this second incident, he felt even more humiliated as Bhima and Arjuna laughed at him derisively. Besides, Draupadi also laughed at him joined by other women accompanying her. Remembering this incident, Duryodhana said, “it pains my heart uncontrollably.” Following that he was offered a change of clothes, which he said, “my great sorrow.” However, he continued his tour of the palace, this time hurting his forehead trying to enter into what seemed like a doorway, but instead, he knocked his head on what happened to be a stonewall. Hitting his head on the stone he hurt his head. Seeing that he was hurt the twins, Nakula and Sahadeva came to his help and supported him in their arms, expressing great concern. As Duryodhana recollected this event later with chagrin, Sahadeva told him repeatedly, “Oh King this is the door, go this way.” Bhima also laughing loudly told him, “Oh son of Dhritarashtra! This is the Door.” These repeated reminders felt insinuating to Duryodhana. He was offended by repeated reminders by three of the Pandava brothers in a sequence, which incensed Duryodhana beyond his control. Returning home he recollected the series of these three humiliations, that is, lifting his clothes at the faux pond, falling headlong into the pond, and hitting his head on the wall thinking it was an entrance. Duryodhana’s humiliating experiences at the Pandava’s palace insinuated him to plan to take revenge on the Pandavas, which led to numerous incidents ultimately resulting in the Mahabharata war.

Even though there are a series of events that caused the anguish to Duryodhana Draupadi’s laughter took on a life of its own in popular culture leading to the composition of numerous stories.Footnote 3 The Telugu Mahabharatamu recollected the event very briefly in a single poem but makes it a point to stress her laughter by mentioning her prominently along with the Pandavas (Andhra Mahabharatamu. Sabhaparvamu. Verse. 86. page. 287.). Draupadi, therefore, forms the central heroic figure of the story from here onwards. Duryodhana is centrally focused on humiliating her and insists on Draupadi going on exile with the Pandavas, showing that even though he was upset with their humiliation he singled out Draupadi for his humiliation and hardship. It is hard to know if this was driven by jealousy that they could not win Draupadi at the svayamvara or that her arrival meant the return of Pandavas and the eventual acquirement of their kingdom and building of their capital. Whatever it may have been it is clear from here onwards that Draupadi is central to the course of Mahabharata as much as the heroes.

Third Stage of Draupadi’s Journey: Dice and Exile

The third stage of Draupadi’s journey is the most excruciating stage of her life. From being the fire-born and the most adored princess of Pancala to becoming the queen of Indraprastha her life was joyful. But the third stage begins with a dice game followed by her humiliation in the assembly hall, which gets worse with each step of the journey. She was abducted, loses her identity completely to become a maid, and sexually harassed. Naturally, she was enraged with humiliation in the assembly hall followed by various other trials and tribulations in the twelve plus years of her exile. Therefore, she was not too enthusiastic about the peace negotiations at the end of their exile.

Scholarly debates raged on whether Draupadi was even dragged to the assembly hall, or if any of the events regarding her disrobing and dragging her by the hair were part of the narrative of the Mahabharata (Bhattacharya 2005:149–52; Dhavalikar 1991:523–26; Mehendale 1990:285–90). However, it seems plausible that Draupadi somehow stopped the dice game so that they have to be brought back to the dice game again. Noting is said on how easy it had been to convince Pandavas on their way back to return to participate in another dice game immediately shows that the series of humiliations such as disrobing of Draupadi or dragging her by her hair might not have happened during the first round of the dice game. It is uncertain if Dharma and his brothers would have so readily agreed to return for a second game if their public humiliation including their wife was forced to disrobe in the assembly, had truly transpired. However, this episode is part of most major versions of the text as well as regional stories and traditions, which memorialized it through dance-dramas, such as Draupadi Vastrapaharanam and Draupadi Capatham. These episodes whether part of the original tale or not must be taken as evidence for the centrality and significance of Draupadi as heroic feminine and divine feminine in popular imagination at some early date of its composition. The Telugu MahabharatamuFootnote 4 translated from Sanskrit at the beginning of early centuries of the second millennium (1023 CE) contains detailed descriptions of these events (dragging Draupadi to the assembly by her hair and disrobing her in the assembly) described in the second chapter (dviteeyasvasamu) of Sabhaparvamu (Sabhaparva) (Andhra Mahabharatamu 2000 [1910]. Page 299–305). Even though the Telugu Mahabharatamu is composed by three poets (Kavitrayamu) Nannayya, Tikkana, and Erranna, over two centuries, the Adi, Sabha, and Aranya parvas were translated by Nannayya at the turn of the second millennium, and hence I fixed an early date for the events discussed in these chapters. These events of Draupadi’s humiliation are discussed again in the first chapter (prathamasvasamu) of Aranyaparvamu, in which she recounts her humiliation to visiting Yadavas, including Krishna and others (Page 327–329). Hence, I think these events must have been part of the Mahabharata by the early centuries of the first millennium of Current Era (CE) to have been so powerfully entrenched in the story to have been translated into numerous regional languages, including Telugu toward the end of the first millennium of the CE.

Dice and Humiliation of Draupadi

Obtaining the permission of his father thus the Kauravas dispatched Vidura to fetch Pandavas for a dice game (Section LVII). Yudhisthira accepted the challenge to play with Sakuni saying that, “summoned I do not withdraw. This is my established vow.” Thus, the dice game began (LVIII). In the ensuing game of dice, Yudhisthira lost all his wealth, his brothers, and himself in that order; he finally staked Draupadi and lost her (LXIV). As Yudhishthira lost the game Duryodhana was elated and sent Suta to fetch Draupadi, saying, “Come, Kshatta, bring hither Draupadi the dear and loved wife of the Pandavas. Let her sweep the chambers, force her thereto, and let the unfortunate one stay where our serving-women are” (LXV).

Suta went to the quarters to bring Draupadi. However, Draupadi asked him, “whether Yudhishthira lost himself first or Draupadi first.” She asked Suta to go back to the assembly to find the answer from Yudhishthira and then come back to fetch her (LXVI). Suta went back to the assembly and asked this question. To this Duryodhana said, “Let the princess of Panchala come hither and put her question. Let everyone hear in this assembly the words that pass between her and Yudhishthira.” Having said this Duryodhana ordered Suta to go again to fetch Draupadi immediately whatever she may have been doing or whatever her condition may have been. The Suta hesitated to go. Hence, Duryodhana sent his brother Dusshasana, to bring Draupadi to the assembly. However, hearing Dusshasana’s orders Draupadi ran toward the Kaurava women’s quarters. Eventually, Dusshasana entered the assembly hall dragging Draupadi by her disheveled hair, dressed in a stained saree due to her menstruation.

With hair disheveled and half her attire loosened, all the while dragged by Dussasana, the modest Krishna consumed with anger, faintly said—“In this assembly are persons conversant with all the branches of learning devoted to the performance of sacrifices and other rites, and all equal unto Indra, persons some of whom are really my superiors and others who deserve to be respected as such. I can not stay before them in this state. O, wretch! O thou of cruel deeds, drag me not so. Uncover me not so. The princes (my lords) will not pardon thee, even if thou hast the gods themselves with Indra as thy allies. The illustrious son of Dharma is now bound by the obligations of morality. Morality, however, is subtle. Those only that are possessed of great clearness of vision can ascertain it. In speech even I am unwilling to admit an atom of fault in my lord forgetting his virtues. Thou draggest me who am in my season before these Kuru heroes. This is truly an unworthy act. But no one here rebuketh thee. Assuredly, all these agree with thee. O fie! Truly hath the virtue of the Bharata gone! Truly also hath the usage of those acquainted with the Kshatriya practice disappeared! Else these Kurus in this assembly would never have looked silently on this act that transgresseth the limits of their practices. Oh! both Drona and Bhishma have lost their energy, and so also hath the high-souled Kshatta, and so also this king. Else, why do these foremost of the Kuru elders look silently on this great crime? (Section LXVII)

After much discussion in the assembly, it had been decided that the Pandavas have lost the dice game as Yudhishthira willingly staked all and lost. Hence, Duryodhana ordered the Pandavas and Draupadi to disrobe, which the Pandavas obeyed, while Draupadi remained in shock. Dusshasana began forcefully disrobing Draupadi. She cried bitterly screaming for help loudly, “Govinda…” and prayed to Krishna to save her (LXVII). Thereby hundreds upon hundreds of robes flowed endlessly and Dusshasana became tired of pulling the robes. Thereby, Vidura asked the assembly to think upon the question Draupadi asked. Thereby Karna told Dussasana “take this serving-woman into the inner apartment,” following which Dusshasana began dragging Draupadi toward the Pandavas (LXVII).

Draupadi asked Dusshasana to stop for a minute, paid her respects to the elders in the court, and asked her question again. Even under extreme duress as she was disrobed, she did not lose her composure, and continued to question the veracity of their actions, pointing out the lawlessness of Dhritarashtra’s son’s actions. This eventually makes Dhritarashtra repent and offer redressal to Draupadi in the form of boons. I quote the important questions raised by Draupadi here:

Alas, only once before, on the occasion of the Swayamvara, I was beheld by the assembled kings in the amphitheater, and never even once beheld afterward. I am today brought before this assembly. She whom even the winds and the sun had seen never before in her palace is to-day before this assembly and exposed to the gaze of the crowd. Alas, she whom the sons of Pandu could not, while in her palace, suffer to be touched even by the wind, is today suffered by the Pandavas to be seized and dragged by this wretch. Alas, these Kauravas also suffer their daughter-in-law, so unworthy of such treatment, to be thus afflicted before them. It seemeth that the times are out of joint. What can be more distressing to me, than that though high-born and chaste, I should yet be compelled to enter this public court? Where is that virtue for which these kings were noted? It hath been heard that the kings of ancient days never brought their wedded wives into the public court. Alas, that eternal usage hath disappeared from among the Kauravas. Else, how is it that the chaste wife of the Pandavas, the sister of Prishata’s son, the friend of Vasudeva, is brought before this assembly? Ye Kauravas, I am the wedded wife of king Yudhishthira the just, hailing from the same dynasty to which the King belonged. Tell me now if I am a serving-maid or otherwise. I will cheerfully accept your answer. This mean wretch, this destroyer of the name of the Kurus, is afflicting me hard. Ye Kauravas, I cannot bear it any longer. Ye kings, I desire ye to answer whether ye regard me as won or unwon. I will accept your verdict whatever it be. (LXVIII)

Bhishma spoke and said that only Yudhishthira could explain if Draupadi was won or not won. Karna had answered that as a wife of those that became slaves she had no rights, but to serve whomever her husbands serve (LXX). Duryodhana asked Yudhishthira to answer. Finally, Dhritarashtra spoke to Draupadi telling her to ask for a boon (LXX). She requested that Yudhishthira be freed so that their child Prathivindhya might not be called the son of a slave. Dhritarashtra offered another boon to Drauapadi. She requested that Bhima, Arjuna, and the twins might be freed from bondage. Dhritarashtra offered the third boon to Draupadi, which she respectfully declined thanking Dhritarashtra.

This is the most shining moment for Draupadi. As the Pandavas were freed due to the wisdom of Draupadi, Karna said, “We have never heard of such an act (as this one of Draupadi), performed by any of the women noted in this world for their beauty. When the sons of both Pandu and Dhritarashtra were excited with wrath, this Draupadi became unto the sons of Pandu as their salvation. Indeed, the princess of Panchala, becoming as a boat unto the sons of Pandu who were sinking in a boatless ocean of distress, hath brought them in safety to the shore” (Section LXXI). Even though Karna merely said this to deride the Pandavas, it indicates the public acknowledgement of Draupadi’s intellectual strength.

This sums up the first steps in the third stage of the journey of Draupadi life. Even though narratives blamed that Draupadi might have somehow contributed to the anger of Duryodhana through her laughter, which resulted in the dice game and the eventual losses. It was only Draupadi’s wisdom and sharp incising questions on Dharma that saved them from the bondage. However, her reason for saving Dharmaraja first was due to concern for their child. These are the events in the Mahabharata that amplify the true nature of Draupadi. She was able to think and reason with learned assembly of men under extreme stress and humiliation. This makes Draupadi the foremost of women leaders of her time. This is one of the reasons she is accepted as divinity and worshipped as an inspiration for women to be prepared to face life under duress.

Druapadi’s story demonstrates the futility of categorizations previously applied divine feminine/divine heroic. In her quest to save her husbands she might be categorized as a benevolent wife Goddess, but in her response to the extremely humiliating circumstances and her later reaction, she could be categorized similar to Kali or other so called terrifying Goddesses. Here again, the futility of such categorizations that dominated the analysis of Indian classical texts in the scholarship in the areas of religious studies and anthropology stands inadequate. Hence, the epic heroines necessitate examination based on their characteristics rather than imposed categorizations. As a true heroic Draupadi took the humiliation to her heart but she did not let that define her. She chose to consider it as a menace rather than anything that could affect her personality. Requesting her boons for the release of her husbands she considered the condition of her children rather than herself or her husbands.

It appears from the narration of the events in the Mahabharata that Draupadi and the Pandavas considered this event as a menace rather than a great degradation. The text does not narrate their discussion of the event as they began proceeding toward Indraprastha. Although Draupadi remembers it until the end to demand the ‘severed arm’ of Dusshasana, internally it hadn’t caused great disturbance in the Pandava household. In India, it is very common for monkeys to run away with clothes of bathers from the river ghats. It is considered a menace rather than humiliation. Similarly, in this episode Pandava’s considered the disrobing in the assembly merely as a menace, and not as painful humiliation. Although the Pandavas were asked to disrobe and Dusshasana attempted to disrobe Draupadi forcefully, it did not lead to great consternation among the brothers. Draupadi had not urged them to consider the severity of the event at that point. This might have been the reason that the Pandavas have returned readily to play dice a second time when they were still on their way back.

Draupadi’s travails do not end with this but continue to mount as the Pandavas, especially since Dharma (Yudhisthira) had not vowed to stay away from gambling following this most harrowing incident. Within a little while later, Dhritarashtra decided to send a trusted Suta for Pandavas to come back to participate in the game of dice again (LXXIV). Most importantly Yudhisthira did not decide to not repeat the same mistake, which is the root cause of all impending disasters they were to face next. A trusted messenger of Dhritarashtra was dispatched promptly, who met the Pandavas although they have traversed far, still on their way home. Yudhishthira did not need much persuasion as he readily agreed as if he gave up his will to fate, saying, “Although I know that it will prove destructive to me, yet I cannot refuse.” Thus, a second dice game is played (LXXV). This time the stakes were that anyone losing must spend twelve years in forest exile, with the one final year spent in a habitation under incognito, a total of thirteen years of exile. More dire is the next rule, that, if one were to be discovered in the final year of incognito exile each were to repeat the exile for another twelve years. Dharma had agreed to wager off twelve-plus years of their freedom of life for a mere dice game.

At the end of the exile each to have his kingdom back (LXXV). Even though many of the wise men in the assembly exclaimed ‘no’ and offered ethical considerations, Yudhishthira played the dice with Sakuni and lost again. Thus, the Pandavas were ordered to leave for exile with their wife, Draupadi. The Mahabharata includes description and thoughts of Draupadi and her thought, which may serve as a portent for the Mahabharata war and thus spells doom for the Kauravas: “And Draupadi goes, attired in one piece of stained cloth, her hair disheveled, and weeping, signifying—‘The wives of those for whom I have been reduced to such a plight, shall on the fourteenth year hence be deprived of husbands, sons, and relatives and dear ones and smeared all over with blood, with hair disheveled and all in their feminine seasons enter Hastinapura having offered oblations of water (unto the manes of those they will have lost)” (LXXIX).

Thus, come to naught all the earlier efforts of Draupadi to save the Pandavas from humiliation. This begins the next chapter of Draupadi’s journey, which brings numerous other challenges for her through which she wades without wavering.

Exile and War

Three important episodes from the thirteen-year-long exile are centered on Draupadi: Discussion of Draupadi and Satyabhama (Book. 3. Draupadi Satyabhama Samvada. Section CCXXXI–CCXXXIII), Abduction of Draupadi (Book 3. Draupadiharana Parva. CCLXI–CCLXL), Killing of Kichaka in Mastya kingdom (Book 4. Virataparva. Section XIV–XXV). After narrating the long list of chores she did for her husbands and her household which made night and day seem the same, Draupadi said, other than hard work, which had been her charm other than that she had no charms adding that, “Never have I practiced the charms of wicked women, nor do I ever wish to practice them” (CCXXXI). Discussion of Draupadi and Satyabhama is dedicated to the puzzle of her living with five husbands, which seems to have been a concern even during the composition of the Mahabharata, so as to dedicate an important section to discuss this important aspect of Draupadi’s life. Draupadi’s contrasting discussion of her insistence of her obedience is notable in this section (Patton 2007:97–109). Another discussion took place during her wedding on how appropriate is that she is wedded to five husbands as the founder-composer Vyasa appearing to clear the concerns of Draupadi’s father. However, these concerns persisted, it seems, as it finds expression in the question of Satyabhama to Draupadi. It seems the wifely duties and household chores remain the same for the most part as Draupadi narrated here.

One day while Draupadi was alone in their forest residence, Jayadradha, king of Sindhu, passing by with six other men seized her and abducted her with evil intention (CCLXII–CCLXIV). They stopped there wondering if she was a yakshi or a divine woman. Even though Draupadi tried to dissuade them they persisted and dragged her in their attempt to assault her. The Pandavas chased them capturing Jayadratha. They set him free at the command of Draupadi (CCLXX) and Dharma but shaved his head partially leaving only five tufts of hair on his head. This is one of the bitter experiences for Draupadi even though not much is made of it in the Mahabharata, and Draupadi forgave him honoring the word of Dharma that Jayadratha was the husband of their cousin, Dusshala, the lone sister of Duryodhana. This episode of Draupadi’s life had been compared to the abduction of Sita, although it was a foiled attempt and abduction hadn’t taken place, saying, “Draupadi’s fidelity after her handling by Jayadratha goes without question (Hiltebeitel 2007:116).

At the end of their thirteen years of exile in the forests, Pandavas began their thirteenth year of exile in the Mastya kingdom. Draupadi took up the job of the maid as Sairandhri to the queen. Once visiting the queen her brother Kichaka took a special interest in Draupadi and asked her for sexual favors. Informing Bhima of the misbehavior of Kichaka, Draupadi told him that Kichaka must be killed saying that she would kill herself if Kichaka lived another day. She said, “Do thou, therefore, smash this lustful wight even like an earthen pot dashed upon a stone. If, O Bharata, tomorrow’s sun sheds his rays upon him who is the source of many griefs of mine, I shall, surely, mixing poison (with some drink), drink it up,—for I never shall yield to Kichaka. Far better it were, O Bhima, that I should die before thee.” (Mahabharata. Book. 4. Virataparva. Kichakavadha Parva. Section XXI)

Draupadi and Bhima devised a plan together. Draupadi tricked Kichaka to visit her in the night. However, in her place, Bhima met him in the night disguised as Draupadi. Even though Bhima’s assuming feminine garb is fleeting and secretive, necessitated by the rule of incognito exile, it was interpreted as ‘transsexual roles of Arjuna and Bhima’ (Sutherland 1989:70). In Bhima’s case it is a simple dress-up trick. While Kichaka endearingly touched Bhima, he grabbed his hand and completely crushed Kichaka to death.

Kichaka’s sexual harassment of Draupadi is one of the very frustrating situations Draupadi faced. With this Draupadi faced all the humiliations that a woman could face under the helpless circumstances, that of public humiliation (Dusshasana), abduction (Jayadratha), and sexual harassment (Kichaka). Draupadi remained fierce nudging her husbands to action. This is the crucial test for Draupadi’s leadership qualities. She not only survives her humiliations but nudges her husbands into action, bringing closure to her humiliations. Male perspectives of interpretations of these episodes of attacks on Draupadi are construed to ‘raise questions about their masculinity,’ (Sutherland 72) rather than the attractiveness and sexuality of Draupadi as the text notes. A person’s strength of character shines the brightest when the person is subjected to the most excruciating circumstances of life. In Draupadi’s case it is one adversity after another, but Draupadi emerges the strongest with each passing adversity, finally nudging her husbands to war. 

Stage Four of Draupadi’s Journey: Return and the Great War

Events in this stage of her life indicate her return to her own element. The fierce fire-born woman speaks her mind, while her husbands send Krishna for peace negotiations. There are numerous folk tales based on her story in this episode. Folk tales in the Telugu region associate her with Kali, for her nudging her husbands into war. Folk tales also narrate her walking on the battlefield of Kurukshetra at night appearing as Kali, the fearful form of the Goddess.

With the end of their exile, the Pandavas and Draupadi returned, but Duryodhana refused to return their kingdom. As the Pandavas request Krishna to help negotiate a peace treaty with Duryodhana, Draupadi expressed her opinions reflecting on the reality of impending war. Draupadi objected to her husbands’ moral stand for negotiating for peace to avoid annihilation of the race. She recollected her humiliation at the hands of Dusshasana saying that she could not have peace until she beheld that “severed hand of Dusshasana,” (Section LXXXII). Although she asked only the severed hand of Dusshasana in the Mahabharata folk tales abound on how she did not tie her hair since it was touched by Dusshasana on that unfortunate day of Draupadi’s humiliation in the assembly. Folk tales also mention that she requested Bhima to rub her hair with the blood of Dusshasana as a precondition to tie her hair again.Footnote 5

Draupadi’s fire symbolism comes to the fore as she requested Krishna that Duryodhana and his brothers must be vanquished. Draupadi said, “Thirteen long years have I passed in expectation of better times, hiding in my heart my wrath like a smoldering fire. …Uttering these words with voice choked in tears, the large-eyed Krishnaa began to weep aloud, with convulsive sobs, and tears gushed down her cheeks…began to drench her close and deep bosom by the tears she shed which were hot as liquid fire.” (Mahabharata. Book.5. Udyogaparva. Bhagavata Yana Parva. Section LXXXII)

While Draupadi mentioned that for the thirteen years of exile her wrath had been smoldering in her heart, the narration of Mahabharata describes that the tears of Draupadi were ‘hot as liquid fire.’ Born of fire, living with fire generated out of humiliation meted out to her in the assembly of Kauravas, even her tears were like liquid fire. As she desired that Krishna’s efforts to negotiate peace fail, her wish for is materialized as Duryodhana destroyed the negotiations by attempting to capture Krishna. Hence, Pandava’s declared war and began their preparations for war. As the Mahabharata war begins Draupadi’s family played a major role in the battle with her brothers Shikhandin vanquishing Bhishma, and Dhristhadyumna vanquishing Drona and numerous other Kaurava heroes.

The Mahabharata War

The most important event in the Mahabharata for Draupadi as far as the Mahabharata war is concerned is Bhima’s killing of Dusshasana (Mahabharata. Book. Karnaparva. 83). Bhima defeated Dusshasana. Bhima ‘recollected the seizure of Draupadi’s tresses and her disrobing while she was ill,’ roared that he will kill Dusshasana (Section 83).

Although Draupadi merely asked for the ‘severed hand of Dusshasana Duryodhana,’ Bhima went completely berserk in anger on that battlefield unable to control himself. As Dusshasana fell on the battlefield Bhima approached him to cut open his chest and drank his blood. Seeing that many of the Kaurava forces on the battlefield ran away saying, Bhima is a rakshasa. Bhima is satisfied that he fulfilled his vow to avenge the anguish of Draupadi.

All of Draupadi’s children are also killed in the battle by Aswaththama in his night ride. Aswaththama reported in the end to Duryodhana who was also later defeated by Bhima. Aswaththama said, “All the sons of Draupadi have been slain, as also all the children of Dhrishtadyumna! All the Pancalas too have been slain, as also the remnant of the Matsyas, O Bharata! Behold the vengeance taken for what they had done! The Pandavas are now childless! While buried in sleep, the men and animals in their camp have all been slain! Penetrating their camp in the night, O king, I have slain Dhrishtadyumna, that wight of sinful deeds, as one kills an animal” (Mahabharata. Book. 10. Sauptikaparva. Section 9).

The Kauravas were killed so also the brothers and children of Draupadi. Her journey had been arduous and took a toll on her. The fourth stage of Draupadi's life marks return and revenge although it was the most arduous phase of her life. Her adversities in the third stage of her life strengthened her for the sorrow that she faced at the end of the Mahabharata war due to the death of her children and her brothers. However, with each stage of her life Draupadi’s heroic nature becomes clearer.

Fifth Stage of Draupadi’s Journey: Mahaprasthanam, the Final Journey of Draupadi

Draupadi reigned as the queen of the empire and along with Pandavas have undertaken the Mahaprasthana, journey on to the end. Draupadi joined the Pandavas on their final journey as she always did in the past. In this final journey, they passed through the land of Bharata reaching mount Meru. As they were proceeding rapt in yoga, Draupadi fell to the Earth (Mahabharata. Mahaprasthanikaparva. 2). While watching her fall to the Earth, Bhima asked his brother Dharma for the reason. To him Yudhisthira said, “O best of men, though we were all equal unto her she had a great partiality for Dhananjaya. She obtains the fruit of that conduct today, O best of men” (Mahaprasthanikaparva. 2). Thus, ends the life of Draupadi accompanying her five husbands till her last breath. However unfair it may seem Draupadi is punished for being the strongest of the group.

Conclusion

Draupadi sojourn is full of twists and turns. Her story is one rare tale impossible even to imagine. Each event of her life is unique only to her life. Draupadi’s birth from fire, marriage to five husbands, a humiliation in the assembly, as well as her travails during the exile are all deeply symbolic and need a book each to fully explore and evaluate her role and the deeper meaning embedded in it. That is the reason each stage of her life acquired popularity placing her in a firm place among her devotees memorialized throughout her numerous theatrical performances and festivals.

Draupadi is the female leader and the most adventurous heroine of the Mahabharata. Born from fire she is also symbolically connected with fire. As a common wife to the five Pandava brothers she endured ridicule and humiliation from their cousins, the Kauravas. Draupadi supported her husbands after the dice game through her questions on dharma to the assembly of Kauravas. Her presence of mind could only help them shortly, since the Pandavas played another dice game and lost. Finally, they were banished to a thirteen-year exile on the ruse of dice, which Dhama lost. Draupadi supported her husbands during the exile and during the Mahabharata war. Draupadi endured numerous hardships during their exile. Upon return she was the first to urge revenge opposing peace process. She was also strong enough to take on the great final journey (Mahaprasthanam) with her husbands even though she did not go all the way to Heaven. Draupadi is unique in her journey. She is also compared to Kali for her feisty nature. Folk narrative of Telugu, Tamil, and northern India remember her as Kali, a Goddess known for vanquishing the evil.

Draupadi took her journey in her stride as it came never bending, but always standing straight and facing up to all the challenges. In her multiple roles as sister, daughter, daughter-in-law, wife, and mother she faced unique challenges but did excellent justice to each one of those roles. Finally, her qualities of leadership shine in each episode of her life more than entitling her to the role of the ultimate feminine leader in the Mahabharata. It is only natural that she is memorialized through festivals, celebrations, and theatrical performances as the beloved divine feminine among the masses.