VOLUME-III, ISSUE-XII ISSN (Online): 2350-0476

ISSN (Print): 2394-207X

IMPACT FACTOR: 4.205
INTERNATIONAL JOURNAL OF MULTIFACETED AND MULTILINGUAL STUDIES

Am I the mother or father?” Individuality and Gender Roles in Devdutt

Pattanaik’s The Pregnant King

Dr. Shashank Gupta

Assistant Professor
Govt. P.G. College
Kurud, Dist: Dhamtari, Chhattisgarh
Abstract:
Many contemporary Indian authors are on the track of exploring the relationship between myth and gender in order
to explore unheard voices as well as sidelined issues. Revision of existing texts from ancient Indian mythology is a
prolific arena for reinterpretation. Various writers like Chitra Banerjee Divakaruni, Kavita Kane, Pratibha Ray,
Sharath Kommaraju, Amish Tripathi, to name a few, have been representing new dimensions and meanings to
muffled voices and ignored issues. The genre of revisionist writings in the Indian context cannot be complete without
the inclusion of the multi-faceted mythologist, Devdutt Pattanaik. His intriguing novel, The Pregnant King (2008)
provides a much-required platform to debate on issues of gender and identity. Replete with rich and complex images
and symbols from Hindu mythology, the novel raises many thought-provoking questions on the impact of gender
roles and restrictions on individuals and its response by the society. Included as a minor tale in the epic
Mahabharata, Yuvanashva’s story is recreated by Pattanaik from a fresh angle with intentional distortions in the
time-frame as well as characterization. This paper is an attempt to place the conflicting gender roles vis-à-vis the
social, political, and religious landscape of the then time. While analyzing various important questions on sexual
identity raised by Pattanaik in the book, the paper also looks at representation of variations in gender roles and
identities that do not conform to pre-conceived notions prescribed by the society.
Keywords: gender, patriarchy, feminine, masculinity, sexuality, mythology, maternal, society etc.

Devdutt Pattanaik is one of those few represents the various prejudices associated
contemporary Indian authors who have with queer people, who do not fit into the
opened up a new vista of thought and scope societal norms of gender binary. The
for literary research in the area of revisionist Pregnant King, in particular, explores this
texts. His monumental works Sita: An classification by the society which divides
Illustrated Retelling of the Ramayana (2013) people into male and female gender roles,
and Jaya: An Illustrated Retelling of the identities and attributes. It explores how
Mahabharata (2010) present the epics from specific gender roles, such as, giving birth,
an all together fresh perspective. Moving looking after the family and bringing up
forward in his quest for exploring unheard children are attributed to women, whereas
voices, Pattanaik takes up the issue of gender earning for the family is a typical role to be
binary in his novel, The Pregnant King played by men.
(2008), which probes into the kind of social
It is during the early 1970s that gender as a
boundary that does not encourage people to
social construct came to be used prominently.
cross or mix the gender roles. Pattanaik’s
Prior to that, the term mainly was used to
compilation of stories from various sources distinguish between biological sex
of Hindu mythology, Shikhandi and Other
differences and the related analysis and
Tales They Don’t Tell You (2014), also
compartmentalization of behaviours and

1st December 2016 Website: www.ijmms.in Email: ijmms14@gmail.com Page 1

VOLUME-III, ISSUE-XII ISSN (Online): 2350-0476 ISSN (Print): 2394-207X
IMPACT FACTOR: 4.205
INTERNATIONAL JOURNAL OF MULTIFACETED AND MULTILINGUAL STUDIES
competencies neatly into ‘masculine’ and inhabitants, the varna-dharma-ashrama
‘feminine’. This pronounced distinction concepts and the various political and
formed the basis of maintaining the cultural situation of that time. The second
patriarchal system of power and creating part of the book focuses on how the socio-
socially recognized gender specific roles. political situation demands that a king must
With the rise of feminism, the idea of gender have an heir and the various attempts of
as a social and patriarchal construct came to Yuvanashva to beget a child. This section
the forefront. Feminists vehemently protested portrays the various conflicts in gender roles
against the usage of gender as a synonym for that Yuvanashva come across and most
sex. importantly, his struggles to overcome the
Even after so much of women’s liberation prescribed rules of the society. The last part
movements over decades, we still see many of the book highlights Yuvanashva’s final
instances of the muddle between the two realization of the futility of those struggles,
terms in our day to day lives. Moria Gatens his renouncement of the world and
argues that the male body and the female movement towards Vanprastha ashrama. He
body have quite different social value and gives up his royalty and moves to the forest
significance and cannot help but have a as an ascetic, meets other ascetics, learns
marked effect on male and female from them, and finally wisdom dawns upon
consciousness – for example, masculinity is him. Pattanaik’s narrative presents the story
not valued unless being ‘performed’ by a of the king who could not beget a child from
biological male: hence the male body itself is any of his three queens. His life seems to be
imbued in our culture with the mythology of complete and harmonious in all other ways
supremacy, of being the human ‘norm’. This except the fact that his childlessness does not
paper explores how Pattanaik’s book takes up offer him the chance to perform within the
the thread from these arguments and presents various boundaries of pre-conceived gender
through the story of a mythological character roles. The author connects the plot to the
from the Mahabharata the various challenges events of the Great War of Kurukshetra and
that arise when classification in terms of like all the kings of his time, Yuvanashva too
gender binaries is threatened. The paper also wants to fight for the Pandavas. However, the
looks at Pattanaik’s representation of queen-mother, Shilavati, intervenes that he
variations in gender roles and identities that cannot go before fulfilling his responsibility
do not conform to pre-conceived notions that of producing a son. When everything fails, a
exist in the society. ritual fire-sacrifice is arranged to bless the
queens with children. However, in a turbulent
The Pregnant King explores the story of
situation during the sacrifice, the king
Yuvanashva, the king of Vallabhi, a passing
tale in the Mahabharata. The book is divided accidentally drinks the child-endowing magic
potion meant for his wives. The result is
into three parts. The first part gives the
disastrous as he discovers to his shock that he
background information about Ila vrita, the
is carrying a child in his thigh. The
rituals and the ways of living of its

1st December 2016 Website: www.ijmms.in Email: ijmms14@gmail.com Page 2

VOLUME-III, ISSUE-XII ISSN (Online): 2350-0476 ISSN (Print): 2394-207X
IMPACT FACTOR: 4.205
INTERNATIONAL JOURNAL OF MULTIFACETED AND MULTILINGUAL STUDIES
pregnancy and the birth of the child causes conflicting gender binaries. Some of these
complete confusion in the entire household, tales – Somvat, who surrenders his genitals to
but more so for the king, who is torn by become a wife; Arjuna who loses his
conflicting emotions which he is unable to masculinity for a year after being temporarily
comprehend. Devdutt Pattanaik’s book traces castrated by the celestial Urvashi; Ileshwara
the established gender roles sanctioned by the who becomes a god on full-moon days and a
society vis-à-vis the predicament of the king goddess on new-moon days - are weaved in
of what to call himself – the father, mother, The Pregnant King to draw references to
or king. Judith Butler in the preface to innumerable such instances in mythology.
Gender Trouble critically interrogates the
Pattanaik’s book connects the social,
terms “gender” and “sex” as socially and
political, and religious situation of the then
culturally constructed and paves the path to
time to the prescribed gender roles.
break the supposed links between these two
Yuvanashva is not recognized as the crowned
terms, so that gender and desire can be
king since he is childless. It is mandatory for
“flexible, free floating and not caused by
a king to fulfil the roles of husband and father
other stable factors”. Butler’s main objective, before taking up the role of ruling the
through this book, has been to look closely at
kingdom. Hence, Yuvanashva is a king only
the authenticity related to minority gendered
for namesake and the kingdom is in reality
and sexual practices, instead of accepting ruled by the queen-mother, Shilavati. The
those gender binaries blindly. The ‘author’s
book also traces the importance of kings and
note’ in the beginning of Pattanaik’s book
queens to abide by dharma and the law of the
clarifies the author’s intended distortion of
land which guides individuals’ behaviours in
the actual tale of Yuvanashva which was
the society. These gender roles are social
actually dated several generations prior to the
construct, but nevertheless are to be followed
battle of Kurusksherta. Pattanaik’s
rigidly and create conundrum about how to
protagonist is a contemporary of the
acknowledge such truths that contradict the
Pandavas and there are elaborate scenes of tenets of the prescribed rules of conduct.
discussions that Yuvanashva is engaged in
Analyzing these pre-determined socially
with the third Pandava, Arjuna. Pattanaik sanctioned gender roles, Nivedita Menon
also introduces characters like Shilavati, the
says, “…societies generally value
queen-mother; Mandhata’s brother; and ‘masculine’ characteristics more highly than
Shikhandi’s daughter, who do not find any ‘feminine’ ones and at the same time, ensure
mention in the original epic, mainly to bring that men and women who do not conform to
out the conflicting gender roles in the then these characteristics are continuously
society. Pattanaik’s more recent book disciplined into the appropriate behaviour.
Shikhandi and Other Tales They Don’t Tell For instance, a man who expresses sorrow
You explores similar dilemma in gender publicly by crying would be humiliated by
roles. The book brings to light that Hindu the taunt, ‘Auraton jaise ro rahe ho? (Why
mythology is replete with such instances of are you crying like a woman?) And who does

1st December 2016 Website: www.ijmms.in Email: ijmms14@gmail.com Page 3

VOLUME-III, ISSUE-XII ISSN (Online): 2350-0476 ISSN (Print): 2394-207X
IMPACT FACTOR: 4.205
INTERNATIONAL JOURNAL OF MULTIFACETED AND MULTILINGUAL STUDIES
not remember that stirring line of Subhadra Pattanaik’s book concentrates mainly on the
Kumari Chauhan’s - ‘Khoob ladi mardani, effect of gender restrictions on the central
who to Jhansi wali rani thi.’ (Bravely she protagonist, Yuvanashva. However,
fought, the Rani of Jhansi/ Like a man she conflicting gender roles can be witnessed in
did fight). What does this line mean? Even the case of the queen-mother, Shilavati too.
when it is a woman who has shown bravery, Shilavati is a princess who showcases all
it still cannot be understood as a ‘feminine’ characteristics of being an able leader right
quality. Bravery is seen as a masculine virtue from her young age. Had she been born a
no matter how many women may display it man, she would have definitely been her
or how few men.” In order to understand the father’s heir to the throne. Her parents
prescribed gender roles of the time better, it acknowledge her potential but in keeping
is imperative to explore Pattanaik’s use of the with the prescribed gender roles, Shilavati is
concept of sex and sexuality in the book. The married off to Prasenjit, the sole heir of
act of sex is presented mostly in an objective Vallabhi who is prophesied to die in two
way, thus, affirming the idea that sex is years. As the king’s widow, Shilavati gets the
merely an instrument to perform the duty of authority on throne, but Vallabhi never
carrying forward the lineage. Yuvanashva’s accepts her as the queen and waits for her son
physical relationships with his three wives Yuvanshava to claim the throne. Shilavati’s
border on the act of bodily attractions and desire to rule the kingdom overpowers her
performance for a reason rather than desire to see her son’s growth as a king.
expression of love or emotions. The resultant Yuvanashva is the king only in name, the
factor of producing the much-desired heir kingdom is ruled by the queen-mother. She
diminishes the possibility of gaining true keeps postponing Yuvanashva’s taking over
satisfaction in the physical bonding. the kingdom on the pretext of his inability to
Pattanaik also explores the various produce an heir. Thus, in Shilavati, we see
restrictions imposed by the society on the unfulfilled desires caused due to constraints
expression of one’s sexuality. Both Shilavati in performing set gender roles.
and Yuvanashva find it difficult to accept the A major part of Pattanaik’s book revolves
gender-based restrictions imposed on them. around Yuvanashva’s experience of
Pattanaik explores certain essential questions pregnancy and the development of his
through these restrictions imposed on one’s maternal instincts. When the king first
sexuality – Is it queer for a man to feel realizes his mistake and his body starts
emotionally like a woman? Is it ideal to deny showing the tell-tale signs of pregnancy, the
the throne to a capable woman because of her royal mother and other family members are
gender? How does society regard a person shocked and attempt to kill the child. After
who wishes to move beyond the diminutions the birth of the child, Shilavati decides to
of gender? What is the response of the distance Yuvanashva from the baby who is
society to such deviations? put in the queens’ chambers. The process of
giving birth, however, arouses in the king a

1st December 2016 Website: www.ijmms.in Email: ijmms14@gmail.com Page 4

VOLUME-III, ISSUE-XII ISSN (Online): 2350-0476 ISSN (Print): 2394-207X
IMPACT FACTOR: 4.205
INTERNATIONAL JOURNAL OF MULTIFACETED AND MULTILINGUAL STUDIES
profound stirring of maternal emotions and Pattanaik’s portrayal of the king’s agony
his body too starts showing various post- showcases how the set norms of gender roles
partum signs of motherhood. Immediately and sexuality prescribed by the society are
after the birth of the child, his body starts denounced. The child is moved to the eldest
craving for the touch of the child and natural queen’s chamber and people in the kingdom
maternal instincts are aroused in him. The are made known that ultimately the heir is
king’s expression at this stage even without born. Even though the family takes all
knowing what exactly has happened is precautions to keep the king away from the
important to understand that natural instincts child, whenever the baby would cry, the king
are not dependent on prescribed gender roles. would sing lullaby from his chambers, loud
Describing his feeling to the doctor, Asanga, enough for the child to hear him. Yuvanashva
the king says, “I feel strangely content and would try being a mother to his child in the
fulfilled. I feel happy. I feel like crying. I secrecy of his palace but could never muster
cannot explain it….I feel a strange feeling in the courage to break this news to the people.
my heart. A longing, a yearning….I feel as if He shares his desire for his child, Mandhata,
my body is incomplete. It is crying out for to call him ‘mother’ with his mother and
fulfilment. My heart feels heavy. It beats queens who urge him to curb this yearning
slowly. I feel a fullness in my chest. It is a for the sake of his reputation. Prescribed
strange feeling. A sweet suffering.” (TPK, gender roles, however, force Yuvanashva to
201) This conflict of prescribed notions of suppress his maternal instincts and distance
sexuality is not limited to the king’s emotions himself painfully from his child. He is torn
alone but is coursed through his body as well. between the tug of war of acting and feeling
When his sixth sense and maternal instinct like a father or mother. His individuality and
combine to make him realize that he had choice of gender performance come sharp in
delivered a child, he is shocked to see the contrast to the ones prescribed by the society
way nature had been twisted to serve the and dharma.
purpose of giving him an heir: Pattanaik’s intriguing tale is as much the
Asanga looked at the king. Milk was oozing story of Yuvanashva’s conflicts with
out of his chest. Yuvanashva followed the prescribed gender roles as the society’s
direction of Asanga’s eyes. ‘What is this?’ he reaction and response to his conflicts. The
asked. He wiped his chest with his hand and first reaction to his natural instincts comes
smelt the fluid. ‘It smells like milk.’ He from his own family, particularly his mother
tasted it. His eyes widened, ‘It is milk. who considers it a shame at the turn of such
Asanga, what is happening? Why is my body unnatural events in the royal family and takes
producing milk? It was a baby, was it not, immediate precautionary measure, first to kill
Asanga, in my thigh? I felt it. I knew it. I just the child and then later to distance the child
did not believe it. Where is it? Show me my from Yuvanashva. Pattanaik also explores the
child. Is it a boy or a girl?” (TPK, 203) king’s relationship with his three wives,
Simantani, Poulami, and Keshni after the

1st December 2016 Website: www.ijmms.in Email: ijmms14@gmail.com Page 5

VOLUME-III, ISSUE-XII ISSN (Online): 2350-0476ISSN (Print): 2394-207X
IMPACT FACTOR: 4.205
INTERNATIONAL JOURNAL OF MULTIFACETED AND MULTILINGUAL STUDIES
birth of Mandhata and their individual son, out of his second wife, as he felt for
reactions at this turn of events. Simantini, the Mandhata. Simantini and Keshni tried
eldest queen shares a good bonding with convincing him to create children with them
Yuvanashva and is particularly happy when after he bore his son, but Yuvanshva could
the child is given to her for rearing. She never again feel ‘right’ with himself in terms
becomes the acknowledged mother and also of his sexuality and duties.
is finally able to fulfil her dream of gaining Pattanaik’s fictional endeavour interrogates
the social status of motherhood. Whereas issues of male-female binary while
Simantini and Keshni understand the king’s emphasizing the inversions of gender roles. It
mental agony, his second wife, Poulami, also looks at the politics of the body vis-à-vis
ridicules him for having produced a child. the conflict of the body and the heart. The
Poulami keeps challenging the king’s contradicting forces are at play rendering
sexuality until he is forced to assume the Yuvanashva the body of a man and heart of a
prescribed gender role of a husband and woman filled with maternal instincts, and
perform accordingly. Pattanaik also Shilavati with the body of a woman and heart
highlights the reaction of Mandhata to his of a man desirous of power. This paper
father’s plea of calling him ‘mother’, a attempted at exploring the individual and
gender role reversal that he is unable to social reaction to gender reversal of roles and
accept until the end of the story. Yuvanashva probes deep into the fundamental questions
could never feel the same love for his second of various conflicts of the human psyche.
References:
• Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge,
2010 (First published in 1990).
• Gatens, Moira. Imaginary Bodies: Ethics, Power and Corporeality. London: Routledge, 2003 (First
published in 1996).
• Menon, Nivedita. Seeing Like a Feminist. New Delhi: Zubaan and Penguin Books, 2012.
• Pattanaik, Devdutt. The Pregnant King. Haryana: Penguin Books, 2008.
• Pattanaik, Devdutt. Shikhandi and Other Tales They Don’t Tell You. Haryana: Penguin Books, 2014.

1st December 2016 Website: www.ijmms.in Email: ijmms14@gmail.com Page 6