Elements
of Ecofeminism in The Serpent Mother
Dr.
Raju Parghi, Assistant Professor, Department of English
and MEL University of Allahabad
The
present paper is an attempt to analyse a popular folktale
entitled "The Serpent Mother" listed in Folktales from
India by A.K. Ramanujan, in the light of ecofeminist
studies. "The Serpent Mother" is a Gujarati folktale which
talks about the Hindu myth of the Naga or the serpent's
magic in giving the boon of fecundity to a barren mother and
blessings of marital happiness to a young daughter.
Ecofeminism is a theory that has evolved from various fields
of feminist enquiry and activism: peace movements, labour
movements, women's health care, anti-nuclear, environmental
and animal liberation movements. Drawing on the insights of
ecology, feminism and socialism, the basic premise of
ecofeminism is that the ideology which authorizes
oppressions such as those based on race, class, gender,
sexuality, physical abilities and species is the same
ideology which sanctions the oppression of nature.
Ecofeminism seeks to reiterate and establish a positive
correspondence between Nature and humans and suggests that
both are indispensable to the sustenance of the Mother
Earth.
The paper
seeks to analyse the interconnectedness between a woman and
the natural world which is established through the folktale,
"The Serpent Mother". In the
story, one finds how beautifully the human world and the
animal kingdom are dovetailed and merged into one. What
the text seems to reiterate is that the loving woman
treats the creatures in nature with love and kindness and
the natural world too responds by obliteration of all her
worries. This positive correspondence between Nature and
humans, which are projected by the text, is indispensable
for the sustenance of the Mother Earth.
Naga or the serpent in Hindu mythology is
revered and venerated for its miraculous powers and boon of
fecundity and bliss in marital life. In the Occident world,
the serpent is seen as the source of evil, as one which
brought upon the Fall of Man. Nampoothiri tries to see Naga in the light
of the evolving literary critical practice of ecological
feminism as against the portrayal of the serpent as evil and
satanic in Christianity:
“The action of the cobra in
tempting/leading gradually into a life based on female
fertility is illegal only in the eyes of male ideology or
world view. Deep ecology and ecological feminism and such
schools of ecosophy look upon even the action of the snake
in the Bibilical myth in tempting Eve and Adam to abandon
the “sterile” life of the Garden of Eden, as positive/
progressive. (Nampoothiri 216)
In the Oriental world the
Serpent or the Nagas are intricately dovetailed with the
pantheon of the Hindu Gods and Goddesses-- Vasuki as
an accomplice to Lord Shiva, Shesh Naga which is
mythically said to hold the universe together forms Lord
Vishnu's serpent bed, the snake Goddess Mansa is
revered in many parts of India. There are several temples in
South-India dedicated to worship of snakes. Takshak,
the chief among snake tribes, holds a special significance
among the Hindu majority of the country. Naga or snake also
forms a very important part of Yoga sadhana wherein
it is believed that the vital serpent energy in human body
is located in the muladhar or the base of the spine,
coiled up to be awakened through the opening of the seven
chakras. The magical powers of the Naga in liberating, the
female protagonist Rani from a life of sexual frigidity and
inferility is also the theme of Girish Karnad's famous play
Naga-Mandala. Interpreting
the play in terms of Kundalini energy, Collellmir studies
the Naga in the play in the light of the Indian concept of Kundalini Yoga,
…where the snake is the image of vital energy, or energy of
the cosmos [and] the process of development in human beings
consists in moving up this energy, coiled at the base of the
spine, so that the seven centres of energy and consciousness
(chakras) can be
progressively opened.
In the play it appears that
Naga has been successfully able to awaken the sexual
energies of Rani. He makes Rani understand that sex is
natural and enjoyable but not sinful. Similarly in the story
"The Serpent Mother", the young daughter in law is given the
boon of fecundity and material possessions by the Naga clan.
"The Serpent-Mother" reiterates the myth of
Naga's magic where again the snake gives the boon of
fecundity to a barren mother and blessings for marital
happiness to a young daughter. The
Serpent-Mother, again asserts the positive and sympathetic
relationship between the human and the animal world. The
folktale centres on an orphan, miserable, poor
daughter-in-law who is looked down upon at the home of her
in-laws and is forced to drudgery and exhaustive work at
home. She lives with her in-laws who have seven sons. All
the seven sons are married and their wives are well regarded
because they come from affluent families. Owing to her
poverty, the youngest daughter-in-law is ill-treated. She
has to wait for others to finish their meals before she gets
the scraps and remains to satiate her appetite. Then the
season for offering sweets to dead ancestors arrives. Khir
(rice pudding) is made at home. The youngest daughter-in-law
is pregnant and has a deep craving for khir but she
is not given any. So after the celebrations are over, she
collects the scraps of khir and plans to eat them
after she has fetched water from the well. She wraps the
scraps up in a piece of cloth and places it near a
snake-hole and goes to fetch water. In her absence a
pregnant female serpent, drawn by the smell of the sweet,
eats it up and decides the she would bite the owner of the
sweet if he/ she used abusive language or cursed the thief.
The gentle daughter-in-law on her return finds her khir crusts
missing. She only exclaims with sorrow—“Maybe, there’s
another unhappy woman like me somewhere around, and she may
have eaten it. Whoever
she is, let her be satisfied as I would have been.”
(Ramanujan, The Serpent. 255) On hearing this, the female
serpent comes out of the hole and speaks to her. The young
daughter-in-law tells her sad, anguished story of
humiliation and drudgery and tells her how she is
ill-treated because of being an orphan. The serpent, struck
by her sorrowful tale and her gentleness, tells her to
consider her as her paternal relative and promises her that
when the auspicious occasion of celebrating her first
pregnancy arrives, she would come with her kin to mark the
occasion. On the auspicious day, the female-serpent along
with her kin changed shape and came to fetch the young
daughter-in-law. They brought expensive gifts with them and
looked like queens and kings. The members of the
parents-in-law’s family were dumb-founded. Then they take
the young daughter in law for delivery. The fearless
daughter-in-law slips into the snake-hole and finds spacious
rooms in the underworld with beautiful swings and beds. The
female serpent is the Serpent-Mother and the matron of the
family. She also meets the Snake God with jewels on his head
and a big moustache who treats the young daughter-in-law as
his daughter. Then the time comes for the Serpent-Mother to
deliver. The Serpent-Mother tells the young daughter-in-law
that they eat up their babies to maintain the balance in
nature or else there would be no place for any other
creature in the world. Only those who escape survive. When
the Serpent-Mother eats up her babies, the young
daughter-in-law is shocked beyond repair and the earthen
lamp which she was holding in her hands breaks in fear and
two baby snakes escape and Serpent-Mother is successful only
in biting off their tales. They become tailless. Soon after,
the young daughter-in-law delivers a baby boy and when he
grows a little bigger, the Serpent-Mother sends her back
with a rich dowry. Thereafter, whenever the young
daughter-in-law is satirized on one account or the other at
her parents-in-law’s home, she cries in front of the
snake-hole and the Serpent Mother sends riches and gifts to
her in-laws home. Thus the young daughter-in-law was very
happy.
In the
underworld, the two tailless snake brothers were teased due
to their deformity by their peer group. They came to know
that it was because of the young daughter-in-law from whose
hands the lamp had fallen, their human sister that they
became tailless. They decide to go to her house and bite her
if she makes fun of their deformity and says nasty things.
They hide themselves in her house and when the young
daughter-in-law stumbles over them, she blesses the
Serpent-God and the Serpent-Mother and all her snake
relatives. The tailless brothers think how they can bite her
when she is showering blessings on them. So they assume
human form, give her gifts and go back happily.
In the story,
one finds how beautifully the human world and the animal
kingdom are dovetailed and merged into one. The
shape-shifting Nagas of Naga-Mandala again make
their appearance here and reinstating the similarity of the
tales, liberate a young, unnamed daughter-in-law from an
oppressive, mean, demanding social order and set her up high
in society with riches and respect.
The loving woman
treats the creatures in nature with love and kindness and
the natural world too responds by obliteration of all her
worries. The nocturnal creatures of the underworld and the
beings of the earth effortlessly interchange their habitats
and reiterate their co-existence on one plane. This positive
correspondence between Nature and humans are indispensable
for the sustenance of the Mother Earth. The image of the
Nature Goddess in the famous world folklores and among the
tribes dwelling around the sacred groves residing in the
forests reiterates the sense of essential oneness of women
and Nature. It is time that patriarchy recognises the
generosity of Nature and the equal share of women in order
to create a better and sustainable world.
Works
Cited
Collellmir, Dolors. “Mythical Structures in Girish Karnad’s
Naga-Mandal.,” Edicions I Publicacions
de la Universitat Barcelona. www.publicacions.ub.es. Les Publicacions de la Universitat Barcelona,
11 8.2013
‹http://publicacions.ub.es/ revistes/ bells15/documentos/71.pdf
Karnad, Girish. “Naga-Mandala”. Three Plays:
Naga-Mandala, Hayavadana and Tughlaq. New Delhi: Oxford University Press,
2005. 19 - 65.
Nampoothiri, K. Vamanan. “Polluting Ponkaala
Premises: An Ecofeminist Reading of Narabali, Aadavum
Daivavum and Naga-Mandala”. Samyukta. Vol. 4, No. 2,
July 2004.210-218.
Ramanujan, A.K. “The Serpent Mother”. Folktales from India.
Penguin Books: New Delhi. 2009. 254 – 62.