Devi, despite her best education and westernized thinking, is still in confusion and is unable to comprehend her predicament. She cannot adjust herself either to her husband or to her family affairs. Woman is socialized to please and to court male sanction as her highest ambition. The secret fear of rejection and mania for security is enough to prevent her from acting on her own. Devi finally learns about her cravings, her desires, her urges and pursuits-both hidden as well as revealed.
Next, in her gentle, radiant dayini form (Lakshmi, Sarasvati), she is the gracious donor of boons, wealth, fortune, and success. As heroine (Sita, Draupadi, and Radha) and beloved, Devi comes down to earth and provides inspiring models for earthly women. In this aspect, Devi is then seen as a local protector of villages, towns, and individual tribal peoples, where she is concerned only with local affairs. In her fifth aspect, Devi appears as semi-divine (Nagini, Sundari) force, manifesting herself through fertility spirits, and other supernatural forms. Finally, she is also represented in women saints and yoginis, who are born on earth but endowed with deep spirituality and other-worldly
The myth of Inanna and The Epic of Gilgamesh show a change in society in the Ancient civilization of Uruk. In the myth, Inanna, females played a more primary role and were seen as equals to men. Inanna is the Goddess of the Earth and Heavens. In the myth, The Epic of Gilgamesh, men’s roles played a more primary role than women’s. Gilgamesh is the King of Uruk and is a strong warrior.
One day while playing in the house Devi found her mother’s photograph holding a veena in her hands. The grandmother told Devi Sita was a very good veena player and she also told the reason why Sita stopped playing it. But before telling the reason she told her the story of Gandhari from the great epic the Mahabharata. After finding the lie about the blindness of her husband in her fury she made a vow and tore off a piece of cloth and tied it over her eyes for the whole life. In her appraisal “Gandhari was not just another willful, proud woman, she embraced her destiny a blind husband, with a self sacrifice worthy of her royal blood” (Hariharan 29).
What is human nature and how do young people overcome or accept it? This is the question that T. Boyle’s “Greasy Lake” asks. Between the misconstrued thoughts of adulthood and superficial attempts of establishing independence, the story walks through a short period of time where the Narrator is caught in the middle of such occurrences and through this the literary elements of setting and perspective truly shine. However, before looking into the underlying meaning of the piece, examining the plot at a surface glance is a crucial place to start. The story begins by describing nineteen year old rebellion in its purest form; borrowing station wagons and drinking underage.
“What would life be if we had no courage to attempt anything?” -Vincent Van Gogh. This means that if anything is to be accomplished, fearlessness is a key factor in pursuing the goal. Actually, fearlessness is the key factor in pursuing a goal. This important message is shown in the short story, Rikki-Tikki-Tavi. The theme of the fictional story Rikki-Tikki-Tavi by Rudyard Kipling is having courage will help achieve goals.
Once the story is retold it takes on different details and meaning. When a story is written, the content lasts longer and can be revisited, however each reader perceives the meaning of the story and the details through their own experience. Stories began through oral tradition. Indigenous people have told stories throughout their histories, and those stories reveal their past, as well as their current realities and identities. An example of a storyteller who integrates multiple genres of storytelling in every aspect of her being, is Joy Harjo.
In the book Persepolis, Satrapi uses the veil to show women's rights and how she was a rebel when she was young. In the beginning of the book she tells the reader about veil and how she didn't understand why she had to wear them. As she grows up she begins to understand how the world works and adapts to growing up and saying goodbye to her childhood. The veil is closely tied to Iran religion and why women have to wear it. She soon realizes the importance of the veil as she grows up and accepts it as a part of her life.
Rukmani begins to tell her story first recalling this moment at the start of her marriage, “While the sun shines on you and the fields are green and beautiful to the eye, and your husband sees beauty in you which no one has seen before, and you have a good store of grain laid away for hard times, a roof over you and a sweet stirring in your body, what more can a woman ask for?” (Markandaya 8). The way she explains the moment with such ease, and the way she links the beauty of the fields with the beauty her husband saw in her, reflects a peaceful and fulfilled sense of life that sets the tone for the events to