Mask and masquerade - The Eastern Eye: Column by Dr.Utpal K Banerjee

All noble writings are capable of multiple interpretations in different times and in varied contexts. Tagore's 1936 dance-drama Chitrangada - - culled from the Mahabharata - - is usually taken to depict the unambiguous stand favouring women's empowerment. After the initial hesitancy of the Manipuri princess when she initially decides to undertake the guise of almost an enchantress, she discards the pretence and comes out triumphant. But supposing she went a step further? Could she have possibly discarded her masquerading role as a gaudy temptress and come direct to challenging the male ego, in a full frontal confrontation with the object of her adoration - - without any compromise of her essential femininity?

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