Name : Emisha Ravani
Designation : Research scholar at Central University of Gujrat
Contact mail: emisharavani3459@gmail.com
Title of the paper : Echoes of the Collective Unconscious: Jungian Insights into Characters in 'The Lanka's Princess
Abstract: This study delves into the character of Surpanakha as portrayed by Kavita Kane, employing Jungian theory as a critical lens. By examining the storyline and characters through this perspective, the research aims to uncover novel insights into the reinterpretation of mythology by Kane. It explores the dynamics of the Ego (conscious), personal unconscious, and collective unconscious within the human psyche. While we typically acknowledge only our conscious mind, the personal and collective unconscious realms remain largely hidden, influencing our behaviour and actions. Mythology, transcending cultural boundaries, is shaped by universal archetypes inherited in human genes, manifesting in our collective unconscious. Surpanakha's journey is characterised by a relentless pursuit of revenge born from her enduring suffering and mistreatment, illustrating the profound impact of the collective unconscious on the individual psyche.
Key words : Lanka’s Princess, Kavita Kane, Jungian theory, archetype, Surpanakha
Introduction :
Myths permeate every corner of global culture, serving as narratives to elucidate natural occurrences, elucidate origins, and delineate the progression of civilizations. At their core, myths provide solace by imbuing a sense of structure and significance into an otherwise tumultuous existence. Retelling of myths is an act of telling the stories which are already told to people before. But the aim is to make the stories available with all kinds of connection like socio cultural, political. Contemporary writers are successfully penning retelling mythology. This paper contains a archetypal way to look at the book Lanka’s Princess by Kavita Kane and try to drag attention to her unique style and minute observations too.
“If readers already come to the table knowing who a character is or how a plot goes, you can use that to twist their expectations.”
Annie Sullivan
About Author :
Kavita Kane, renowned for her six bestselling novels, has emerged as a revolutionary figure in Indian literature, particularly for her groundbreaking incorporation of feminism into mythology. Through her eight novels, she explores the narratives of lesser-known women in Indian mythology, including "Karna’s Wife" (2013), "Sita’s Sister" (2014), "Menaka’s Choice" (2015), "Lanka’s Princess" (2016), "The Fisher Queen’s Dynasty" (2017), "Ahalya’s Awakening" (2019), and her latest work, "Sarasvati’s Gift", “Tara’s Truce” (2023).
Lanka’s Princess :
Here, In this attempt of her. Kane tried to gave many new shades to the character of Surpanakha. But she did not allow her character draft to be so imbalance and flawless. She portrayed Surpanakha by becoming her. By the whole reading we come to know as readers that many times Kane herself wearing the shoe of Surpanakha to draw her each moment of pains and pleasures.
Kane is using very unique style of giving titles. As she chose to deal with a single character mostly a female one, she tries to keep readers on thinking mode from title to the end itself. Her stance to give such a tones modernity and sexuality in the story to a character is so real. She never fails to make the character uprooted by making it well rooted as a writer. The writers who are doing retelling of the mythology are more alert with their responsibilities. Because the domain of mythology is a almost public and known one. So common people already know your story but you need to make it more mysterious and meaningful to the present time and the known audiences. Kane also well balanced the act of humanising Surpanakha by giving her exact touch of human emotions and demons instincts.
A soul revolves around revenge and rejection :
‘A shift from Minakshi to Surpanakha'
The prologue titled as ‘Kubja’. Kubja means A hunchback. Kane introduce us to the character in the prologue and using the main factor of her appearance. There is a beautiful conversation between Kubja and Krishna where we feel that she is taking us to the world of Surpanakha.
She stared at him transfixed, speechless. ‘You were born a beautiful princess Minakshi, the sister of the asura king Ravan, but your wickedness turned you into a monster - Surpanakha, the woman as hard as nails…’ he explained. ‘Do you remembered me? The man who rejected you and in your wrath you took a terrible revenge on me, my wife Sita and my rother Lakshmn…?’
‘What did i do so terrible then that i had to leaf this life in misery?’ cried Kubja. terrified.
Krishna smiled, taking her trembling hand in his. Kubja felt a strange sense of fulfilment.
‘Well, allow me to tell your story..’(Kané)
The chapters are classified based on the names of places, names of characters, ‘eternal bhav’, and events. Each chapter deals with particular turn of her life. Each contains the same importance. The epilogue titled as ‘Phulwati’. Where she left as rejection in the end too like Kubja and Surpanakha. Kane makes her so successfully, a warrior who fought in every birth against revenge and rejection. And the one who will have to remain a one sided lover and suffered soul.
A character in a liminal space
Surpanakha, the one who shares a liminal space in the story. We see that she in the constant space where she get herself in the inner world and the outer world. A constant battle of complications and personal feelings and emotions. She is seen as she always prefer to choose herself and her own instincts over anything happens in her life. Though there are many events and people who tried to make her feel confused about her decisions. Also she belongs to the linage of asura. But the shift from asura to making her more human is a completely justified. We do not feel that Kane just stuck to proving her in the box of good and bad but she did a successful amalgamation of both tones.
How the myth has look at the main turn of her life. From the pen of Valmiki :
अस्य रूपस्य ते युक्ता भार्याहं वरवर्णिनी।
मया सह सुखं सर्वान्दण्डकान्विचरिष्यसि।।3.18.7।।
एवमुक्तस्तु सौमित्री राक्षस्या वाक्यकोविदः।
ततश्शूर्पणखीं स्मित्वा लक्ष्मणो युक्तमब्रवीत्।।3.18.8।।
कथं दासस्य मे दासी भार्या भवितुमिच्छसि।
सोऽहमार्येण परवान्भ्रात्रा कमलवर्णिनि।।3.18.9।।
With my fine complexion, I will be a suitable wife for you. You can happily wander about in Dandaka forest with me. Thus addressed by the demoness Lakshmana, son of Sumitra, well versed in the use of words gave her a befitting reply : O lotus complexioned woman , how can you act as a maid to a slave ? Why do you intend to be so? I am already dependent on my revered brother.
By the Pen of Kane :
He was saying, 'I could not bring her as I am my brother's servant, at his service all the while. And that is the same reason, I cannot be yours, lady,' he said stiffly, glaring not at her but his brother, a Accused of manipulating events between Ram and Ravan, which culminated into a bloody war and annihilation of her family, Kavita Kané's Lanka's Princess makes us see the familiar events unfold through the eyes of a woman more hated than hateful…disapproving frown on his handsome face.
They are rejecting me! But why, she thought wildly. I am young and beautiful and desirable. Why did they not like me? Am I not enticing enough?
Lakshman's brow suddenly cleared, and said gently, 'I am but a slave. Do you wish to be a slave's slave or the master's? You deserve someone better, madam, and that person is Ram as you had rightly chosen before!' After a pause, he said teasingly, 'He is trying to fool you. You can be his second wife! Go to him, is he not better looking than me? He will make a better husband too, dear lady.’(Kané)
We can see that How Kane make the difference of revisioning and reimagining of the events from the Valmiki has done before. And in between she put Surpanakha’s inner feeling and thoughts on going in her mind. As it is mention on the cover page of book itself.
Accused of manipulating events between Ram and Ravan, which culminated into a bloody war and annihilation of her family, Kavita Kané's Lanka's Princess makes us see the familiar events unfold through the eyes of a woman more hated than hateful…
Jungian Theory
What is Collective Unconsciousness?
The concept of the collective unconscious, coined by psychiatrist Carl Jung, refers to a shared aspect of the unconscious mind present in all human beings. This collective unconscious originates from the inherent structure of the brain and is separate from the personal unconscious, which is shaped by individual experiences. Within the collective unconscious, Jung posited the existence of archetypes—fundamental, universal images and ideas that are innate to human consciousness.
Archetypes are intrinsic and universal templates of human personas, behaviours, and traits that exert influence on human actions. Carl Jung, the Swiss psychiatrist, proposed that these archetypes stem from ancient, innate human wisdom transmitted through generations. Within Jungian psychology, these archetypes symbolise enduring patterns and symbols ingrained in the collective unconscious. Jung suggested that we inherit these archetypes akin to instinctual behavioural patterns.
Jung's conception of the human psyche consisted of three main elements:
The ego (Conscius)
The personal unconscious
The collective unconscious
The main archetypes :
The Persona
The Shadow
The Anima or Animus
The Self
Surpanakha as anima
Surpanakha's character may represent the anima archetype as she embodies qualities traditionally associated with femininity. This could include traits such as emotional sensitivity, intuition, and a connection to nature. Throughout the narrative, Surpanakha's actions and interactions could reflect these qualities, providing depth to her character. The anima archetype often symbolizes the longing for connection and wholeness. Surpanakha's pursuit of romantic relationships, particularly her attraction to Rama and subsequent jealousy toward Sita, could be seen as manifestations of this desire for connection. Her yearning for love and belonging drives much of her behavior in the story. Surpanakha's journey could involve confronting inner conflicts and integrating different aspects of herself, including her anima traits. As she grapples with her desires, insecurities, and the consequences of her actions, Surpanakha may undergo a process of self-discovery and growth. This could involve embracing her feminine essence while also acknowledging and reconciling with her shadow aspects. Surpanakha's relationships with other characters, particularly Ravana and her brothers, could reflect aspects of the anima archetype. Her interactions with Ravana, for example, may highlight themes of power dynamics, desire, and emotional vulnerability. Her bond with her brothers could represent familial ties and the need for support and protection. By viewing Surpanakha through the lens of the anima archetype, readers can gain a deeper understanding of her character and the psychological dynamics at play in "The Lanka's Princess." This interpretation adds layers of complexity to her motivations, relationships, and personal journey throughout the narrative.
Ravana as animus
Ravana, as the powerful ruler of Lanka, exhibits traits commonly associated with the animus archetype, such as dominance, assertiveness, and aggression. His actions and decisions are often driven by a desire for power and control over others, reflecting a strong manifestation of masculine energy. Ravana is portrayed as a highly intelligent and strategic thinker, relying on his intellect and rationality to achieve his goals. This characteristic aligns with the animus archetype, which is often associated with logical reasoning and problem-solving skills. Despite his formidable exterior, Ravana's character may also harbour internal conflicts and complexities, reflecting the nuanced nature of the animus archetype. He may struggle with aspects of his own masculinity, such as vulnerability or emotional turmoil, which surface in his interactions with other characters. Ravana's dynamic with Sita, the protagonist, can be viewed through the lens of the animus archetype. His kidnapping of Sita and subsequent attempts to sway her allegiance can symbolize a confrontation between masculine and feminine energies. Ravana's relentless pursuit of Sita may stem from a desire to possess and control her, representing an imbalance in his animus. Throughout the narrative, Ravana's character arc may involve a journey of self-discovery and integration of his animus. This could manifest as moments of introspection and self-awareness, where he confronts his own flaws and insecurities, ultimately leading to personal growth and transformation.
Conclusion :
As we see a text or work can be sen by many perspectives and theories can applied successfully. People have seen this character and book by the lens of feminism, Androcentrism, Women Identity And Self-Assertion, humanise the demonic character etc. Here a researcher tried to see such characters by using archetype by Carl Jung. Where we can see major two characters that is, Surpanakha and Ravana. A story has protagonist a Surpanakha and antagonist Ravana.
“We need to interpret interpretation more than to interpret things.” - Montaigne
It is a high time to revisioning and reimaging such stories and character from myths. As time changes and it become the main reason to have new perspectives and new voices to be raised. Only things are worthy when it gets change according to it’s requirements. If we do not have such courage to look at the things in new ways. One can say it is totally regressive process itself.
Works Cited
YouTube: Home, 3 June 2009, https://www.valmiki.iitk.ac.in/sloka?field_kanda_tid=3&language=dv&field_sarga_value=18. Accessed 15 March 2024.
Cherry, Kendra. “12 Archetypes: Definition, Theory, and Types.” Verywell Mind, 11 March 2023, https://www.verywellmind.com/what-are-jungs-4-major-archetypes-2795439#toc-the-main-archetypes. Accessed 15 March 2024.
“Collective unconscious | Definition & Facts.” Britannica, 20 February 2024, https://www.britannica.com/science/collective-unconscious. Accessed 15 March 2024.
“A DECONSTRUCTIVE READING TO STRUCTURE, SIGN AND PLAY BY DERRIDA.” Academia.edu, https://www.academia.edu/33430749/A_DECONSTRUCTIVE_READING_TO_STRUCTURE_SIGN_AND_PLAY_BY_DERRIDA. Accessed 15 March 2024.
Kane, Kavita. “Kavita Kane - Penguin Random House India.” Penguin India, https://www.penguin.co.in/book_author/kavita-kane/. Accessed 14 March 2024.
Kané, Kavita. Lanka's Princess. Rupa, 2017.
Palat, Lakshana, and Kavita Kané. “Lanka's Princess: A book that attempts to humanise the demonic Surpanakha.” Hindustan Times, 16 February 2017, https://www.hindustantimes.com/books/lanka-s-princess-a-book-that-attempts-to-humanise-the-demonic-surpanakha/story-dZTll4MOtz1WZtPV57PR3O.html. Accessed 15 March 2024.
“Subverting Androcentrism and Voicing the Silenced in Kavita Kane's The Lanka's Princess.” Redalyc, https://www.redalyc.org/journal/7038/703873514012/html/. Accessed 15 March 2024.
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