QUESTION: – How is a woman as rebel or artist treated by society? Discuss with reference to Umrao Jan Ada, and The Goddess of Revenge.

ANSWER:-

Mirza Hadi Ruswa (1857–1931) was an Indian Urdu poet and writer, best known for his novel Umrao Jan Ada. He was a scholar of Persian, Arabic, and Urdu and contributed significantly to the development of Urdu fiction. Ruswa’s works often depicted the lives of marginalized individuals, particularly women, exposing the hypocrisies of 19th-century Indian society. Umrao Jan Ada remains one of the earliest Urdu novels and is regarded as a pioneering work in South Asian literature, offering a nuanced portrayal of a courtesan’s life.

Lalitambika Antarjanam (1909–1987) was a prominent Indian writer and social reformer from Kerala. She wrote extensively on the oppression of women within traditional Hindu society, addressing issues such as casteism, widowhood, and female agency. Her work combined realism with feminist critique, making her one of the most influential voices in early Indian feminist literature. The Goddess of Revenge exemplifies her radical perspective on female resistance and justice.

Umrao Jan Ada (1899) by Mirza Hadi Ruswa is considered the first Urdu novel and is a semi-autobiographical narrative about the life of Umrao Jan, a courtesan and poet in 19th-century Lucknow. The novel provides a detailed and empathetic account of Umrao Jan’s life, focusing on her struggles, artistic talents, and quest for identity and dignity in a rigidly patriarchal society. It critiques the societal hypocrisy that both admires and ostracizes courtesans, highlighting how women’s artistic contributions are often undervalued due to their social status.

The Goddess of Revenge by Lalitambika Antarjanam is a feminist work that subverts traditional narratives about women and justice. The novel presents a female protagonist who refuses to accept oppression passively and instead embodies vengeance as a means of reclaiming agency. Through this character, Antarjanam critiques the societal expectation that women should always be forgiving and submissive, instead proposing a radical vision of female empowerment.

The treatment of women as rebels or artists in society has long been marked by deep-seated biases, moral policing, and systemic marginalization. Women who challenge societal norms—whether through artistic expression or acts of defiance—are often met with suspicion, ostracization, and even violence. Literature frequently reflects these struggles, portraying women whose artistic brilliance or rebellious spirit is both admired and condemned. Umrao Jan Ada by Mirza Hadi Ruswa and The Goddess of Revenge by Lalitambika Antarjanam explore this theme by presenting female protagonists who challenge the limitations imposed upon them. These works highlight the paradoxical position of women whose talents are celebrated yet whose independence is feared, exposing the hypocrisy of a patriarchal society that both desires and punishes female agency.

Women as Artists and Rebels in Umrao Jan Ada

Mirza Hadi Ruswa’s Umrao Jan Ada (1899) tells the story of Umrao Jan, a courtesan renowned for her poetry, music, and dance. Her artistic talent makes her a cultural icon, but it also ensures that she remains confined to the margins of respectable society. The novel underscores the paradox faced by women artists: while their contributions to literature and the arts may be appreciated, they are rarely granted the same recognition, agency, or respect as their male counterparts. Umrao Jan’s poetry, which expresses her deepest emotions and observations, is admired by aristocrats and intellectuals, yet she is never accepted as a legitimate poet or scholar in her own right. Instead, she is seen primarily as an entertainer, her intellect overshadowed by her status as a courtesan.

Beyond her role as an artist, Umrao Jan is also a figure of resistance. She repeatedly attempts to escape the life forced upon her, seeking freedom and dignity beyond the walls of the kotha (brothel). However, every attempt at reintegration into mainstream society is met with rejection. Her past as a courtesan permanently marks her, despite her artistic brilliance and personal resilience. The novel thus highlights the rigid moral codes that govern women’s lives, illustrating how female artists, especially those from marginalized backgrounds, are denied the opportunity to exist beyond the roles that men impose upon them. Through Umrao’s journey, Ruswa critiques the societal structures that simultaneously exploit and ostracize women who seek intellectual and creative independence.

Women as Rebels and Subversive Figures in The Goddess of Revenge

Lalitambika Antarjanam’s The Goddess of Revenge presents a different yet equally powerful exploration of female defiance. Unlike Umrao Jan Ada, which focuses on the struggle for artistic and personal recognition, The Goddess of Revenge presents a woman who actively resists the oppressive structures that seek to control her. The protagonist, rather than passively enduring injustice, transforms into an avenging figure, refusing to conform to the expectations of submission and suffering that society imposes on women.

Antarjanam’s narrative critiques how rebellious women are perceived as dangerous threats to the social order. The “goddess of revenge” is not a nurturer or a passive sufferer but a force of justice, turning the traditional roles of women upside down. This subversion is significant because it challenges the deeply ingrained idea that women should be forgiving, patient, and self-sacrificing. By embracing vengeance as a legitimate response to oppression, the novel reclaims power for women who have long been denied the right to fight back.

Like Umrao Jan Ada, The Goddess of Revenge also highlights the power of storytelling as a form of resistance. Just as Umrao Jan uses poetry to assert her voice, Antarjanam’s protagonist embodies an alternative myth—one where women are not merely victims but active agents of change. Both texts, though different in tone and approach, reveal how women’s attempts to claim agency—whether through art, intellect, or rebellion—are systematically suppressed by a society that fears female autonomy.

Comparative Analysis and Conclusion

Both Umrao Jan Ada and The Goddess of Revenge explore the societal treatment of women who refuse to conform to traditional expectations. While Umrao Jan’s rebellion is largely personal—seeking dignity through art and self-expression—Antarjanam’s protagonist engages in an outright rejection of patriarchal structures. The contrast between the two reflects different feminist perspectives: one that critiques the limits placed on women’s artistic and intellectual pursuits, and another that envisions a radical reconfiguration of power.

Despite these differences, both texts underscore the reality that women who seek independence—whether through art or open defiance—are often met with hostility, suspicion, or exile. The fear of female agency is a recurring theme, with both protagonists facing societal backlash despite their strength and brilliance. Through their respective narratives, Ruswa and Antarjanam expose the ongoing struggle for women’s autonomy, making their works deeply relevant even in contemporary discussions on gender and power.

Personal Views

Both novels offer compelling portrayals of women’s resistance against patriarchal oppression. Umrao Jan Ada resonates because it reflects the historical and cultural barriers that continue to restrict women in artistic and intellectual fields. Even today, female artists often struggle for the same legitimacy and recognition as their male counterparts. Umrao Jan’s story is tragic, yet it serves as a reminder of the resilience of women who, despite societal rejection, continue to create and express themselves.

The Goddess of Revenge, on the other hand, offers a more radical and empowering vision of rebellion. Rather than seeking acceptance, Antarjanam’s protagonist asserts her own terms of justice, refusing to be bound by the moral expectations placed on women. This approach is refreshing because it challenges the notion that women must always be forgiving and self-sacrificing. In today’s world, where gender-based violence and discrimination remain prevalent, the idea of women reclaiming power rather than seeking approval is particularly significant.

Both texts reinforce the idea that women’s creativity and defiance are inherently disruptive to patriarchal structures, which is precisely why they are feared. While I appreciate the nuanced critique of societal hypocrisy in Umrao Jan Ada, I find The Goddess of Revenge to be more revolutionary in its approach. Together, these works contribute to an essential feminist discourse that challenges the limitations imposed on women, urging readers to rethink the ways in which society treats female artists and rebels.