Tara: The Sati Series V

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In the legendary tale of Ramayan, where deities and demons collide to maintain cosmic order. Tara's enigmatic story introduces the comedy and joy of animal societies until one mishap changes everything Balancing the interpersonal dynamics between various life forms, the monkey queen chronicles an enthralling saga of the forest kingdom of Kishkindha.

Tara's journey captures the mighty King Bali's strong belief in animal wisdom, in stark contrast with his brother Sugreev's admiration for human rationality Caught in the web of their complex ideologies, Tara skilfully negotiates for peace and pride amidst the treacherous politics of human cruelty and animal instincts Catastrophic secrets challenge earthly boundaries linking the fates of both realms, following the vanar king's tragic death. Faced with profound grief. Tara must now navigate between her past with Bali and her present with Sugreev.

In this richly emotional and stunningly lyrical finale to the Sati series, Koral Dasgupta recasts Tara's role within the epic. celebrating her determination to carve out a legacy amidst love, loss, loyalties and relentless chaos.

The Pancha Kanyas are Ahalya, of Hindu mythology Kunti, Draupadi, Mandodari and Tara, while the five Satis include Sita, Sati, Savitri, Damayanti and Arundhati. The distinction between these two different titles arose primarily because certain versions of the epics have taken the liberty to celebrate women as per the popular beliefs of their era and, of course, those of the translators. One school of thought defines 'Sati' as symbolizing the women's unconditional devotion to and dependence on their men. It casts the women as loyal followers, strongly supporting the vision of the men around them or helping them overcome social and emotional challenges. These women are depicted as self-sacrificing and selfless, yet invincible when drafting their own position of strength and authority.

Various senior scholars translate the Pancha Kanyas as 'five virgins'. Thus, based on textual evidence, the Kanyas and Satis are different women. However, in the earliest texts, there is no mention of the Pancha Satis; they only talk about the Pancha Kanyas who are deemed as the Maha Satis. Even in regional interpretations, especially in some eastern and southern states of the country, this division is blurred. This could be due to the difference in the spread of the Mahabharat of Vedavyasa versus the dissemination of Valmiki Ramayan. The former specifically mentions the Pancha Kanyas.

Queen Mandodari, As I write this letter, I wonder whether my words will reach you. We, the animals, express ourselves in more ways than one, but a script is the first of its kind. I believe it will further communication, especially in interpersonal and diplomatic relationships. Initially, we will need interpreters, such as Hanuman. Later, the curve will slope, and language will flow.

Sugreev encouraged my attempts; Bali was not amused.

'Why do you spend time on something so unimportant?' he would ask, repeatedly climbing up a tamal tree and jumping down.

How is this not important?' I would be taken aback.

'We have a voice and a body. Those are enough for articulation.'

Bali would stroke my face with his tail and tilt his head to the right, revealing a wide range of teeth. It irritated me when he did this.

'A script will transmit crucial messages from one source to another when direct interaction is not possible.' I slapped him on the back with a swing of my tail.

'Why is such transmission required?'

This would make me look up. Bali was watching me innocently. If only he were anything close to innocent ... We kept having these arguments. 'What do you mean? When putting together a kingdom and protecting it from its enemies, the messages will need to discreetly reach the right destination. This will maintain transparency with allies and give you an edge over the opponent."